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- The No Way Out Full Movie Download In Hindi
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- Tom Farrell is a navy officer who gets posted at the Pentagon and is to report to the secretary of defense David Brice. He starts an affair with Susan Atwell not knowing that she is Brice's mistress. When Susan is found dead, Tom is assigned to the case of finding the killer who is believed to be a KGB mole! Tom could soon become a suspect when a Polaroid negative of him was found at Susan's place. He now has only a few hours to find the killer before the computer regenerates the photo.
- A coverup and witchhunt occur after a politician accidentally kills his mistress.
- No Way Out is a thriller about a U.S. Naval officer investigating a Washington, D.C. murder. It stars Kevin Costner, Gene Hackman and Sean Young. It is a remake of The Big Clock; both films are based on the novel by Kenneth Fearing.The supporting cast includes Will Patton, Howard Duff, George Dzundza, Jason Bernard, Fred Thompson and Iman.It was written by Robert Garland and directed by Roger Donaldson.<br/><br/>While at a Washington party, Tom meets Susan Atwel, and they're soon sharing a steamy love scene in the back of a limo. Several months pass before Tom meets Susan again; he discovers she's the mistress of the US Secretary of Defense David Brice. When Susan is murdered by Brice, his loyal aide dutifully destroys the evidence and invents the fallacious theory that a KGB mole was responsible. Tom is assigned to locate that mole -- a perilous situation, since Tom knows that no such mole exists, but must go along with the charade since he was the last person who was seen with Susan.<br/><br/>Farrell obtains the printout before the picture implicating him becomes visible and presents it to Brice, who then shifts the blame to Pritchard, arguing that Pritchard was jealous of his relationship with Susan. A devastated Pritchard commits suicide and is falsely exposed as "Yuri" to the police by Brice, hoping to escape blame for Susan's death, and Farrell, who is finally able to leave the Pentagon free of suspicion.<br/><br/>As Farrell sits beside Susan's grave, two plainclothes men arrive and take him away for questioning. One of the interrogators is Farrell's landlord, who addresses Farrell in Russian. Farrell, who responds in kind is, in fact, the real "Yuri" and his landlord is his KGB supervisor. Yuri/Farrell was planted in the U.S. as a teenager and became the KGB's "mole" in the Department of Defense. Aware of Brice's affair, the Russians assigned Farrell to seduce the Secretary of Defense's mistress and gather intelligence from her. Although his handlers demand that he return to the Soviet Union, Farrell refuses and leaves as his handler quips, "He'll be back. Where else does he have to go?"<br/><br/>Roger Donaldson's modern spin on No Way Out is dense and stylish.This suspense film has features of the 1940s thrillers but it was terrific and ingenious that a viewer who likes good movies would surely appreciate.In it,we get to see fine performances from stars Gene Hackman and Sean Young.Truly,it was a career-making performance for Kevin Costner as it catapulted him to stardom as he displays some charisma in a twisty, stylish espionage thriller.It was truly a masterpiece in its genre as a film in which a simple situation grows more and more complex and neither of which is contrived nor manipulated.
