You could swear to have seen the synopsis of Liberty Stands Still before. Lone gunman holds a hostage at bay, in real-time, with a sniper rifle and a mobile phone. Of course, parallels with the recent bout of sniper terrorism in the U.S. are inevitable, but if this all sounds rather cinematically familiar then you're probably thinking of Joel Schumacher's plagued project Phone Booth. Even though it has been delayed several times over, most recently because of the aforementioned sniper incidents, the film is still managing to generate quite a buzz regardless. Yet, irrespective of how the final product turns out, it simply has to be better than Liberty Stands Still.

The irony will impact like a light sponge, the victim's name is Liberty (Linda Fiorentino) and she is being held at bay by a sniper known only as Joe (believe it or not, Wesley Snipes). Thus, Liberty... Stands... Still. We soon discover that she is the vice president of a major weapons manufacturer that just happens to be the same manufacturer of the rifle that Joe is using to hold Liberty at bay. But wait! It's also the same rifle that a schoolboy recently used to shoot Joe's daughter. He wants Liberty to use her influence against the Second Amendment. If she does not do as he says he will shoot her, and if her mobile phone is disconnected at any time during the incident then bombs will be triggered. Oh my, it feels like high school media studies all over again.

As a concept, this real-time thriller holds promise in suspense. The problem is that after barely 20 minutes with the picture, the plot holes and inconsistencies are already painfully obvious. First thing's first, Liberty is an awful person. She snorts coke, doesn't wear any underwear, dabbles in adultery and doesn't seem to care about anything in general. In short, we don't give two salts whether she gets shot or dies choking on a chicken bone at 80. But guess how quickly she sincerely about-faces on her negative attitude in what is effectively 80 minutes of real-time? Secondly, the clear intelligence of Joe surely works against his concept of using a rifle to make an anti-gun statement, especially since he's ex-CIA. But no, we're subjected to the same old hackneyed vigilante trip that, even in the unlikely event that it succeeds, is a worn technique on audiences.

The real-time aspect is by far the production's biggest asset. If you can sit through the inconsistencies, then the tension that builds throughout should provide a satisfying thrill. That is if you can bear the small matter of the, often excruciating, dialogue. Both characters are prone to burst into lengthy and painful diatribes that swiftly turn into head against wall material.

Director Kari Skogland has a difficult time here dispelling her television background in terms of character development and script, however, there are sections of the film that demonstrate an excellent understanding of editing techniques and pacing. Although whether this can be attributed to her own technique or editor Jim Munro's is unknown. If it is truly her own, then the next feature should hopefully hit a little closer to the mark.

While the film rarely escapes from the visual confines that a small budget sets, the video transfer here is quite exceptional considering. It is crisp and clear for the most part, with the exception of a few slightly dull, pale moments. Although these would have more to do with financial restrictions than anything else. That, and the fact that it was shot in Canada. The only thing holding the quality back is the presence of film artefacts. They are only minor specks, but are quite frequent nonetheless.

The Dolby Digital 5.1 track here is remarkably aggressive, although in many places unnaturally so. This is especially true in the usage of sound effects, a few of which do little to convince the viewer that they are a natural occurrence within the film rather than a post-production addition. Dialogue is generally of exceptional quality throughout, which is especially important considering the heavy usage of phone conversations within the film. Also, the punchy electronic soundtrack makes great use of surround speakers and helps fill out the tension quite nicely, the exception being that it can become a tad overstated in certain areas.

A surprising couple of extras have been added to this release. The Audio Commentary with director Kari Skogland, producer Gary Pearl and editor Jim Munro remains the major feature. The content is fairly pedestrian by today's standards, but will be a welcome listen for anyone who enjoys the film. Besides the bog standard Theatrical Trailer, there is also a five minute Featurette that displays a four-way split-screen comparison of footage.

Liberty Stands Still is almost rotten with faults from the very beginning. Yet with decent performances and a rather swift onset of tension, it should hold the average viewer through to the closing credits. If the subject matter really piques your interest though, you'd be much better off just waiting for Phone Booth.