Synopsis
How do you get the man who has everything?
A very rich and successful playboy amuses himself by stealing artwork, but may have met his match in a seductive detective.
1999 Directed by John McTiernan
A very rich and successful playboy amuses himself by stealing artwork, but may have met his match in a seductive detective.
Pierce Brosnan Rene Russo Denis Leary Ben Gazzara Frankie Faison Fritz Weaver Charles Keating Mark Margolis Faye Dunaway Michael Lombard Ritchie Coster George Christy Tony Cucci Dominic Chianese Jr. Simon Jones Esther Cañadas Jane DeNoble Gloria Barnes Marion McCorry Diana Berry Bill Ambrozy Michael Bahr Robert D. Novak Joe H. Lamb James Saito Mischa Hausserman Daniel Oreskes Gregg Bello John P. McCann Show All…
偷天游戏, Афера Томаса Крауна
An improvement over the original because art heists are inherently cooler than bank robberies
I feel like the chemistry between Russo and Brosnan doesn't work for me, and the story of this one has the same vaguely problematic treatment of Rene Russo's character as the original does with Faye Dunaway's, but fuck if it isn't so immensely watchable and fun. John McTiernan is one of the best action directors and an absolute master at pacing. The first heist in the original has a set-up element that feels so much cooler than this one, but I do love how extravagant of a plan the 1999 opening is for how simple Crown's involvement is in it. And that final heist– whoo! It was instantly one of the most memorable heist scenes of any movie I'd seen when I watched it 6 years ago and I was just as thrilled to see it again today. I think it's better than the original! And not just because it's hornier! (Boy is it hornier!)
Everything that's always bugged me about this -- and it's a lot -- always evaporates with the climactic heist, as good as anything in McTiernan's more widely acknowledged best works.
One of those films for which I grew up seeing previews and bits but never watched in its entirety till now. And right away, that's one of the key issues that undermined my enjoyment of the film. The fact is that I've previously seen films that play with the same storybeats and so many of the components in the premise that I saw so many of the twists and turns a mile away, though points in the film's favor that I still enjoy the execution.
Russo is great, as is his chemistry with Brosnan whose making great use of his Bond chops and organically insert it into this film and added to this new character; yet the way the sex…
Rene Russo's commanding and magnetic presence, Rene Russo's smoking hot naked body, Pierce Brosnan being his usual suave self, Pierce Brosnan's cute naked butt, art thievery, art forgery, a game of cat-and-mouse, Frankie Faison, Faye Dunaway therapy sessions, fancy dinners, exotic locations, a gorgeous and flirtatious aviation sequence, Denis Leary's backstory about his troubled past relationship, betrayal, diversion, misdirection, sleek and stylish filmmaking, bangin' music and one of the sexiest traveling love-making scenes in the history of cinema (HOORAY FOR SEX IN FILM!!!). Whew, this thing fucking rules. My only one major complaint: not nearly enough Ben Gazzara.
👨🏻💼🤏🖼👮♂️👮🏿♂️👩🦰💕🥃🍷🥵👉👌🥵✈️🐶🃏📷🎩💼🛩💋
I want whoever dressed Pierce Brosnan and Rene Russo in this movie to dress me whenever I can go back outside again. (To save you the Google, the costumes were designed by Kate Harrington and Mark Zunino.)
The Thomas Crown Affair is a lot like the little black dress Rene Russo wears in it; sure it's pretty flimsy, but damn (and I mean damn) is it fun to watch. The opening and ending scenes... just so entertaining; I think I want Sinnerman to play over everything I do, like brushing my teeth and walking down the street, because it makes everything cooler. I'd re-watch this over the original every time.
Pierce Brosnan=suave as fuck.
The first 20 minutes are jaw-droppingly beautiful, cutting between innocuous business dealings and the careful execution of an art heist that makes the crowded realms of executive rooms seem more chaotic, making Thomas Crown seem caged-in until he takes his rightful place in the scene of a challenge. The breezy, jazzy tone carries through Crown's subsequent pas de deux with the insurance investigator who presents him with "a worthy adversary." The final stretch's melancholic slow-down feels a bit too much like premature petering out (at least until the rousing final setpiece), but even the slower bits have a warm grace to them. It's a work of great delicacy, not as complex as McTiernan works like Predator or his Die Hards, but so perfect in its lightness that hardly seems a quibble.
Bemoaning the current dearth of mid-budget 'adult' films has become a cliché, but when was the last time Hollywood allowed two forty-somethings to enjoy fucking each other so unashamedly?
Also, Faye Dunaway is a terrible therapist.
Adults acting like adults! Unapologetic sexuality! Extremely low-stakes! Killer Bill Conti score! They don’t make ‘em like this anymore.
Whenever I think of this film the first thing that comes to mind is the absolutely electric chemistry between Brosnan and Russo. They have such a sexual spark between them that most of the fun of this film just comes from seeing the two of them volley dialogue back and forth.
At a couple of points I almost felt the need to stand up and yell “JUST F**K ALREADY” at the screen but it’s an odd kind of sexual suspense that really works in the films benefit.
John McTieran’s energetic direction also gives the film a liveliness when it could have perhaps felt a bit stuffy in other hands.