So was I, until I actually watched it. Uwe Boll has been making movies for over 35 years and still hasn't learned how to write characters, dialogue, subtext, build a narrative, pace a scene ... well, you know. It's like he's never seen any movies other than his own.
I think we're all hoping for "Man on Fire" ... but this ain't it.
Armie's character actually kills more cops than rapefugees. Most of the runtime is wasted, in typical fashion, with shots of Armie Hammer walking, or the police driving around town looking for him, or (the same!) bodies being carried away by EMTs again and again, or revisiting (the same!) crime scene again and again in an illogical order. Did the cops leave all the bodies there and then come back the next day to have another conversation about what Hammer did the day before?
Otherwise, it's a whole lot of Armie pontificating what we've all been talking about here for the past decade ... and not very well, either. There is one "trick" that Boll must have taken from the German heist thriller Die Katze to keep the audience's attention -- though that's probably giving him too much credit -- which is to throw in a very performative and entirely unnecessary sex scene to break up all the meandering walking/ talking.
Anyhow, the "noise" around this movie is more valuable than the movie itself. The Eurocuck censors are keeping The Streisand Effect alive and well. Had they just ignored it, nobody would have noticed this movie's existence, but they just had to REEEE about it, as usual. The censors once again put a huge spotlight on the thing they wanted everyone to not notice or talk about, so for that we can be grateful.
So was I, until I actually watched it. Uwe Boll has been making movies for over 35 years and still hasn't learned how to write characters, dialogue, subtext, build a narrative, pace a scene ... well, you know. It's like he's never seen any movies other than his own.
I think we're all hoping for "Man on Fire" ... but this ain't it.
Armie's character actually kills more cops than rapefugees. Most of the runtime is wasted, in typical fashion, with shots of Armie Hammer walking, or the police driving around town looking for him, or (the same!) bodies being carried away by EMTs again and again, or revisiting (the same!) crime scene again and again in an illogical order. Did the cops leave all the bodies there and then come back the next day to have another conversation about what Hammer did the day before?
Otherwise, it's a whole lot of Armie pontificating what we've all been talking about here for the past decade ... and not very well, either. There is one "trick" that Boll must have taken from the German heist thriller Die Katze to keep the audience's attention -- though that's probably giving him too much credit -- which is to throw in a very performative and entirely unnecessary sex scene to break up all the meandering walking/ talking.
Anyhow, the "noise" around this movie is more valuable than the movie itself. The Eurocuck censors are keeping The Streisand Effect alive and well. Had they just ignored it, nobody would have noticed this movie's existence, but they just had to REEEE about it, as usual. The censors once again put a huge spotlight on the thing they wanted everyone to not notice or talk about, so for that we can be grateful.