Write descriptive essay about The Usual Suspects movie 1995, write an essay of at least 500 words on The Usual Suspects, 5 paragraph essay on The Usual Suspects, definition essay, descriptive essay, dichotomy essay.
The Usual Suspects
USA, Germany
Crime, Thriller, Mystery
IMDB rating:
Bryan Singer
Stephen Baldwin as Michael McManus
Gabriel Byrne as Dean Keaton
Benicio Del Toro as Fred Fenster
Kevin Pollak as Todd Hockney
Kevin Spacey as Roger 'Verbal' Kint
Chazz Palminteri as Dave Kujan, US Customs
Pete Postlethwaite as Kobayashi
Giancarlo Esposito as Jack Baer, FBI
Suzy Amis as Edie Finneran
Dan Hedaya as Sgt. Jeffrey 'Jeff' Rabin
Paul Bartel as Smuggler
Carl Bressler as Saul Berg
Phillipe Simon as Fortier
Jack Shearer as Renault
Storyline: Following a truck hijack in New York, five conmen are arrested and brought together for questioning. As none of them is guilty, they plan a revenge operation against the police. The operation goes well, but then the influence of a legendary mastermind criminal called Keyser Söze is felt. It becomes clear that each one of them has wronged Söze at some point and must pay back now. The payback job leaves 27 men dead in a boat explosion, but the real question arises now: Who actually is Keyser Söze?
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The greatest trick the devil ever pulled...
1995's beautifully structured "The Usual Suspects" is really a very simple story. One of only two survivors of a ship explosion (Kevin Spacey) tells a story to the police detective (Chazz Palminteri) in charge of the case about how five career criminals - the "usual suspects" - met in a lineup and wound up working for the man whose very name strikes terror into the hearts of men - Keyser Soze.

As a result, two names were on everybody's lips for some months to come: Kevin Spacey and Keyser Soze.

With a crackerjack script by Christopher Quarrie, great direction by Bryan Singer and terrific performances, The Usual Suspects couldn't miss. And it doesn't. Thirteen years later, I remember it as vividly as the day I saw it. I just saw it again, and it's as good as ever.

Its other stars are the handsome Gabriel Byrne as Keaton, a bad cop who at one point faked his death to avoid criminal charges; and Stephen Baldwin, Benicio del Toro, still a distance from stardom, Kevin Pollak, and Giancarlo Esposito as Kobayashi, Keyser Soze's persuasive assistant.

As a scared, not very bright gimpy man, Kevin Spacey is a knockout and well-deserving of his Oscar, his Golden Globe, his SAG Award, his New York Film Critics Award and all his other honors. The writer, Christopher McQuarrie, justly won the Oscar and several other awards. The film and director Singer probably deserved more awards than they received, but it doesn't matter. The Usual Suspects is a modern classic.

The greatest trick the devil ever played was convincing the world he didn't exist...and then he's gone.
Not your usual crime-drama/thriller
One of the best crime/thrillers out there,The Usual Suspects has one of the best plot twist endings ever for a movie.Five criminals are lined up and really have nothing in common.The film is told using flashback and narration as it tells the story of Roger "Verbal" Kint (two time Academy Award winner Kevin Spacey who won his first Oscar for this film-Best Supporting Actor)who is a small time con-man being interrogated by U.S Customs Agent Dave Kujan(Academy Award nominee Chazz Palminteri) over an incident that takes place near a shipping yard in Los Angeles.The film has a great ensemble cast to it with the likes of ,Stephen Baldwin,future Academy Award winner Benicio Del Toro,Kevin Pollak,Gabriel Byrne and Academy Award nominee Pete Postlethwaite.It also won the Best Original Screenplay(Christopher McQuarrie) and was directed by Bryan Singer(X-Men)Bravo to all those involved in a spectacular crime classic like The Usual Suspects!
total of all stereotypes in formula routine film with no assets
Lets see. There's a kaiser who is considered a real bad ass because he gunned down his wife and little kids. Real macho, yes? He doesn't exist, but he does? He can't be killed (like we haven't seen this before). His imagination and creativity are so bad he can't even come up with names or stories, but has to take them off of coffee cups and posters. Add to this, the entire story. He orders a police line up, but the police don't know who ordered the line up. Now, we all know most police departments are incompetent, but this belongs on the NAKED GUN series. Then there are the characters. According to the narrator, they can't be broken, because they are hoodlums. Talk about your street myth that people in power would love to have you believe! But it doesn't wash. It isn't even remotely credible. And no one cares. I happen to be watching it while working on something else, and was in a public place where they showed it twice. I naturally assumed it was some sort of "Worst films" festival, which it might have been. I was stunned to see it ranked so high on any critic's list. Had they made this an all out comedy, it would work, but it just falls on its face. Easily one of the worst films ever made. Can you give a movie a negative number rating?
Too clever for it's own good.
I'm not much for writing reviews. But then again, there's not a lot of films where I go against popular opinion. The Usual Suspects is an exception.


