Ordinary crime film masquerading as Cold War spy thriller. Costner plays an ambitious young Naval officer thrilled at the chance to be working for Defense Secretary Hackman. What Costner doesn't know is, Hackman is the sugar daddy of the woman he's been sleeping with - Sean Young. When Hackman kills Young in a fit of rage, he and his aide (Will Patton) cook up a plan: They'll float a story that Young was murdered by a legendary (and possibly non-existent) Soviet spy named Yuri who, rumor has it, has infiltrated the highest levels of D.C. power, and they'll put Costner in charge of flushing him out. When Costner's investigation proves fruitless (as it must), Young's death will go down as just another tragedy in the annals of Cold War intrigue.But things aren't what they seem...Fine acting by Hackman (of course), Costner and Patton can't overcome the ridiculous story contrivances, starting with Costner and Young going at it in the back of a limo less than 5 minutes after they meet. (Sorry, kids, but that simply doesn't happen in the real world).The dialogue is hit and miss. Sometimes it's witty - and sometimes you cringe:YOUNG: "Send me postcards from your exotic ports of call. That's what they call them, isn't it - exotic ports of call?"COSTNER: "A port's a port. You're exotic."There's a twist at the end that is 1) set up deftly and honestly in the early going, and 2) has absolutely nothing to do with the main mystery. The movie doesn't need it. Indeed, the novel this film is based on, "The Big Clock" by Kenneth Fearing, doesn't even have it, and it works just fine. 7 out of 10.

I didn't see this when it came out in 1987 which is just as well because I really enjoyed seeing it the other night. It's a political thriller with Gene Hackman as David Brice, U.S. Secretary of Defense. Brice employs the kind of political machinations usually seen in corrupt congresspersons as he tries to wiggle his way out of a terrible jam. At his side is the particularly sleazy sociopathic Scott Pritchard (Will Patton) who defends his boss with true devotion.Okay what makes this so good? I mean Sean Young is to die for pretty of course and Kevin Costner is just the kind of guy few women can resist. So we've got good eye candy, but what makes "No Way Out" head and shoulders above almost all other thrillers is the oh so ingenious plot. Yes the plot in this movie is very clever—some might say too clever, especially the ending which some viewers may feel is unlikely or tacked on. It is a doozy of an ending and it follows some mesmerizing twists and turns along the way. I found most of them plausible, and I think the only thing wrong with the ending was Kevin Costner's accent! The screen play was adapted from Kenneth Fearing's novel "The Big Clock" which I haven't read. There was also a movie with the same title from 1948 starring Ray Milland, Maureen O'Sullivan, and Charles Laughton. I do know that while "No Way Out" is about the Pentagon and the intrigue centers around the secretary of defense and a naval officer, Commander Tom Farrell (Costner) "The Big Clock" was about a publishing tycoon. Apparently what is the same is some kind of similar action removed from the backdrops.I find most thrillers have too many plot holes and implausibilities while relying too heavily on action and chase scenes, car crashes, etc. Here most of the chase scenes are on foot. What made me decide to take a look at this was to see the young Sean Young again. Who could forget all the close-ups of her face in "Blade Runner" (1982).By the way, the title "No Way Out" is especially apt since it really does look like neither Brice nor Farrell have any way out. The plot is that diabolical.--Dennis Littrell, author of "Dennis Littrell's True Crime Companion"

It takes quite a while to get going and the film is firmly rooted in the 80s, not just from a storyline perspective, but also in terms of its production. The only meaningful female role is poorly developed, although Young does her best with what she has and the relationship between her and Costner feels forced. The score is also dreadful. But once the main plot kicks in, this becomes an intriguing conspiracy thriller as Costner attempts to stay one step ahead of the investigation he is heading. Hackman is surprisingly low-key here, but Will Patton as his right-hand man and Costner's main antagonist is good value. It is also a film that is defined by its great ending, a scene that is surprisingly low-key in its delivery, but works extremely well in the context of the overall film. It's a shame that repeat viewings don't really offer much to reevaluate characters and plot points as a result but it still makes for a clever resolution.

It's a suspense thriller with the odd burst of action (though watching Costner run, doesn't really do it for me).Confused and stupid in places. The best device in the movie - the suspenseful claustrophobia - could have been worked more. The idea of having eyewitnesses parade up and down the Pentagon to flush out a spy was wholly silly. The ending, though totally disjointed, actually elevated the film and Costner's character. Despite the film's length nothing really happens. It's brainless.Only a few scenes have stuck in my mind. Sean Young's partial nudity and the eighties synthesizer soundtrack (Maurice Jarre) were the highlights of ultimately a very dull but surprisingly watch-able film.