#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Malcolm Rivers has been convicted as the perpetrator of several murders and is sentenced to death. An eleventh hour defense by his lawyers and psychiatrist that Malcolm is insane based on new evidence has resulted in them meeting with the prosecutors and the judge to discuss if the verdict should be overturned. Meanwhile, on a dark night during a torrential rainstorm in the Nevada desert, a series of chain reaction events results in several people needing to stay at an out of the way motel managed by Larry. They are: ex-cop now limo driver Ed, and his client Caroline, a diva of a once famous actress; quiet adolescent Timmy, his stepfather George, and his mother Alice, who was seriously injured when Ed accidentally ran over her as she watched George change their flat tire; prostitute Paris, who was the unwitting cause of George’s flat tire; newlyweds Lou and Ginny, whose marriage is based on a lie; and Police Officer Rhodes, who was en route escorting prisoner Robert to his new institution. They all can’t leave the area because of washed out roads, all the other businesses around the motel are closed because of the storm, and all communication in and out is not functioning also because of the storm. One by one, they are murdered, the murderer leaving a calling card of a motel room key, starting with the room 10 key and working his way presumably to the room 1 key when the last person will be dead. Those still alive band somewhat together under Officer Rhodes and Ed’s direction to find out which of the eleven is the murderer, and if, based on one of their theories, that they were brought to the motel by some force by the murderer as his intended targets. Whether those still alive can discover who the murderer is, discover why he has chosen to kill them, and be able to subdue him may well determine Malcolm’s fate.
Plot: Complete strangers stranded at a remote desert motel during a raging storm soon find themselves the target of a deranged murderer. As their numbers thin out, the travelers begin to turn on each other, as each tries to figure out who the killer is.
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|7.3/10 Votes: 228,861|
|7.2 Votes: 2593 Popularity: 20.206|
It’s one of my favorites, I rate it four stars and a half.
His story’s so unbelievable, I think it just might be true.
Identity is directed by James Mangold and written by Michael Cooney. It stars John Cusack, Ray Liotta, Amada Peet, Clea DuVall, Rebecca De Mornay, Alfred Molina, John Hawkes, John C. McGinley, Jake Busey and Pruitt Taylor Vince. Music is by Alan Silvestri and cinematography by Phedon Papamichael Jr.
Inspired by Agatha Christie’s Ten Little Indians, Identity pitches 10 characters trapped at a motel who begin getting killed off one by one…
If you are going to do yet another take on Christies superb literary source then at least bring some freshness, so how nice to find that Identity does in fact ironically have its own. Set up is suitably in keeping with murder mystery shenanigans, there’s major flooding and our host of characters are bound to a shabby motel run by a shabby John Hawkes. On the edges of the frame we have another story where multiple killer Malcolm Rivers (the wonderful wobbly eyed P.T. Vince) is under interrogation to test for insanity to stave off his impending execution.
Mangold uses flashbacks to put the various characters at the motel, in how they came to be there. There’s a creative ambitiousness about how Mangold constructs the pic that draws you in, which come the finale will either have you satiated or stupefied. The murder sequences are very well put together, with a couple being well ghoulish, and it’s a very impressive cast of actors working their way through the formulaic but fascinatingly cheat free psychological murk.
It’s not as smart as it thinks it is but this has enough of an absorbing pull, and no little intelligence, to lift it higher than many other Agatha 10 copies. 7/10
Who Are You? Who who, Who who
Because of what seem to be unusual circumstances, eleven people, strangers to each other outside of their respective “groups” (two families, two professional associations), end up stranded in a desolate Nevada motel on a dark, stormy night. One of the “strangers” is a death row murderer being escorted to another prison for execution. When bodies start turning up and the murderer goes missing, he’s the obvious suspect. But things are not what they seem. Identity provides a “double mystery”–a traditional whodunit and an increasingly bizarre “rubber reality” mystery that we must figure out along with the characters.
This is my second viewing of Identity. I didn’t like it quite as much this time, although it still earned a “B”. The two aspects I had a slight problem with on the second go-round were one, the plot didn’t quite envelop me to the same extent (maybe because I remembered the twist?) and two, since first watching it, I’ve seen a lot more films in the rubber reality genre, and Identity is nowhere near as mind-bending as many other examples. Still, this is a great film, with a lot of assets.
