The Rock

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Millions of lives hang in the balance after a military madman (Ed Harris) seizes control of the island prison Alcatraz and threatens to launch deadly poison gas missiles at San Francisco. With time ticking away, a chemical weapons expert (Nicholas Cage) and a cunning federal prisoner (Sean Connery), who happens to be the only man to break out of Alcatraz, must now break in and disarm the missiles! (Disney / Buena Vista)

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Reviews (9)

Kaka 

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English An American action classic of the 1990s that fulfills all necessary qualitative parameters with flying colors. Michael Bay's perfect direction, excelling in the work with image filtering, as well as brilliantly composed action scenes. The star-studded cast of Sean Connery, Richard Harris and Nicolas Cage simply cannot disappoint. The plot is attractive plot and the screenplay is full of impressive explosions and action, and let's not forget about the excellent music by the duo of Nick Glennie-Smith and Hans Zimmer. The Rock may have slightly weaker sound and occasionally a few awkward cuts, but the positives easily outweigh the few shortcomings, and the viewer cannot be bored for a minute. One of those great action movies that we loved in the 1990s and usually underestimate in the new millennium. ()

lamps 

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English A nostalgic hit that, even after all these years, is a textbook example of a confidently and effectively directed action story. It has insight, great actors and an amazing pace, which in some moments is taken by the brilliantly combined and outrageous Zimmer soundtrack to the experiential gates of the most luxurious genre pieces. BUT at the same time, everything is so very half-assed, absurd and somehow machine-like – from the characters themselves, each of whom defines exactly a certain popular archetype, to the very stupid dialogue to some of Bay's traditional formal gimmicks (fire after almost every impact) – that The Rock is really nothing more than a cleverly manipulative and audiovisually handsome B-movie for any audience on any intellectual level. What's more, some of the action scenes, however impressive and cool, are awkwardly edited and slowed down, which takes away from their realism and gives them a cold character. But hand on heart, you simply won't find a more thoroughbred and entertaining 90s action flick anywhere else... 80% ()

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Isherwood 

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English Today, Bay is considered one of the most twisted megalomaniacs of the dream factory, and I must admit that his exaggerated grandiosity still genuinely entertains me. Among his best films, this high-octane, adrenaline-fueled ride will forever remain the one that perfectly defines the action films of the 1990s. The technical aspects may have their flaws, but it has a clever screenplay that makes fun of the 'Bond myth' and cleverly puts together all those clichés with incredible elegance and simplicity. That means that there's no point in getting upset about it. However, the main strength lies in the cast and Bay's directorial engine, which runs at impressive speeds. The opening ambush scene is rhythmically (the cinematography, editing, music) probably the best I've ever seen in the genre. And Hans Zimmer has never made more heroic music. I've never seen any other movie more times in my life. It’s been around 60 times. ()

kaylin 

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English I remembered the film quite differently from how I saw it this time. A child's mind beautifully clouds some realities. For example, how the plot is illogical in so many places and rustles with paper so much that it's not very nice. But it's still a good action movie with excellent characters that you'll remember, not just the main ones. ()

POMO 

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English The Rock is a widely revered action movie. In visual terms, it is an example of great genre craftsmanship. It’s dynamically edited, filmed through cool filters, contains one of the best car chases ever (Hummer vs. yellow Ferrari on the streets of San Francisco), and it has likable and well-cast good-guy characters. But... it doesn't have a proper bad guy (!!!) and everything in it is so artificially timed and polished that I was never in suspense, I didn’t fear for the protagonists and I thus didn’t care what would happen next. Formalistically overwrought and formulaic banality. ()

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