After a prison riot, former-Captain Nascimento, now a high ranking security officer in Rio de Janeiro, is swept into a bloody political dispute that involves government officials and paramilitary groups.
A wave of kidnappings has swept through Mexico, feeding a growing sense of panic among its wealthier citizens, especially parents. In one six-day period, there were twenty-four abductions, leading many to hire bodyguards for their children. Into this world enters John Creasy, a burned-out ex-CIA operative/assassin, who has given up on life. Creasy's friend Rayburn brings him to Mexico City to be a bodyguard to nine-year-old Pita Ramos, daughter of industrialist Samuel Ramos and his wife Lisa. Creasy is not interested in being a bodyguard, especially to a youngster, but for lack of something better to do, he accepts the assignment. Creasy barely tolerates the precocious child and her pestering questions about him and his life. But slowly, she chips away at his seemingly impenetrable exterior, his defenses drop, and he opens up to her. Creasy's new-found purpose in life is shattered when Pita is kidnapped. Despite being seriously wounded during the kidnapping, he vows to kill anyone ... Written by
Sujit R. Varma
At the bottom of the cliff, a guy in a lab coat is walking around with a clipboard, a fireman appears to be putting _up_ a fire hose, and Jorge Gonzales' car is attached to a tow truck, all happening while the car is still burning. The behavior of the lab coat guy and the fireman would be unusual but perhaps not impossible, but there is no way that any tow truck operator would begin to mount a still-burning vehicle. See more »
The kidnapper will tell you to deliver the money alone. Por favor, don't do that or you will find your self in a real Mexican hell.
See more »
A riveting introduction, powerful performances and yet, I couldn't quite connect. The trendy editing, I hope, it's just a moronic phase that movies are going through to be outgrow soon, very soon. All the dramatic tension vanishes as the editor plays around with the visuals. Why? If you have characters played by the likes of Denzel Washington, why the need to hit us over the head with a self conscious blow of irrational cutting taking me out of the movie completely and forcing me to see the movie as a movie, the actors as actors and the drama as sheer fiction. Washington is superb. Slowly but surely I'm warming up to the man. I've always admired his performances but there was something about the actor, a veil of arrogance perhaps, that stopped me from getting closer. Here, his personal torment and his warming up to Dakota Fanning took me completely until the smart ass editing ruined everything.
36 of 64 people found this review helpful.
Was this review helpful to you?