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It's just not William Foster's (Michael Douglas) day. Laid off from his defense job, Foster gets stuck in the middle of the mother of all traffic jams. Desirous of attending his daughter's birthday party at the home of his ex-wife (Barbara Hershey), Foster abandons his car and begins walking, encountering one urban humiliation after another (the Korean shopkeeper who obstinately refuses to give change is the worst of the batch). He also slowly unravels mentally, finally snapping at a fast-food restaurant that refuses to serve him breakfast because it's "too late." Running amok with an arsenal of weapons at the ready, Foster -- also known as "D-FENS" because of his vanity license plate -- rapidly becomes a source of terror to some, a folk hero to others. It's up to reluctant cop Prendergast (Robert Duvall), on the eve of his retirement, to bring D-FENS down. ~ Hal Erickson, Rovi
Menu
Disc #1 -- Falling Down
Play Movie
Scene Selections
Special Features
Commentary By Michael Douglas and Director Joel Schumacher
Deconstruction D-Fens: A Conversation With Michael Douglas
Theatrical Trailer
Languages
Spoken Languages
English
Français
Subtitles
English (For The Hearing Impaired)
Français
Subtitles: Off
Chapters
Disc #1 -- Falling Down
1. Heavy Traffic [6:54]
2. Consumer Rights [6:02]
3. Desk Jockey's Last Day [2:57]
4. Love and London Bridge [2:03]
5. Territorial Dispute [4:01]
6. Mr Lee's Statement [2:17]
7. Ganging Up On D-Fens [5:24]
8. Farewell Talk [3:03]
9. Propensity For Violence [3:14]
10. Choice Of Bags [2:51]
11. White Guy In Gangland? [2:11]
12. Late for Breakfast [4:43]
13. Could Have Been Anything [3:02]
14. Not Economically Viable [3:08]
15. Our Of Order [:30]
16. Duelling Phone Calls [2:34]
17. Nick's Pitch [3:21]
18. "All The Guns In The...World" [2:23]
19. "I'm With You" [5:37]
20. Pretending He's a Cop [2:38]
21. Other Side of the Moon [2:12]
22. "D-Fens!" [2:04]
23. Something To Fix [3:32]
24. Glass House [1:45]
25. Passing Through [2:52]
26. News From Work [2:33]
27. Obsolete; Like Before [4:06]
28. Two Homes In Turmoil [6:28]
29. Officer Down [2:35]
30. Converging at the Pier [4:48]
31. "I'm the Bad Guy?" [4:27]
32. Still A Cop [2:24]
33. End Credits [3:32]
Features
Commentary by Michael Douglas and Director Joel Schumacher
Timothy Harris Arnold Kopelson Herschel Weingrod Mike Jackman
Composers (Music Score)
James Newton Howard
Co-Producers
Stephen Brown Dan Kolsrud Nana Greenwald
Editors
Paul Hirsch
Screen Writers
Ebbe Roe Smith
Set Designers
Brad Ricker Cricket Rowland Jann K. Engel
Others
Art Director - Larry Fulton
Associate Producer - Ebbe Roe Smith
Associate Producer - William S. Beasley
Casting - Marion Dougherty
Cinematographer - Andrzej Bartkowiak
Composer (Music Score) - James Newton Howard
Costume Designer - Marlene Stewart
Executive Producer - Arnon Milchan
Production Designer - Barbara Ling
Production Designer - William S. Beasley
Stunts - Michael Runyard
Joel Schumacher's social commentary features an exceptional performance from Michael Douglas as D-Fens, a man who unravels under the weight of the nerve-wracking oppression of the Establishment. Balancing precariously on the edge of convention, D-Fens' sense of the "American way" is increasingly undermined as one frustration after another materializes during his mission through the urban jungle of Los Angeles. In the course of his plunge into a profound, sociopathic disillusionment, D-Fens strips away society's constructs to reveal internally flawed social and economic mechanisms. The host of caricatures he encounters, from a stingy Korean store owner to uncompromising fast-food employees, turf-conscious gangbangers and a neo-Nazi army-surplus store owner (played with gleeful ickiness by Frederic Forrest), are products of a dehumanizing social and economic system, and are used to symbolize capitalism's darker side. Schumacher does well to pinpoint the flaws of the system, but unfortunately he offers nothing in the way of solutions. Meanwhile, both Douglas and the peerless Robert Duvall nail their respective roles and find their grooves within a well-written script. This street-smart film is as entertaining as it is biting, but ultimately suffers from a denouement not nearly as spectacular as its build-up; what could have been a modern masterpiece is downgraded to exceedingly above-average cinema. ~ Mike DiBella, Rovi
