Cast: Samuel L. Jackson, Kevin Spacey, John Spencer, David Morse, Ron Rifkin, J.T. Walsh, Regina Taylor, Paul Giamatti, Siobahn Fallon
Director: F. Gary Gray
Producers: Arnon Milchan, David Hoberman
Screenplay: James DeMonaco & Kevin Fox
Cinematography: Russell Carpenter
Music: Graeme Revell
U.S. Distributor: Warner Brothers
The Negotiator, director F. Gary Gray's entry into the summer box office sweepstakes, is what is often referred to as a "white knuckler" -- a nearly-nonstop excursion into tension. Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time. The Negotiator deserves a place among the best action/thrillers of the year. This is a Dog Day Afternoon for the '90s.
It doesn't hurt, of course, that the two lead actors are among the best performers working today. And Samuel L. Jackson and Kevin Spacey aren't just good thespians; each of them has the kind of screen presence that can't be taught. Jackson is one of the few actors who almost never gives an ineffective performance. Put him in a good movie, and he elevates it; put him in a bad movie, and he saves it. The Negotiator is a case of the former. Much the same can be said about Spacey, who won an Oscar for his part in The Usual Suspects. Seeing these two sharing the screen is a treat, especially during a season when pyrotechnics typically overshadow portrayals.
Another thing that elevates The Negotiator above similar pictures is the confidence displayed by Gray, who previously made the underrated Set It Off. The director fashions a taut motion picture that intertwines sharp, staccato bursts of action with dark comedy and character building. All of this is done in an increasingly- claustrophobic atmosphere. Gray's approach is singularly effective. Although he is working with a solid script, the plot is not a masterpiece of originality or invention. It's Gray's style more than anything else that keeps us on the edge of our seats.
The setup is The Negotiator's most obvious weakness. The film starts by introducing us to Danny Roman (Jackson), hostage negotiator extraordinaire. Roman has a deserved reputation for being the best, although he isn't without his detractors, such as Beck (David Morse), who thinks Roman takes too many chances. Then, one day, when Roman learns a little too much about a police conspiracy to steal money from the pension fund, he is set up for the murder of his partner. Internal Affairs honcho Inspector Niebaum (the late J.T. Walsh) goes after the unjustly accused cop with a vengeance, leading Roman to believe that he will be given no chance to clear his sullied name. Desperate, he takes four people (two cops and two civilians) hostage, including Niebaum and an old friend (Ron Rifkin), on the twentieth floor of the Chicago Administration Building. His goal: to intimidate them into telling the truth. Soon, when the police arrive to defuse the situation, Roman is in familiar territory, but on the other side of the law. This time, he's the hostage-taker and another expert negotiator, Chris Sabian (Spacey), is trying to talk him down. Both Roman and Sabian are masters of the rules of engagement, and each recognizes that, for the Chicago police force to take Roman's threats seriously, he may have to kill one of his captives.
One of many things that The Negotiator does right is not telegraphing the chief villain too early. Gray's method of handling this is quite simple: he makes everyone seem guilty. Aside from Roman and perhaps Sabian, no one is above suspicion, and Gray toys with us by giving each of the supporting characters at least one scene that hints at possible guilt. As a result, when the bad guy is eventually unmasked, it's not really a surprise, but neither can we say that we knew it all along.
Unlike many summer action films, The Negotiator doesn't rely upon special effects for its chills and thrills. While there's admittedly something fun about watching Mel Gibson and Danny Glover avoiding massive explosions, The Negotiator offers the more satisfying option of gradually building the tension to a boiling point. The excitement in a Lethal Weapon 4 is sporadic; it's easy to become distracted. The Negotiator, on the other hand, keeps our attention riveted to the screen. The cat-and-mouse game between Roman and the police never loses its edge, even though the film is a little on the long side. And, with such a tightly-wound atmosphere, a little comic relief is mandatory. Gray uses a pair of supporting characters (played by Paul Giamatti and Siobahn Fallon) to provide humor, but never overdoes it.
Any resemblance to the original Die Hard is not coincidental. And, like in the 1988 thriller, the approach of keeping the action confined to a small area works to heighten the tension. As was the case in Die Hard, the main character is a cop. He has a potential ally on the outside. The Feds are an ominous, interfering presence. And the protagonist proves to be smarter and more resourceful than his better-equipped, highly-trained opponents. There are enough significant differences to keep The Negotiator from seeming like a Die Hard clone (it is, for example, much more talky), but the most important similarity -- the adrenaline rush generated by a well-made thriller -- is impossible to miss.
© 1998 James Berardinelli