15 Minutes (2001) 720p YIFY Movie

15 Minutes (2001)

15 Minutes is a movie starring Robert De Niro, Edward Burns, and Kelsey Grammer. A homicide detective and a fire marshal must stop a pair of murderers who commit videotaped crimes to become media darlings.

IMDB: 6.11 Likes

  • Genre: Action | Crime
  • Quality: 720p
  • Size: 1.46G
  • Resolution: / fps
  • Language: Greek
  • Run Time: 120
  • IMDB Rating: 6.1/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 1

The Synopsis for 15 Minutes (2001) 720p

When Eastern European criminals Oleg and Emil come to New York City to pick up their share of a heist score, Oleg steals a video camera and starts filming their activities, both legal and illegal. When they learn how the American media circus can make a remorseless killer look like the victim and make them rich, they target media-savvy NYPD Homicide Detective Eddie Flemming and media-naive FDNY Fire Marshal Jordy Warsaw, the cops investigating their murder and torching of their former criminal partner, filming everything to sell to the local tabloid TV show "Top Story."


The Director and Players for 15 Minutes (2001) 720p

[Director]John Herzfeld
[Role:]Edward Burns
[Role:]Kelsey Grammer
[Role:]Robert De Niro
[Role:]Avery Brooks


The Reviews for 15 Minutes (2001) 720p


An ugly movie not worth 15 minutes, let alone two hoursReviewed bytrevor-41Vote: 1/10

It's so much easier for me when a movie is just plain bad. 15 Minutes does me the disservice of sticking little bits of originality or thought provoking material in with the excess that makes up the rest of the movie. As a film, it has many flaws. It's choppy, with many useless scenes (watch for the scene towards the end with Ed Burns and Emil in the warehouse-what's the point?). It's characters are generally contrived and silly, but are brought to half-life only by the actors behind them. It is original in some spots (one in particular), but mostly runs on tired cliche. The timing of the humor is very poor, and leads to a general feeling of awkward discomfort in the audience. Everything about this film, right down to costumes and set decoration, is extremely ugly. I don't know if that was intended, but it's just plain hard to look at. The entire film was surrounded by that aura of ugliness- ugliness not only of the sets and costumes, but of the characters and story.

And that story involves a cop named Eddie Flemming (Robert DeNiro), an inferior rehash of Kevin Spacey's Jack Vincennes in L.A. Confidential. Eddie uses the media to make his job easier- and as a result, has become a minor celebrity. Edward Burns plays Jordi Warsaw, a New York Fire Marshall who joins Eddie on the case to find two Eastern European criminals newly in the US to wreak havoc. They have learned from watching television that no one in America is responsible for what they do- and that the media run the show. Murderers become millionaires, and these two know it. They begin to kill and videotape their killings. They plan to kill somebody famous and sell it for millions of dollars. Eddie and Jordi have to stop them.

Now you might ask, why is a fireman on the case- The answer is that there is no answer. They throw in a bit with fire just to bring the Jordi character into it. All writers in Hollywood like to invent different jobs that allow people to be just like cops- without being cops. I guess they figure it makes it more exciting because the cop thing has been done so much. They're wrong. Making the character a fireman is a distraction, leaving the audience wondering what he's doing there. There is no justification for his presence at the crime scenes. Just making him DeNiro's character would have allowed the film to run much smoother.

There are lots of scenes, character developments, and even romances in this film that serve absolutely no purpose. Writer/Director Herzfeld was filling gaps where they didn't need to be filled. It shows that he was looking for something to do, that he only really had one idea, and was strained to make a two hour film out of it.

I mentioned the film's ugliness- It just leaves you with a sick feeling in your stomach. This isn't a sign that the material was effective, just horrible. In a way, the movie is mean spirited, and that is never a good thing. The way the humor was added showed absolutely no skill on the part of the filmmaker. He should have watched his own movie before releasing it, because if he did, he would know how awkward that humour is.

So it all sounds pretty bad, I know. The film's only high points come from generally good performances (DeNiro never fails, even if the script does) and a single point of originality. The film's message, regarding the injustice of the American system, and its preoccupation with fame, publicity, image and the media that creates it all, are points well taken, but not properly executed. The first hour of the movie is deeply unentertaining and choppy, but the second half, at least, becomes somewhat suspenseful and little bit interesting.

Overall, 15 Minutes should be avoided. It was an ugly movie with low points far outnumbering the high ones.

Deniro, disappear-o!Reviewed bybuzznzipp1995Vote: 7/10

I had wondered about seeing this, it looked like sliced and packaged violence with no meaning, but that is just not the real scoop here. DeNiro and Burns are sharp in this 'sleeper' hit of 2001!! This film, by writer /director John Herzfeld, ( Two Days In The Valley -1996 ) is a look at the way the media moves in and out of important news dealing with crimes and murder. Often times as this film depicts, crimes become glamorized if the perpetrator(s) are beautiful, handsome or interesting in some way. As though the justice system, that needs fixing, can be bought and sold, in regard to social status, money or fame, even infamy.

These two European men, Slovak and partner Razgul travel to the U.S. to make a new and popular life for themselves seeking riches and fame---carried on the backs of others, becoming ' victims' for their own aggrandizement a perverted pursuit of Freedom and power.