The Usual Suspects is an exception because it lies. It lies because it presents itself as a clever mystery; as a riddle. Except riddles are solvable. Trying to solve The Usual Suspects is like trying to solve a jigsaw with lego pieces.

Not counting final few moments, the film is actually good. It takes you into the final scenes with great anticipation. 'Finally', you say, 'the twist will be revealed, which will put everything into perspective.' The film doesn't do that. Instead, the twist leaves you with endless questions. It leaves you thinking, 'Why did any of that just happen?' Why does Verbal design an intricate plan to recruit four nobodies when he could just pay people? Why does he tell Kujan his story using phrases from the bulletin board, when he can easily be discovered?

And to top it off, the final scene is almost as bad as the twist itself. Verbal gets away, but all too late. He's been found out. Two hours of lies for nothing.

The Usual Suspects tries combine mystery and a clever twist and fails. Fails hard. The 'mystery' is nothing but lies, and the 'clever twist' is anything but clever.

"Why'd you wanna' treat me like a Keser!!"
The Usual Suspects is one of those films that like The 6th Sense, tries to get the viewer to think one thing and then suddenly POW!, they hit you with that big comic book like surprise twist at the ending. In the light of todays average fair full of pounding soundtracks, pyrotechnics, and product placements, it almost seems like a thinking mans film, however, this type of story telling has an inherent birth defect due to the very nature of its design, and that is that once you've seen it, the films one true claim of quality is forever lost, the carpet can not be pulled out from under your feet a second time. In essence, it becomes as pointless as trying to dazzle yourself at a magic show when you already know all the secrets behind every trick. Outside of this built in defect there is also the problem that the trick itself is actually very badly designed in the first place, this is in reality a very poorly constructed, and badly written script. This film has been embraced and awarded the highest honors, and yet there is not a single moment in it that isn't bogged down and convoluted, or even one bit plausible.

At the end of the film the other cop who works in the office where Verbal Kent is interrogated tells Inspector Kujan ( Chazz Palminteri )that to basically understand his messy office, you just have to stand back and look at it to see it, the same exact thing can be said about this equally unorganized film. To truly understand this lets stand back and actually take a look at the character of Keaton, played very dully by the very dull Gabriel Byrne. He was a NYPD officer for 4 years even though he is a Brit. In that short time he spent on the force he committed seven felonies, three of which were murders. Not a single one of these crimes could be pinned on him because the witnesses either died or changed their stories entirely, yet as an obvious embarrassment to the department, he was kicked off the force. When he is off the Force he gets indited on a fraud charge and does five years in prison. While in prison he kills three fellow inmates, but just like his other crimes, none of these atrocities could be pinned on him, so he simply gets out when his time is up. Once on the streets he kills yet again, but before he could be prosecuted for it, he dies in a warehouse fire when he goes in to check a leaking gas main. Once dead, the two witnesses that could of railroaded him back to Sing Sing die in single mysterious deaths, and even though there are no longer any witnesses left breathing, an innocent man takes his place behind bars. So now he surfaces as a business man who dates a high priced criminal lawyer. Thats his story folks, told to you specifically to get you to buy that he is this arch super-villain with the ridiculously bad name. Meanwhile this film does all it can to paint Verbal Kent as a bumbling idiotic club footed buffoon con man. The problem with all this blatant manipulation is that Kevin Spacey might as well have the name Keser Soze stenciled across forehead in bright neon letters.

