If there is one distinguished, redeeming
feature in Phone Booth, it’s Colin
Farrell. Aside from the wonderful acting, it has
almost no respectable features. Joel
Schumacher’s direction is horrible, and he
assembles the film as if it were a television
sitcom or an original movie, constrained to the
whereabouts of HBO. The production, by David
Zucker, Gil Netter, and Jerry Zucker, is even
more careless. The cuts, snaps, and scene
transitions are a wreck. Phone Booth is a
well-acted, but poorly made film. It could’ve
been an excellent motion picture, with a better
crew. But, regardless, it is still enjoyable—and
as far as thrillers go, it’s one hell of a trip.
Stu Shepard (Farrell) is a high-class
publicist, with the mindset of a carelessly fast
talking celebrity. Stu is married, but also is
in a relationship with Pamela McFadden (Katie
Holmes). Stu doesn’t think much of having two
women in his life, and figures that what the
other doesn’t know, won’t hurt them. He calls
his wife on his cell phone, daily, while she’s
at work. He calls Pamela in his favorite
payphone, however. The reason that he calls
Pamela from the phone booth, and not his cell,
is because his wife can check his portable phone
bills. If she were to find out about Pamela,
both of his relationships would likely, soon be
over. Every time he calls Pamela from the booth,
he slips off his wedding ring, for psychological
reasons. Even though he is not being faithful,
and isn’t happy about it, he does not intend to
break up with his female mistress.
One day, after making his usual call to
Pamela, the phone in the booth rings as he is
walking out of it. Without any hesitation, Stu
picks the phone up. Why he does this, I don’t
know. The movie simply says that “A phone that
is ringing must be picked up.” Stu finds that a
man is on the other line of the call, and he
becomes very suspicious of him. The man
continuously asks him personal questions. Once
they are into the heart of a mindless
conversation, the man tells Stu that he has a
rifle that is aimed directly at him. If he
leaves the booth, the man will shoot him. As
this tense dialogue is being exchanged, several
hookers who work at the sex shop next door are
banging on the booth, because they would like to
make a call. Their forceful attempts to get into
the booth, add to the immense pressure, building
up in Stu’s head. Out of fear, Stu commands that
the sniper on the other end of the line shoot
one of the hookers (he is carefully watching the
booth that Stu is in, and has been watching him
for some time). Gladly, he does.
After she is shot, uproar is born. Her
fellow co-workers, and everyone out and about on
the block, are led to believe that Stu shot the
hooker. While this really isn’t true, he has no
evidence to prove that he didn’t, nor does he
have any witnesses that share his position. Stu
is in a lose-lose situation. If he tries to run,
the sniper will shoot him. If he confesses to
the police, the sniper will shoot him. If he
commands that the sniper shoot one of the police
officers, which later surround him, they will
shoot him. It will be a miracle if Stu makes it
out of the situation alive. I am fond of the
story, and the writing is excellent. “Your life
is on the line,” as the tagline reads.
If it weren’t so terribly made, Phone
Booth would’ve been one of the better movies
of the year. But, sadly, it resorts to a cheesy
methodology, which diverges into a boring
presence. But, this time I can’t say I didn’t
see it coming. Director Joel Schumacher has made
twenty-four films in his career, and
unfortunately, not one of them has been very
good. I have respect for anyone who is able to
birth that many movies in one lifetime, but
Schumacher’s work is some of the worst to ever
be put on this planet. He cannot direct, and
should’ve called it quits a long time ago. I
find it intriguing that he continues to be
employed. When you make as many crappy movies as
he has (Bad Company, 8MM), it
would seem as though finding work would be hard.
His movies don’t even sell well. What are the
filmmaking companies thinking.
The best part of Phone Booth is
undeniably Colin Farrell. As I have said in past
reviews, of films that he has starred in, he is
a rising star. This man can act with such a
distinct charisma; it is an extreme pleasure to
watch him onscreen. He can also mask his heavy
Irish accent, with one several different
American tones (in Phone Booth he
attempts a New York accent). This is, in itself,
pretty miraculous. During this film, Farrell
occupies the screen 95% of the time, and
luckily, this works towards its advantage.
Farrell’s depiction of Mr. Shepard is
outstanding. I never knew that an actor could
perform so well, with only a phone booth to work
with. I will remember Phone Booth as the
movie where Farrell was really able to come out
of his shell. He has been good in the past, in
supporting roles. But, I have never seen him
like this before.
An enjoyable thriller, Phone Booth
is at least tolerable, and will make the perfect
rental. But, don’t say that I didn’t warn you;
it is most certainly not worth a theatre trip.
It is worth seeing, however, because of
Farrell’s acting and the excellent writing. But,
Joel Schumacher’s direction and the awful
production, restrict it from accomplishing much.
If you are a fan of thrillers, and don’t mind
the misuse of split-screens, then I give you the
go ahead. Others, be forewarned. There are many
films in release at this time, that easily out
beat Phone Booth in terms of content. If
you’re looking for something worth the time and
money, go and see Bend it like Beckham.
-Danny, Bucket
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