Snake Eyes (1998)

1.5 out of 4

Starring: Nicolas Cage, Gary Sinise, Carla Gugino, Stan Shaw

Director: Brian de Palma

Time: 100 mins

The trailer for Snake Eyes was good: fast, snappy edits showcasing a thriller with mystery characters, conspiracies, and the enclosed, almost happening-in-real-time feel that made Die Hard so exciting and claustrophobic. A pity, then, that the movie is poorly realised, with unlikable characters, a silly resolution, and a major faux pas for a so-called thriller: no thrills.

The plot of Snake Eyes revolves around the assassination of a politician during a big boxing "fight night" in an Atlantic City casino. Cage plays Rick Santoro, a brash Atlantic City cop who is not averse to accepting money on the side. Santoro handles the subsequent investigation with his best friend Kevin Dunn (Sinise), the bodyguard who can't forgive himself for not being there when the shooting occurs, and all because he was following a sensual, redheaded woman who seems to be there to distract him from his duty. Piece by piece Santoro uncovers the conspiracy, which also involves the boxing champion (Shaw) and another mystery woman played by Gugino (formerly from TV's Spin City).

Who or what is behind the killing is revealed fairly early in the film. While this doesn't necessarily have to mean a dulling of suspense, what follows in Snake Eyes is a fizzer. There is really only one sequence which could have been thrilling, and even that is ho-hum. And the less said about the ridiculous climax, the better. The lack of suspense is surprising given that director de Palma has helmed near-classics like Dressed to Kill and The Untouchables in the past.

Cage and Sinise are both good actors, as shown in previous films like Leaving Las Vegas and Forrest Gump, but here they are unconvincing. And Gugino is reduced to the pitiful damsel-in-distress role.

The title refers to the myriad of cameras inside the casino, which captures just about everything that is going on. Though the importance of cameras are shown in several parts of the film, this theme is underused. With the pedigree and visual style of de Palma, one could have expected fireworks. What results is flat and uninvolving.

(c) Joe Wong