GamerTab That was an excellent one.

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Benedito Dias Rodrigues Strong and intriguing plot based on a novel,how the whole facts were inside the US Army probably the writer inspired in something alike that should happened in the past..and the picture works and hold you for a clever screenplay,the main cast carry on the story as good thriller,intense for a type of a so daring subject...Travolta delivery all as top billing actor and James Woods has a great performance and the unexpected stand the audience until to the final!!! Resume: First watch: 2001 / How many: 2 / Source: Cable TV-DVD / Rating: 7

Yipikaye John Travolta gives a powerhouse performance in this twisty crime story from director Simon West (Tomb Raider, Con Air). It is a story about the brutal murder of Captain Elisabeth Campbell (Leslie Stefanson), who just happens to be the daughter of General Joseph Campbell, a high ranking and very politically visible General. The investigation that follows takes on a life of it's own as CID Officers Paul Brenner (John Travolta) and Sara Sunhil (Madeleine Stowe) uncover the victim's shocking secret life and the even more shocking reason for it. Things become more dangerous as Brenner and Sunhill uncover more than anyone wants made public and Brenner must use the full powers of his position to shake up the Military structure he is a part of and uncover the truth, no matter the cost. Whether he is a soldier first or a Police Officer may have a bearing on what he does with the truth once he has it in this compelling and complex mystery. Leslie Stefanson gives a nice performance as the very messed up General's daughter. Her dalliance into S&M with high ranking members on the base becomes sad and heartbreaking as Brenner and Sunhill slowly get closer to the truth, and the real reason she was mudered. James Cromwell (L.A. Confidential) gives another solid performance as the politically ambitious General and Clarence Williams III of Mod Squad fame has a nice turn as his loyal to the death aid. Everyone from Col. William Kent (Timothy Hutton) to Col. Robert Moore (James Woods) has something to hide in screenwriter William Golden's (Butch Cassidy and the Sundance Kid) story. Brennan and Sunhill's relentless pursuit of justice for the General's daughter makes for a terrific time at the movies. The ending may surprise you, as may the reason for the brutal crime and the events that preceded it. This is a marvelous Military mystery that works because of the fine performances and the sure handed direction that never lets your interest wane. You'll want to own this one as it begs for repeated viewings. This is a very good film all the way around and one you have to see.

indiedavid As a former soldier, MP and CID Investigator, I cringed throughout this film at all of the inaccuracies in terminology, procedure, protocol, language, etc. The premise was great but the author of the novel and the screenwriter should have consulted an expert before they attempted to tackle such a complex world. Among the issues I can remember from the 30 minutes I was able to watch: 1. An Army installation is called a "post", not a "base". The Post Commander would never make the mistake of calling it a base. 2. A CID Agent in the field would never be unarmed as Stowe's character is. 3. A CID Agent would never reveal their rank when introducing themselves to someone. 4. The installation in the film was extremely small yet had dozens of CID Agents. A post this small may have 1-2 at most. Many have none. 5. A local Police Chief would never come on post and confront a CID Agent about his case. 6. A Colonel in the MP Corps acts as a Battalion Commander and does not conduct patrols or guard duty. 7. A 1st Lieutenant would never be on a guard post alone, if ever. 8. Travolta's character is much too young to have served in Vietnam. 9. JAG attorneys aren't available to be retained by clients. They are assigned.

johnnyboyz John Travolta might very well be the best thing about The General's Daughter: a rather mediocre, although not without its moments, detective thriller which uses military iconography and the idea of corruption at the core of something quite prestigious to tell a tale that doesn't feel like something you haven't already seen. He exudes a brash confidence here, a swagger that has him come across as someone flying through a mystery without a care in the world and yet with every care in the case he's trying to solve. If the film doesn't necessarily depict him swathing from place to place, beating people up and throwing them against walls in trying to find answers, then what does it depict? The pleasing thing is that it happens to work, his role a man seemingly stuck somewhere in-between cocksure, psychotic and just plain old righteous.Travolta plays a United States Army veteran named Paul Brenner, a man who appears to have a deep-south based twang; lives on a river boat and feels the need to place a hair over his front door before he leaves each time so as to know if anybody's entered in the meantime. During these early stages, we still only know him as Sgt. White – a man who potters into a local army base in a beaten up car where the motorcade of expensive looking sedans transporting someone important remind reiterate his rank. This is, tactfully, all later to be revealed as bogus and the sense of the film playing tricks on us is apparent – let the games begin. When the main body of the film does get going, we wave goodbye to these opening exchanges via a somewhat impressive second unit sequence involving the dark of night; crowded jetties and some underwater material, as one of Brenner's cases ends and another is on the cusp of beginning with the fact that he's pretty handy in combat in mind. The film's director, Simon West, who would go on to carve out a niche for himself in directing action with 1997's "Con Air" already under his belt, does well on familiar ground.Things turn sour in the wider scheme of things when the titular daughter of James Cromwell's General Campbell is found spread eagle on a training ground: stripped; murdered and tied to some stakes. Things seemed rosy the previous nights, when her father hosts a magnificent gala on the base with all in attendance; his titular daughter's smile adorning her face and not alluding to anything brash or out of place. But there was something sneaky about the way in which the dinner was presented to us; something about the music, something about the Gothic hall wherein they met – as if it were some kind of cult gathering. It is this death Brenner must investigate along with Madeleine Stowe's ranked rape councillor Sara Sunhill. It is a shame that Stowe, of whom I've always seen on-screen as quite a delicate presence through the roles she's played in the likes of Twelve Monkeys and Closet Land, is asked to spit the sort of rough-and-tumble dialogue Travolta can with ease. With Stowe, it doesn't quite work as well and this is epitomised in a rough scene when she must infiltrate a shower room full of butch male soldiers before barrack a man for answers.Part of me wants to describe The General's Daughter as "old fashioned". In the days of "Serpico" and "All the President's Men", this sort of one-man crusade for justice and truth were somewhat of the mainstay for mainstream American cinema and were often narrative-driven and quite good. West's film has the star-cast and enjoyed somewhat of a summer release throughout the Western world, but it is far from what constitutes a "blockbuster" – it's a film telling a story; unfolding a murder case involving characters it takes time to establish and must work out as to how they feel about one another. It has its bright spots, but resorts to dialogue and exposition where the depiction of a central context should be the order of the day. Take the scene in James Wood's character's office, where he speaks to Travolta about one's demeanour and the flaws in body language when telling a lie, etc. Such a sequence exudes a brash confidence for the moment, but a better thriller might've placed Woods in direct opposition to Brenner and allowed them to play off one another utilising these traits.In the end, one cannot, unfortunately, describe it in certain terms as much more than a B-movie; a piece whose construction and ethic are good but whose crux sees it depict a lot of shouting; fighting and ego-measuring where something like "Michael Clayton" was refined; smooth and elegant in its tone and attitude to its story-telling. It's not that West has made anything terrible, in fact it is the best of his works that I've seen when lined up against the aforementioned Con Air and the first Tomb Raider movie. Those expecting something synonymous with his name will be disappointed, those looking for recognisable names and faces in role you know they can play in their sleep on top of what is a rather engaging narrative of depravity and inner-filth will not be.