Protraph Lack of good storyline.

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Yash Wade Close shines in drama with strong language, adult themes.

Takeshi-K This is one of those films that defy convention and easy description. I'm tempted to call it an "Arthouse Thriller", but that wouldn't do this film justice. If you enjoy a good intelligent thriller that will test the boundaries of your comfort level as well as your imagination, I recommend giving this film a chance. It is a unique and brave film. A similar film mind bending mystery is Last Year at Marienbad (1961) (L'année dernière à Marienbad).

Jack Gray-Romeyn I had seen this movie about 10 years ago, liked it at the time, and was waiting for an HD version to appear to make my own copy. Lo and behold it came on today! Moreover, I just noticed Amazon carries a DVD that I simply have to include in my collection.Had it not been for the obvious twist, this would simply have passed as a predictable crime drama involving one brother trying to pass off the responsibility and consequence of one of his own crimes on to the other.The twist is that one of the brothers cast is black. However, his race, ANY racial overtones OR stereotypes, are EVER mentioned. EVERYONE plays it TOTALLY as if Dennis Haysbert were white. Or, more importantly, as if this has absolutely NOTHING to do with ANYTHING. The cinematography was crisp black and white which perfectly complemented the very unique question the film has posed to me ever since I first viewed it: Could we ever get to this? Haysbert and Dina Merrill (who for me were the biggest names here) give excellent performances driving a very interesting film that uses a simple crime format and elevates it into a thought-provoking and hidden gem that constantly forces the viewer throughout to take the chain offya brain! Seeing it again today reminded me of not so much the story but simply the possibilities it suggests.I hiiiiiiiiiiiiighly recommend as a very worthy addition to any film library.

mwj-3 When I first started viewing Suture, I said to myself "yeah, right what a premise." Mid way through the movie I realized that they really made it work. By the end of the movie even I believed.You've got to let yourself go and truly get into the fantastic acting, great dialog and wonderful use of black and white cinematography. I my humble opinion this movie should be considered a classic in the turnaround genre.Dennis Haysbert does a fine job as the main character. He makes you believe that his ailment of amnesia has truly overcome him. This was one of the first movies I saw him in and his performance made him stand out as a fine character actor.

joybran2000 A masterpiece of black and white Cinemascope, a brilliant use of the format. Every frame is beautifully composed with meticulous production design and art direction. It is so stylized that perhaps only ardent cinephiles can really appreciate it. The story is about a rich murderer who discovers that he has a long lost brother who looks so much like him that, if he is killed by a car bomb (in the murderer's car, in his clothes, carrying his identification), nobody will guess it isn't the murderer. The innocent brother is so poor and naive that he allows himself to be set up, but, instead of dying, he survives with a smashed face and no memory. The justification for this implausible setup is the opportunity to explore the idea of identity by positing an amnesia patient who is fitted with a very different person's face and past. If this story had been told in a conventional way with color, a narrower screen size, realistic rather than stylized acting, and the casting of two actors who looked very similar, it would have made a reasonably interesting thriller. The brilliance lies in the artifice, especially in casting the wonderful Dennis Haysbert in a role written for his directly opposite physical type. The filmmakers seem to expect the audience to be able to watch the movie on more than one level. The story allows the audience to consider the obvious questions about the nature of identity, but the stylization allows the audience to consider the different questions about the nature of the film experience.