SNEAKERS

3/4

Who says they don't make ‘em like they used to? SNEAKERS is a perfect example of a great modern movie--well paced from the beginning to very near the end, but we'll get to that later.

Using some tight editing and shots taken somewhat askance, and a wonderful score by James Horner, the deliciously tangible atmosphere of suspense is established right from the opening shots. A young man named Bishop(Gary Hershberger), lucky enough to be the future Robert Redford, is hacking away at some government computers with the aid of his less fortunate pal Cosmo (Jojo Marr), the future Ben Kingsley.

Bishop runs outside for some fast snacks. A very well-timed decision, because the government has tracked them down, and chosen that moment to apprehend them. Cosmo is caught, and Bishop is forced to go into hiding.

We rejoin Bishop years later as Robert Redford, who has been living all this time under an alias. He is running a small group of, shall we say, "professionals," who have been hired based on the expertise of their various miscreant backgrounds. They are a security-testing firm. Hired by large institutions that have reason to want very secure premises.

Their talents are put to the test when they are asked by some government agents to retrieve a very important piece of decoding hardware. These agents are aware of the dubious backgrounds of each of the members of the team--including Bishop. So the group is strong-armed into getting the device.

One of the choice moments in the show comes during an interrupted Scrabble game. In the background, "Whistler" (David Strathairn) is trying to jimmy a connection between the device and his elaborate computer set-up, to see just what it is that they've got their hands on. Meanwhile, Robert Redford has upended the game and is busily re-arranging the letters of the company involved with the decoder. At the moment he successfully does so, Whistler makes a connection and their lives are turned topsy-turvy as they realize how many people/governments in the world would kill to get this thing. Literally.

Each of the members of this stellar cast fulfills every expectation. Robert Redford reminds you that he is one of the very best there is. Nuanced but natural. And Sidney Poitier still has this incredible screen presence. The man can balance--or ground, rather--an entire scene just by standing there. That's not as easy as it sounds. Dan Akroyd is, very appropriately, the comic relief. Along with River Phoenix. The two of them are great. One spouting off conspiracy theories so fast fast that even Mel Gibson would have a hard time keeping up, and the other one lucking into one of the most original pick-up lines in moviedom. The final member of the team is Whistler, played by David Strathairn, in a role that provides the movie with several of its very best moments.

Mary McDonnell, fresh from DANCES WITH WOLVES success, is perfect as Liz, the put-upon former flame of Robert Redford's. She, unfortunately, has one of the only lame lines in the movie. Trying to record a voice that they need to break a voice-security system, she has to ask this man to say one of her "favorite words:" passport. Um, yeah, okay...whatever.

What this show is good for is atmosphere and suspense so thick that an entire theater-audience can be on the verge of passing out because they've been holding their breath. My friends and I went to see this show SIX times at the theater. I now own it. The movie...not the theater.

And it has a break-in scene that makes the MISSION IMPOSSIBLE C.I.A. break-in seem like the amateur job it is.

Oh, this is a good show. The writing credits are divided between a few people, so I don't know to whom the credit is owed. I think it can generally be shared by the director, for bringing it together so exquisitely, the cast, the composer, the great cinematographer (this film takes place in many directions and dimensions--yet you're never lost), and--yes--the writers as well.

This is a good one to watch with friends. Quiet friends. Ones that like their suspense well-done.