“世界中の鼓動を止めた<２つの顔>のドラマ。”
憎むべき相手と互いに顔を取り替えた二人の男の果てしなき死闘を描いた、ジョン・ウー監督によるバイオレンス・アクション。かつて冷酷無比のテロリスト、トロイによって最愛の息子を失っているFBI捜査官アーチャーは飛行場でトロイを捕らえたが、トロイがLAのどこかに細菌爆弾を仕掛けている事が判明。当のトロイは植物人間となっており、唯一の情報源は獄中にいるトロイの弟ポラックスだけだった。FBI特殊班はアーチャーにトロイの顔を移植しポラックスから爆弾の設置場所を聞き出すことに……。
製作費: $80,000,000 (120億円)
興行収入: $245,700,000 (369億円)
推定収支: $165,700,000 (249億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ジョン・ウー
脚本: Michael Colleary / Mike Werb / ジョン・ウー
音楽: John Powell
制作: デヴィッド・パーマット / テレンス・チャン / スティーヴン・ルーサー
撮影監督: Oliver Wood
制作会社: WCG Entertainment Productions / Douglas/Reuther Productions / David Permut Productions
It's like looking in a mirror, only, not. There's a tendency to undervalue the action movie. Certainly there's a wide expanse of land in cinema world where film fans reside, where the thought of praising an action film for being "classic" cinema is considered treason against the very word. Yet some of the artistry involved in the genre's leading lights is purely sublime, regardless of how bizarre and unlikely the plot is. Enter John Woo's berserker, ear splitting, high octane actioner, Face/Off. Rightly sitting along side the likes of Die Hard and Predator as genre pieces that showcase how good things can be when it all comes together, Woo's movie is as much fun as you could wish to have for over two hours of explosive, fantastical, unadulterated cinema. The plot sees John Travolta's serious family man cop, Sean Archer, devote his life to catching unbalanced maniacal bad guy Castor Troy (Nicolas Cage). There's some bad history between the two and when Archer manages to capture both Troy and his equally vile brother, Pollux (Alessandro Nivola), it would seem to be closure for Archer and his family. However, it's found that the Troy's have left a ticking bomb somewhere in Los Angeles, and if undetected it will flatten L.A. and kill practically everyone. So, Archer undergoes a revolutionary face-swapping procedure with the now comatose Castor and sets about getting the information from the incarcerated Pollux. But wait!, Castor wakes up and turns the tables by assuming Archer's identity, setting the wheels in motion for each man to live the others life until the Face/Off between the pair will decide their respective fate. Unbelievable? Of course. Who cares? Well nobody should really, because surely going into a film like this one is expecting the ludicrous. Both Cage and Travolta are superbly realising the spectacular nature of the script, and being mesmerising in the duality of the roles into the bargain. Make no bones about it, Woo and his team have crafted a benchmark action movie. There's a trail of thought that suggests that Woo basically keeps making the same movie, that's a fair enough point, sure enough, all of his staple action sequences and traits are evident in Face/Off. Yet Woo has delved into his characters, given them some flesh on their action bones, and then upped the anti in action set pieces to cloak them in chaotic beauty. From the opening Jet escape/pursuit set up, to the outrageous speed boat finale, the film is one long exhilarating breath taker. Joan Allen, Gina Gershon, Dominique Swain & Nick Cassavetes all file into the background playing important characters who are rightly secondary to the protagonists, while a ream of extras come and go as each are dispatched in a hail of Woo inspired carnage. The pace never sags and the eyes and ears are treated to a vibrancy that is often sadly missing from many other big budgeted action blockbusters. This is a masterpiece of action cinema, so even as a Orson Welles crane shot is a magnificent thing, so it be with the sight of two stunt men flailing thru the air in a spray of exploding water. Oh yes sir, this is a classic alright. 10/10
A quality all-out action film! <em>'Face/Off'</em> isn't one that'll stick out in my memory as something deep meaning, incredibly written or anything of the sort. However, as an action film it's superb. There's barely a chance to rethink what you've just seen due to the prevalent and manic nature of onscreen events. You also have fascinating performances from the two leads. Nicolas Cage and John Travolta are awesome in this. I won't spoil the plot, but all I will say is that those two bring it to life brilliantly - it felt, at least to me, very believable; which is impressive. Across the opening portion I thought it was going to be Cage stealing the show, but as things progress Travolta really comes up big to match Cage. Away from NC and JT, there isn't really anything to scream about cast-wise; although, I gotta give shoutouts to Mike Delfino and Gavin Harris; if you know, you know. Nothing much more to note, to be honest. The terrific action means I'd highly recommend this.
Never seen a concept for movie this way. They literally trade faces. Good versus evil and not only do they trade faces but there characters and personalities have to change as well. 2 of the best that could ever do it. John turns into Nicholas and Nicholas turns into John. I would say Nicholas Cage played it better then John Travolta did.