- Okay. The plot has more holes than the brain of a cow suffering from bovine spongiform disorder. So what? The whole movie is fast, palatable, and most important of all, not entirely insulting to the viewer. The story has already been described so I won't go into it except to say that it's an improvement over its source, "The Big Clock," and probably the novel that work was based on. It doesn't depend on special effects. There is only one car chase, ending in a foot race, and it's mercifully brief and doesn't end in an exploding fireball. In fact nothing ends in an exploding fireball. Tears of gratitude brim from my eyes, just being able to write that sentence.<br/><br/>There's a completely unnecessary plot twist at the very end that leaves final developments ambiguously open. But, that aside, and given a bit of effort at the suspension of disbelief, events hang together logically and build on one another. And we follow them tensely as one improbability leads to another. The movie has images that impress themselves on the viewer's perception, willy nilly, whole scenes and little bits of business.<br/><br/>We have, first of all, Kevin Costner as a naval officer all of us can identify with -- he's smart, heroic, handsome, virile, important, and looks very spiffy in his immaculate white uniform and shoes as he skips or runs full tilt through the sterile corridors of the Pentagon, pursued by devils or by two brainless thugs in dark suits, one of whom sprints in a more than usually awkward manner, his arms flapping gracelessly at his sides. Costner's acting. It's okay. He still sounds and looks like an innocent all-American surfer but he can't help that. Now and then he actually successfully projects the feelings and thoughts of his character. (I couldn't figure out what the gold badge on his uniform was; it looks like neither a submariner's dolphins nor an aviator's wings.) Sean Young -- wow! Has any body, I mean anybody ever been more classically assembled? Her face is full of good bone structure. It has no quirkiness. She's beautiful in the way a painting of a woman would be beautiful if you took a portrait artist, sat him down, and asked him to dream up a pretty woman and get it down on canvas. Her face is an operational definition of "conventional beauty." And it doesn't stop with her face. She exudes a kind of sensuality that seems unaware of its own appeal, only aware of its own needs. She's foxy in the most negligent kind of way, the kind of woman who might not draw the curtains at night -- not because she enjoys showing off but because she just doesn't care. She may not lay waste the countryside as an actress, but doesn't need to. And what she says is believable enough. <br/><br/>Gene Hackman is supposed to be a misled good guy. Yet he's guilty of, what?, would it be manslaughter? Womanslaughter? First-degree male chauvinist swinery? His character is supposed to be basically sympathetic, and he and the director play it that way, after establishing him as a politician unwilling to play along with the militarists in Congress. But he's pretty weaselly when you come right down to it -- begging Costner not to give him away, promising him anything -- promotions, better jobs, whatever. And in the end he seems willing to let all the blame fall on his assistant, Will Patton. <br/><br/>In many ways, it's Patton's movie. Patton is to Hackman more or less what Martin Landau was to James Mason in "North by Northwest," a jealous and protective buffer between his master and the rest of the world. And Patton does a superb job here. After accidentally killing his girl friend, Hackman stumbles into Patton's apartment, needing "someone to talk to before I go to the police." As Hackman spills out his story, Patton hovers over him with a troubled meaningless grin, both his hands fluttering around Hackman's shoulders from behind, as if ready to massage his trapezius. Patton's eyes bulge with surprise and concern. In an earlier scene when Hackman is dressing for a date with Young, Patton carefully brushes some unseen specks from the shoulders of Hackman's dark jacket, preparing his crush for an encounter with his own rival. And watch the expression on Patton's face when he's alone in the gymnasium with George Dzunza and Dzunza spills the beans about Costner's knowing everything. The changes Patton's features undergo are so subtle, the stretched fatuous smile relaxing into the open mouth of utter surprise. What an opportunity for a lesser actor to overplay the reaction, but Patton holds it all in place. That grin turns from idiotic to reassuring in a scene in which Hackman hits Patton in the head with a neatly flung folder full of papers. In context, the actor's natural slight lisp is menacingly telling. We really didn't need Fred Dalton Thompson to inform us in his boring monotone that the character was "a homosexual." I suppose the line was in the script because it was designed to enlighten some elderly folks who may never have left their home in Elko.<br/><br/>It's a catchy movie. I didn't find the opening that slow. Except I guess I've seen enough heated sexual encounters in the back seats of limos and taxis. This one harks back to Angie Dickinson's scene in DePalma's "Dressed to Kill." Knowing DePalma one wonders if the idea came to him from Hitchcock's oft-repeated fantasy of the woman who acts like a perfect lady until she gets you in the back seat of a taxi and immediately opens your pants. (In Hitchcock's fantasies it was always an icy blonde.) It's worth seeing this, if only to watch the visual imagery, enjoy the acting, and let the narrative take you along in its own exciting way.
- No Way Out has the exuberance of something freshly conceived. It's so effective, in fact, that when it's all over, you might want to sit through the beginning again just to see if the end is justified by the means. I suspect that it is.
- a5c7b9f00b
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