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Amazon.com essential video
Campbell Scott plays a green young technocrat who invents a secret and highly successful high-tech process that, it appears, most of the free world would like to get their hands on. His own company may not be dealing with him fairly, and competitors are lurking around every street corner and kiddie carousel in New York (not to mention Caribbean hideaways) hoping to steal, cajole, or trick him out of the formula. The plot is as full of switchbacks as a mountain highway, and the delights are in watching it unfold around Scott, who is not so much of a naif that he doesn't catch on that not only his formula, but his life, are in dire danger. Steve Martin is consummately assured--and scary as hell--as a wealthy big shot determined to come out on top. David Mamet's script is refreshingly free from his trademark mannerisms; it's his most satisfying film since 1987's House of Games. --Anne Hurley

From The New Yorker
A young inventor, Joe (Campbell Scott), dreams up something called "the Process" which is destined to bring untold wealth to his bosses but not to himself. When he airs this grievance to Jimmy Dell (Steve Martin), a businessman whom he meets in the Caribbean, he finds himself enmeshed in a plot from which there is no escape, unless you count the suspiciously loving attentions of Susan (Rebecca Pidgeon), a fellow-employee. This is the fifth movie to be written and directed by David Mamet, and it's his most bizarre one yet; people speak in that dreamy, lockjawed manner we first heard in "House of Games," and their entire lives appear to be lived under the spell of some nameless paranoia. If you're prepared to ignore the plot's absurdities, the film is addictive, and Carter Burwell's score works on you like a massage. The film also offers the sharpest and most quizzical work that Steve Martin has turned in for some time. With Ben Gazzara, as the snaky Mr. Klein. -Anthony Lane
Copyright © 2006 The New Yorker