“Troy” (Nicolas Cage) is a nasty piece of work, and his latest bombing plot has attracted the attention of FBI man “Archer” (John Travolta). Now he has some personal skin in the game, as his nemesis was responsible for the death of his young son - an event both he and wife, physician “Eve” (Joan Allen) are still coming to terms with. When they apprehend him, though, the boffins come up with an unique plan that will enable "Archer" to infiltrate the terrorist gang and bring them all to justice whilst saving the city of Los Angeles from a grizzly fate. The trick? Well that involves some groundbreaking technology that will change his features from those of his own to those of “Troy”. All he has to do now is master a few of his more nasty character traits and then convince his girlfriend “Sasha” (Gina Gershon) - then he’s home and dry. Meantime, though, the real hoodlum awakens in an hospital bed and before we know it, he has assumed a counter-identity that he knows can not only put the kibosh on “Archer” and his cunning plan, but can enable him to mislead the investigators who are not in on the swap. The one woman who wasn’t read into the plot was “Eve” and so when her ‘husband” turns up as usual, we all know that a game violent and deadly game of cat and mouse is about to ensue. I did like the premise and for a while, with Cage at his most dastardly and then Travolta having a go too, it works quite well. It’s just far too strung out, though, and once serendipity has played a part once too often to help contrive the plot, I found myself losing interest in a story that became increasingly devoid of jeopardy. Moreover, as the story progresses Travolta stops being menacing and starts being hammy whilst Cage’s character strays once too often into the realms of weepy melodrama. The ending(s) take for ever to get us over the finish line, and left me feeling just a bit weary of the repetitiousness of a last twenty minutes that has pyrotechnics galore but little by way of doubt.
**Score: 9/10 — A Glorious, Unhinged Masterpiece of Maximum Overacting** Some films are subtle. Some films are restrained. And then there is *Face/Off* a film that takes the concept of "going for it" and launches it into orbit with a rocket strapped to its back. Directed by the inimitable John Woo, this is a movie that operates on a wavelength entirely its own: a gloriously unhinged, operatically ridiculous, and utterly mesmerising symphony of overacting, bullet ballets, and preposterous plotting. It earns a massive 9/10 for its sheer audacity, its commitment to the bit, and the undeniable electricity of watching two of Hollywood's most committed performers at the absolute peak of their powers. **The Premise: So Ridiculous It's Genius** The plot is, on paper, absurd: FBI agent Sean Archer (John Travolta) undergoes a radical facial transplant surgery to assume the identity of his arch-nemesis, the terrorist Castor Troy (Nicolas Cage), only for Troy to wake up and assume *his* identity. It's the kind of premise that could only exist in the fever dream of a 90s action movie, and John Woo directs it with absolute, straight-faced sincerity. The result is not just entertaining, it's transcendent. **Travolta and Cage: Overacting and Hamming It Up Like Only They Can** This is the film's beating heart and its greatest achievement. **Travolta and Cage overacting and hamming it up like only they can**. They don't just play their roles; they *attack* them. \- **John Travolta as Sean Archer / Castor Troy:** Travolta gets to play both hero and villain, and he chews the scenery with a relish that is genuinely awe inspiring. As the uptight, grief-stricken Archer, he is intense and brooding. As Castor Troy trapped in Archer's body, he unleashes a wave of gleeful, sadistic chaos—smirking, swaggering, and delivering lines with a devil-may-care energy that is pure, unadulterated joy. He is having the time of his life, and it's infectious. \- **Nicolas Cage as Castor Troy / Sean Archer:** Cage, as always, is operating on a wavelength entirely his own. He takes the absurdity and amplifies it to eleven. As Troy, he is a cackling, golden-gun-wielding, face-touching menace. A villain so theatrical he practically twirls a moustache. As Archer trapped in Troy's body, he dials down the mania and becomes a man of quiet, simmering rage and desperation. The contrast is breathtaking. His performance is a masterclass in controlled chaos. **The Action: Woo at His Peak** The action sequences are spectacular. John Woo's signature style slow-motion, doves, and dual-wielded pistols is on full display. The shootouts are ballets of destruction. The boat chase is a masterclass in practical effects. And the final confrontation is a symphony of blood, sweat, and tears. It's a film that understands the primal thrill of watching two men shoot at each other in increasingly elaborate settings. **Why Not a 10?** It's a film that knows exactly what it is, and for that, it deserves immense credit. But there are moments... rare, fleeting moments, where the sheer weight of the absurdity threatens to topple the entire enterprise. The plot holes are large enough to sail a boat through, and the logic of the facial transplant is never quite explained. But these are minor quibbles in a film that never pretends to be anything other than what it is: a glorious, unapologetic slice of 90s action heaven. **The Verdict** *Face/Off* is a masterpiece. It is a film that understands that cinema is, at its best, a form of heightened reality. It's a movie that asks you to suspend your disbelief, strap in, and enjoy the ride. Travolta and Cage are at the peak of their powers, delivering performances that are so committed they become art. It earns its 9/10 for its sheer audacity, its incredible action, and the undeniable, unshakeable joy of watching two legends go head-to-head in a battle of overacting for the ages. **Watch if:** You love 90s action films, appreciate the art of overacting, or simply want to see two legends have the time of their lives on screen. **Skip if:** You require subtlety, realism, or plots that hold up to scrutiny. This is not for the faint of heart or the overly logical.