Another place this film falls short is in its attempt to be a two fisted tough guy movie, lets face it, the only female character that even has a name, is simply in the movie as a reason to move the protagonist like pawns on a chest board at convenient times in this contorted plot, so what we are left with is the five criminals, who like small grade school children, spend half the movie puffing their chests out at one another. One scene that never fails to get a good laugh out of me is when Kevin Pollack and Stephen Baldwin almost get into a fight with one another. Possibly for reasons of keeping both men in the frame, director Bryan Singer has these two guys standing toe to toe facing one another with their mouths only a few inches apart, instead of looking like a fisticuff might take place, it looks far more likely that they might engage in a lusty soul kiss. This nice moment is capped of by brilliantly by a disembodied macho voice calling them ladies, and Kevin Pollack asking the Baldwin brother if he wants to dance. The fun continues in a later scene in which the Baldwin character comes up behind Pete Postlethwaite as if he might mount him any second, and whispers in his ear "I'm the guy thats gonna get you." Yes, due to inept story tellers and bad dialogue, what might of been Clint Eastwoon like one liners, is reduced in the hands of these hacks, into homoeroticism running wild.

I know that audiences continue to be impressed by this film, and that this thing won an Oscar for its script, but this story is nothing but a clunky ludicrous mess wrapped up in a bow of paper thin phony freshness, it simply does not deserve all of the love it is getting. The Usual Suspects is a film that makes me want to quit my day job and move to Hollywood, since tripe is so often confused with genius.
Second-least-worthwhile really popular movie
When you watch "The Sixth Sense" for the second or third time, its clues and secrets are in plain sight and you feel at once foolish and delighted at the movie's ingenuity. When you watch "The Usual Suspects" again, the clues are not laid out before your eyes; they are withheld until the very end. The final twist is not a re-evaluation of everything that has gone before, even though it may feel like it; it's the revelation that most of what came before was made-up. "The Usual Suspects" cheats.

Convinced I was mistaken about this most popular of modern-noir detective thrillers, I revisited it and concentrated on the character I knew bore the most watching. What I found was unabashed narrative manipulation. This is a slick, involving movie that sucks the viewer in with menace and intrigue, but in the end we find that most of its content has been totally made up. Instead of going back over things to track down the clues to what we know at the end, we have to throw up our hands and admire Keyser Soze's ingenuity while accepting that we will never know the real story.

I was on board for most of my second viewing because it seemed at first like the only things that Verbal Kint was truly making up were his little asides––the barbershop quartet in Skokie, Illinois; picking beans in Guatemala, etc.––but no, it turns out the pivotal characters Redfoot and Kobayashi were also, apparently, invented. Or maybe he just made up false names for them, since we do see the Kobayashi character at the movie's end. The point is that we don't know. We can't tell who's real and who's not, and since everyone plays a pivotal role in the alleged plot, we can't tell what actually happened and what didn't. This is not exciting storytelling; this is trickery, and a waste of two hours. If I'm going to rack my brain trying to figure out a movie while it's unfolding, I at least want to be able to kick myself that I didn't figure it out earlier, since the clues were all there.

Gabriel Byrne (who plays Dean Keaton, the guy who detective Kujan thinks is Keyser Soze) was convinced while shooting the movie that he was Keyser Soze. Why? Because the movie we see is a story invented by the real Keyser Soze precisely to make detective Kujan think Keaton is Soze. This is the penultimate conclusion that we are given just before the real revelation, and, according to everything we have seen, it makes perfect sense. Based on the story we have been shown, Byrne's is the only logical conclusion. To find out that we were all duped by Keyser Soze––detective Kujan and Gabriel Byrne and all of us in the audience too–– opens up a small meta-cinematic can of worms, but mostly it's just frustrating. The filmmakers have tricked us into emotionally committing to a story that wasn't there in the first place.

