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Jack Cole is a soft spoken, mystical, new age New York cop with a checkered past. He is transferred to Los Angeles to help Los Angeles cop Jim Campbell solve a series of brutal murders in which the victims are crucified. The murders that have happened since Jack arrived in Los Angeles just don't sit right with him. When the killer, known as the "Family Man", kills Ellen DunLeavy, who happens to be Jack's ex wife and the mother of his two kids, and Ellen's husband Andrew DunLeavy, it becomes personal - especially when Jack's prints are found on Ellen's body. Jack meets with his military mentor Smith, not knowing that Smith is in cahoots with local crime boss Frank Deverell. Written by
Todd Baldridge <firstname.lastname@example.org>
After the "The Glimmer Man" was completed, Warner Bros. conducted additional editing on the film to make it faster and more like a regular "Seagal" movie. Cut scenes included several comedic and dramatic exchanges between Campbell and Cole and a great deal of Michelle Johnson's scenes, as Cole's wife, Jessica, were cut. See more »
During the fight with Campbell and Donald in Campbell's apartment, the stove is jarred off the gas line, and in the short time of the fight, there is no way enough natural gas could be built up to cause the explosion seen. What is more, the next day, the glass that was blown out of the apartment just hours before is back in place. See more »
Suffice to say, to the people he hunted for us, he was known as the Glimmer Man. There'd be nothing but jungle, then a glimmer... Then you'd be dead!
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Neatly crafted action thriller, with Seagal on top wrist-snapping form as a Buddhist cop from New York, with a shadowy past, teamed with Wayans' wisecracking LA cop to investigate the gruesome murders of a serial killer, known as the `Family Man'. The two leads work well together; in typical buddy cop fashion which provides the film with the comic relief it needs to give the audience a break from the serious themes involved.
The script is competently composed; trying to surprise us as best it can with several twists and turns, however, the story is so fully packed with things going on that it's easy for the audience to get lost along the way. However, that is not a problem as Seagal is on the case with his usual array of impressive martial arts and likeable personality, encased in an interesting character. To me, Seagal represents, in a way, a modern day John Wayne, always playing the same out for justice, good guy role and taking no crap from anyone along the way. He is a screen presence that can carry even the most brainless of films, but this film has both brains and brawn. Wayans does very well here too, managing to avoid the typical stereotype of the African-American cop who is simply there for laughs.
The direction is standard but competent in keeping a relaxed balance between the hectic action (entwined with the tense build-ups) and the comedic peace-time goings on. The gorier parts of the film, like the murders, are handled with skill and successfully manage to create an eerie atmosphere rather than simply a gory head-turning occasion.
The Glimmer Man is not a masterpiece by any means but it serves its purpose well as a tense action thriller. It tries hard to be more than it is, but its lack of originality is its biggest flaw but it gets top marks for trying. You can't take anything away with you afterwards, but you can enjoy yourself along the way.
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