Through the city itself, tracking these two foreign madmen, Burns and DeNiro's characters are right in the way of death, putting their lives on the line to catch the two 'MTV /Jackass, Faces of death' deranged fans looking to pave a career way, from the demise of others. Robert works hard and convincingly in this, as the officer and Burns is good as a supporting man.

I say this is a white knuckle -fast action thrill ride that is great for action fans that love a biting and twisted story with a surprise end that leaves you knocked-out!! Plus I love the fact that I had a former female friend that was in this as a reporter in the crowd.

9 out of ten. There is only one reason that I gave this a 9 and not a ten. Watch it and you'll see.

Unconventional and unexpected; a great film that takes a strong, brave stand on American culture. ***1/2 (out of four)Reviewed byMovie-12Vote: 8/10

FIFTEEN MINUTES / (2001) ***1/2 (out of four)

By Blake French:

"Fifteen Minutes" is a powerful, thought-provoking, and unexpected thriller about real life. It is a thematic movie that makes a strong, supported, and convincing stand on many current controversial issues, targeting and exposing the many weaknesses and absurdities of the American legal systems. The film also incorporates prospects dealing with greed, power, popularity, the public eye, influences of media, the power of television, and the desire of immigrants to achieve fame in America. This is not your typical Hollywood action flick; it is occupied with twists and unconventional surprises in which many producers would stay far away. "Fifteen Minutes" is a movie with guts and impact, and for the first time in a long time, the theater audience where I screened the film gave it a recognizable applause as the closing credits appeared.

"Fifteen Minutes" is complete with big Hollywood names, like Robert De Niro, Edward Burns, Kelsey Grammer, and even includes cameos from several distinguishable actors: Charlize Theron has a neat little appearance as a recruiter for hookers, and David Alan Grier shows up as a pedestrian causing trouble in New York City. But the movie actually centers on two Eastern European immigrants named Emil Slovak (Karel Roden), and Oleg Razgul (Oleg Taktarov). They have come to the United States looking for a man who owes them a large sum of money, but eventually discover opportunities for fame. They kill their debtors and capture the murders on a stolen home video camera. There is, of course, an illegal immigrant who witnessed the crime, Daphne (Vera Farmiga), who is now wary and on the run.

Enter homicide detective Eddie Flemming (De Niro), a local celebrity, and arson investigator Jordy Warsaw (Burns), who could not care less about the media. They form a team to undercover what appears to be a fatal fire accident, but soon discover the scene was the location of a brutal murder. Enter a subplot where a veteran detective informs a novice of the same sort new ways to explore his profession. The story then takes an unexpected turn of events where the criminal's intentions explode into sadistic atrocity: Oleg and Emil plan to sell the video of their murders to a TV network anchor (Kelsey Grammer) for a million dollars. They intend to beat the charges with an insanity plea, also stating that they were abused as children. Why would the two immigrants want to do such a thing? To achieve fame-even if it is of a notorious nature.

We wait patiently for the story to take off with the setup, but it stays with two separate narratives for quite sometime. When the narratives do cross its obvious this is not your typical, run-of-the-mill action picture, but an insightful picture that says something about, among many other concepts, the power and influence of the media. The madman fascinated with video taping is "yesterday's news" already seen in 1999's "American Beauty." It does not have the same impact in this film, however, mostly because here it is more of a sadistic obsession never truly understood, rather than the passion and exploration in the multiple Academy Award winner. It is fun watching the incidences photographed with the home video camera; there are some cool special effects that add a nice touch to the scenes.

Robert De Niro gives another suave hotshot performance; it is coming to the point where his talent is more effective in shtick comedies like "Analyzed This." Regardless, the veteran actor grabs us by the collar and yanks with no regrets and a thought-provoking, determined attitude. The screenplay provides his character with an effective soft side through a romance with his girlfriend. Edward Burns ("Saving Private Ryan") is never really bad in a movie, but his personality feels too resigned and modest to be in these violent dramas. He has a few understood moments, and often his performance fits his character accordingly, but a braver, more aggressive actor may have fit the part better.

Surprisingly, the best performances in "Fifteen Minutes" come from the villains, Oleg Taktarov and Karel Roden. Both are very clever in their roles, which are also exceedingly well written: when the two encounter a visit with a local prostitute, the scene does not result in mechanical sex, but in violent misunderstanding that furthers the complications of the plot. Both actors are convincing and unpredictable. Many early critics have complained about the film's implausibility, but Taktarov and Roden portray their characters with such mean-spirited brutality and complex emotions, I believed every step they took.

John Herzfeld is the film's director. His last project, "2 Days in the Valley," was quite a bit different from "Fifteen Minutes." There are certain aspects of his filmmaking style that carry over, but for the most part this film stands on its own from his previous achievements. Herzfeld constructs "Fifteen Minutes" with complexity and thought. It is a brave, courageous movie, deserving of controversy but will likely pass as a theme-orientated action picture. I think most audiences will appreciate the production for what it is and how it informs us on such distressing issues. When we walk out of the theater, we get a sense that we trust in our government's legal system even less than we did before watching the movie.

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