Director James Mangold effectively employs a number of interesting techniques here. The main standout in the first reel is the use of Tarantino-like “multiple viewpoint” shots, where we see the same span of time from one character’s point of view, then another, then another. He also effectively creates two very attractive atmospheres, especially for fantasy fans–a “Twilight Zone”(1959)-like conundrum and a sustained dark ambiance. The Twilight Zone aspect makes itself most obvious beginning with the scene where the convict, Robert Maine (Jake Busey), tries to flee, but discovers that he’s still at the motel, after all. The constant, Blade Runner (1982)-like rain underscores the dark ambiance, which is reminiscent of films such as Fallen (1998) and Se7en (1995).
While Identity isn’t exactly a bastion of graphic violence, there are a number of strongly visceral scenes and shots that are extremely well done and effective for seeming realistic. The atmosphere is also greatly enhanced by the hotel set, which matches the Bates Motel from Psycho (1960) in dingy gloom. The film also has a wonderfully nihilistic ending.
Even though I wasn’t as enraptured in suspense this time, one is still drawn into the film by the gradual quickening and spiraling of loss of control experienced by the characters. While slowly killing each one of them off as they’re stuck in an isolated setting is a traditional “10 Little Indians” horror film motif that writer Michael Cooney employs, the Twilight Zone aspects allow him to trump the sense of horror and despair, as the surviving characters come to realize that they are not in charge of their own lives, they can’t call the shots, and their illusions about their realities crumble before their eyes.
One of the negatives is that the rubber reality resolution is a bit too telegraphed, too overt. The solution is given too early, and ends up being spelled out note-for-note. It’s a bit like giving a lecture on a joke right after one gives the punch line. It might be difficult to blame either Cooney or Mangold with this, however, as American film studios and test audiences are notoriously allergic to ambiguity, which is depressing, because I love ambiguity in films. Still, maybe the Identity is just easier to figure out when you’ve seen tens of rubber reality flicks. When I watched the film upon its theatrical release, I overheard more than one fellow theater-goer still trying to figure out the gist as the lights came up.
One might be tempted to claim that Mangold under-uses his fine cast–who all turn in excellent performances, including one of my favorite character actors, John C. McGinley. But on the other hand, it makes sense that there is this large number and broad range of characters. Under this scenario, you either under-use them or you’ve got a 3-hour-plus film (not that I’d complain about a 3-hour-plus film).
Of course the theme of the film, as well as all of the subtexts, has to do with personal identity, and especially veiled personal identity. None of the characters are who they seem. Most of them are lying to each other in some way when they first meet, and even some of the ones who know each other already are also lying to each other. Cooney and Mangold explore the various social facts, actions, ceremonies, rituals and so on that help provide personal identity for us, such as birthdates, names, residency, marriages, benevolent versus criminal or unethical actions, and occupations. They also explore a more dynamic identity of action, as relationships continually shift throughout the film.
intelligent flick – if you are easily impressed
This movie had such potential, but just became a farce about 30 mins before the end…bit of a spoiler, but no details at all.
The trailers were great, I HAD to see this flick, wasnt expecting too much, and didnt get it in the end.
Cusack and Liotta, brilliant, in fairness they really were great. You see, the thing about this movie was that it is so jumpy and nervey, trying to guess all the time…terrifically atmospheric and creepy, I was certain this was going to be the movie of the year for me…until about 30 mins from the end, revealed to us is something (cant tell as it is a spoiler) but just then for myself, turned everything that had me spooked for the first part, was now laughable…really laughable, because it was telling us that what we had just seen did not matter at all in the first part,thus removing any fear or interest.
Dreadful, the ending of this ruined what good had been achieved with the first part.
Original Language en
Runtime 1 hr 30 min (90 min), 1 hr 31 min (91 min) (alternate DVD) (USA)
Genre Mystery, Thriller
Director James Mangold
Writer Michael Cooney
Actors John Cusack, Ray Liotta, Amanda Peet, John Hawkes
Awards 1 win & 11 nominations.
Production Company Columbia
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.39 : 1
Camera Panavision Panaflex Millennium, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses, Panavision Panaglide, Panavision C-Series Lenses
Laboratory FotoKem Laboratory, Burbank (CA), USA, Sony Pictures Imageworks (digital color timing), DeLuxe, Hollywood (CA), USA (prints)
Film Length N/A
Negative Format 35 mm (Kodak Vision 500T 5279, Fuji Reala 500D 8592)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm (Kodak Vision 2383)