TICK TOCK DOC!!!

“88 minutes” is a silver screen materialization of the conjunct crusade that the thriller novels in unison purport. A Thomas Harris (Silence of the Lambs, Hannibal, etc.) method of narrative with suspense as the mainstay, the movie has anything but a moseying plot. It moves at gunpoint speed and the toast of the movie being nothing more bang-up than the master himself- Al Pacino.

The college professor role, who, while moonlighting as a forensic psychiatrist for the FBI, receiving a death threat telling him that he has only 88 minutes to live, gives Pacino a garb that suits him (He is 66!!) and yet presents him the right framework to showcase his magnetic screen presence. The “real-time” effect is merely a cliché-spawn chassis that serves as a jumping off point for the tense build-up which sews together the already convoluted plot into a thrilling fabric.

Al Pacino sizzles on a personal effort but the character does have a little fallible and error-filled haziness that proved a little too much to be overlooked. The psychologist is brought in with a semblance of intelligence but, he falling for every possible contrivance and the obvious red herring is only a little mystifying. But producer-director John Advent makes the trade off for keeping every other character excepting Gramm in the suspicion loop. The killer seems to be not only omniscient, but also impeccable in the timing and in observing the nature of Gramm's actions that he would not only notice these things, but that he would do so at just the right time. As too many plot holes abound to warrant diligent attention, the only thing left to keep your interest is what will happen at the end of the countdown, and the reason behind it all. But many of the thriller-savvy folks would easily surmise that the least shown character would salvage the spot for the “surprise” baddy. But queerly enough the reason that the culprit should be John Foreseter’s attorney and that being hinted at very subtly earlier is a good ploy.

And also Forester after being convicted a serial killer, him being interviewed on national television (which seems to be going on interminably) seems as if he is given an extraordinary amount of freedom. But this gives to that moment of pure brilliance. Pacino calling at that point of time may seem very indiscrete but from a pure acting per se, Pacino reaches his usual acme. A telephonic conversation to be made that dramatic needs, as one would say the ‘touch of the Master’ and deserves aplomb. The other wonderfully enacted scene is the part in the cab where he narrates how his sister is killed. A grotesque scene to be narrated with poise, letting emotion flow at the right time and to get it back at the end of it asking –“Is that enough?” was fabulous.