Mesmerizing

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Roger Ebert, the first film critic to win the Pulitzer Prize for Criticism, consistently aimed for fairness in his reviews. Despite the occasional missteps and harsh advice that some movies’ creators found challenging, he was known for his reliable and accurate evaluations during his 46-year career as a columnist for the Chicago Sun-Times. This dedication to unbiased criticism earned him respect from both movie enthusiasts and fellow critics, particularly Gene Siskel, who admired him for taking center stage.

To put it simply, Ebert had a special preference for specific directors and actors. For instance, he held Martin Scorsese in high regard, expressing in his book, “Scorsese by Ebert,” that “Scorsese has never let me down. He’s never made an unremarkable film.” Similarly, Robert Mitchum was another actor whom Ebert admired deeply, describing him as “the enigma of the silver screen for me.” Moreover, Kiefer Sutherland was one of the few actors who seldom received criticism from Ebert. In fact, Ebert recognized Sutherland’s talent even before his rise to fame in the series 24, and was particularly moved by the actor’s performance in Joel Schumacher’s film, Phone Booth.

Kiefer Sutherland Is a Pharisaical Sniper in ‘Phone Booth’

If you’re unfamiliar with Kiefer Sutherland and Joel Schumacher’s work, this gripping and restricted urban tale could serve as a great starting point. The story begins with Stu Shepard, a publicist played by Colin Farrell who appears somewhat reserved. He is engrossed in the hustle and bustle of New York City, where cutthroat competition and wealth overshadow morality and integrity. His hectic life dealing with numerous people has made him emotionally distant from his wife Kelly (Radha Mitchell). However, this distance leads him into a complicated situation, as he becomes involved with one of his clients, Pamela (Katie Holmes), romantically.

In Times Square, Stu decides to use a public phone booth to call Pamela, so she won’t be noticed by Kelly who meticulously checks their home phone bill. But just as he finishes the call, the phone starts ringing again. When he answers, a secretive man (Kiefer Sutherland) on the other line warns him not to leave the booth or else he will reveal Stu’s affair to Kelly.

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At Times Square, Stu uses a public phone booth to call Pamela to avoid Kelly’s scrutiny of their home phone bill. As soon as he finishes, the phone rings again. When he answers, a mysterious man (Kiefer Sutherland) cautions him against leaving the booth, or else he will disclose Stu’s affair to Kelly.

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In Times Square, Stu makes use of a public phone booth to call Pamela in order to dodge Kelly’s examination of their home phone bill. However, immediately after hanging up, the phone rings again. Upon answering, a secretive man (Kiefer Sutherland) on the line threatens him not to leave the booth or else he will expose Stu’s affair to Kelly.

It seems clear that the caller is simmering with rage and has a habit of dispensing justice to those who deserve it. He tells Stu that he often does this, offering immoral individuals like him an opportunity to confess or face dire consequences – namely, being killed with a sniper rifle. To make his threat even more chilling, he mentions that he recently murdered the last two people he spoke with because they refused to cooperate. He then advises the publicist to come clean with both Kelly and Pam to avoid meeting a similar end. To underscore his seriousness, he fires shots, striking the phone booth just outside its walls.

Following the presentation, he instructs Stu to begin immediately, much like the clock in “24.” Will Stu confess his numerous wrongdoings and make amends? He feels restless under these circumstances, yet he understands that obedience is necessary.

The film immediately portrays Stu as a morally questionable character, showing signs of irritability over minor slights and treating a pizza delivery man rudely. Despite his unsavory behavior, there’s an air of sympathy surrounding him due to Kiefer Sutherland’s chilling voice on the phone. With two women at risk if he confesses his wrongdoings, will Stu come clean? We delve into a captivating, suspenseful tale filled with unexpected plot twists and set in the familiar backdrop of New York City, where onlookers take time to decipher the unfolding events. Additionally, Forest Whitaker’s entrance as a police captain trying to resolve the situation adds an intriguing layer to the story.

Roger Ebert Singled Out Kiefer Sutherland’s Voice as the Movie’s Strongest Element

It was often the case that even if most critics disliked a film, if Roger Ebert praised it, there was cause for celebration. Fortunately, critics generally appreciated ‘Phone Booth’, with Rotten Tomatoes summing it up as an edge-of-your-seat thriller. Ebert himself found Kiefer Sutherland’s performance captivating and had many positive comments to make.

As a movie connoisseur, I can’t stress enough the significance of nailing the antagonist’s vocal presence in a film where he remains largely unseen yet is omnipresent through dialogue. Fortunately, Kiefer Sutherland does not disappoint with his robust delivery, making every menacing word resonate powerfully.

In his critique, he asserts that if the voice in the film fails, so does the entire production, but in this case, it delivers. Sutherland’s sniper character, whose menacing voice leaves you yearning for him to remain hidden, is so captivating that you wish he would stay in the shadows, allowing us to savor more of his intrigue. The interaction between Sutherland and Stu is engaging, as they discuss various matters such as the growing media attention, hinting at a story of the century. However, does Sutherland’s character show enough empathy to find common ground with the man he is tormenting? No plot twists are revealed here.

Joel Schumacher couldn’t have chosen a more fitting actor for the role, and he seemed to admire Sutherland as much as Ebert did. This was the fourth film in which the actor worked with the renowned director. Previously, Sutherland had starred in “The Lost Boys” (a compelling, slice-of-life thriller that kick-started his impressive career), “Flatliners,” and “A Time to Kill,” all of which Ebert appreciated.

‘Phone Booth’ Was Meant To Be an Alfred Hitchcock Movie

Fans of Kiefer Sutherland from the show “24” might notice resemblances between the movie “Phone Booth” and their favorite TV series, primarily due to the fact that both narratives unfold in real-time, with tension escalating continuously. Additionally, split screens are utilized in certain scenes in both productions. However, it’s essential to clarify that neither Joel Surnow nor Joel Schumacher plagiarized each other’s work. The concept for this project was actually conceived as early as the 1960s by Larry Cohen, who envisioned Alfred Hitchcock as the ideal director for bringing the idea to life.

As reported by The Los Angeles Times, Cohen proposed a story to Hitchcock where the entire plot unfolded in real-time, exclusively within a telephone booth. Intrigued, yet challenged due to his meticulous nature, Hitchcock grappled with finding a convincing reason for such confined action. Even Cohen acknowledged that he couldn’t devise a compelling reason for someone to stay in a phone booth for over 90 minutes without it becoming tedious. It wasn’t until three decades later, during the late 1990s, that the solution struck him: a sniper scenario.

It was disclosed that Mel Gibson, Tom Cruise, Anthony Hopkins, Will Smith, Robin Williams, and Nicolas Cage were all considered for roles, but none of them could take up the opportunity. Jim Carrey was even offered the role of Stu initially, but he declined it. As far as directors go, Steven Spielberg, Michael Bay, and the Hughes brothers were approached. However, Michael Bay’s candidature was rejected after his first question was related to removing the object from the telephone booth, which probably also included thoughts about incorporating some explosions in the movie.

Eventually, Joel Schumacher was selected for the project, and he chose one of his favorite actors, Kiefer Sutherland, to be part of it. Reportedly, filming was wrapped up in just ten days, which leaves you questioning why some directors take much longer on set. Everyone has their own unique approach. Today, Schumacher’s gripping moral thriller stands side by side with well-known contemporary classics from the same era, even though it doesn’t get talked about as frequently. The director deserves recognition for his daring, wild, and energetic reinterpretation of the classic story. And Sutherland’s character is certainly worthy of a place among the best villains of the 2000s.

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2025-02-28 03:02