This is of course what we do in every movie we've ever been to, but rarely does a film itself expose us for the dupes we are when we go to see it. Maybe as far as the real world is concerned, the real menace of Keyser Soze is that he won't even let us enjoy a movie on its own terms. He pulls the rug out from under us for his own benefit, and somehow we are all beguiled into thinking that's a cool feat, when really it just means we've all been suckered.
Intricate Storyline, complex but is made amazing by its ending.
To be honest I thought this film was good up until the last ten minutes, thats when it became a great film. The preleptic techniques used was amazing so that by the end you are just as fooled as the characters in the story.

Spacey's performance was excellent you really don't see the ending coming as a viewer it really comes right out of the blue, this film by the end is something so complex and really makes you think, without completely exhausting your mind it creates a paradox that I don't think anyone could figure out by the end.

Yes, you are left with a few questions at the end, but thats the beauty of this film, as the case just ends in the film, the police are left and so are you as a viewer, however they don't leave annoying small links it instead ties up the main storyline well. It is truly an ending that is mind numbing and something that other films should definitely try to replicate.

The story is so intricately written and portrayed that it is amazing to watch, and I noticed that the complexity of shots improves as the film progresses and the team venture into larger operations, yet even still Im left with the feeling that I could watch it again, and not see the ending coming again.

Only negatives were for me the police investigation which proved to be completely irrelevant to the storyline, and so can be seen as a hindrance, but the rest of the film makes up for this.

Intricate Storyline, complex but is made amazing by its ending.
Great until the surprise ending
This movie is a very, very stylish crime drama, with great acting and wonderful dialogue. Dialogue in the David Mamet class, really. And the acting, wow, just look at this great cast, and everyone is at the top of his game.

But the weakness is that all this great stuff is subordinated to a very tricky surprise ending. The first time you see this movie, the ending seems wonderful and delightful, if a bit jarring and confusing. But when you watch the second time, trying to put all the pieces together in the light of the ending, well, it just doesn't work.

I just wonder why, among all the critics and lovers of this movie, no one ever points out that the revelation at the end makes no sense. Are we supposed to believe that Verbal Kint made up that long, complex story on the spot, incorporating words visible in the agent's office? That he looked at the bottom of the coffee cup and just chose the name Kobayashi on the spot? That the whole, elaborate story was an extended ad lib?

Absurd. And who killed Edie, and why? The ending is less satisfying every time I see it, but the dialogue, acting, and bravura filming are all still terrific. But they are diminished by diminished by the ending's gross illogic.
Subtlety is a very important thing in any good thriller. Not only does subtlety reduce the ridiculous amount of "in-your-face-quality" that today's thrillers seem to love, which effectively makes then just plain old action movies, subtlety shows that a film has respect for its audience. It doesn't feel like it has to explain everything at every step of the way since it knows that an interested audience will be on the lookout for hints as to what is going on. That's what makes films like this enjoyable. In fact, that what makes any film enjoyable. It isn't just a barrage of images, but rather an engaging sequence of them. This sequence can be unchronologically organized or in any number of ways obscured to create suspense, but as long as it is engaging, the audience will be happy.

"The Usual Suspects" is such a thriller. It can be enjoyed with the eyes as much as the brain. There are numerous hints as to what is really going on and the final climatic twist is really a great one. Even then, upon seeing the whole film, the second viewing only gets better as that is when a keen viewer will pick up on all those subtleties that hint at the result which they are now familiar with. These subtleties are not just obscurely placed props but are woven into the film's montage with clever camera angles along with certain key objects seen on screen. It is a thriller worthy of Hitchcock or the best of DePalma. Nothing is in needless excess and even the profanity is well written and there are no pointless macho wisecracks. Simply put, everything works in this movie. And it works very well. Even upon multiple viewings the film captivates with its clever composition and that can only be a good sign. --- 10/10

Rated R for violence and profanity. Ages 13+
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