Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
John Creasy was a former CIA special agent. He is hired in a rich Mexican family as bodyguard for protecting their teenage girl named Pita. Creasy was alcoholic and frustration rift in his life before he joins this family. Pita innovate his life and switch him smile again. Creasy feels very much fondness for her. One day Pita was kidnapped by criminals and Creasy was shot through the criminals when he attempts to save her. After a couple of days John Creasy is release from wounded also came to know Pita was killed by the criminals. Then he ready for himself for revenge and the criminals who was involve in abduction they are hunt by him one by one. Written by
The actor who played Aurelio didn't speak English at all. See more »
In the kidnapping scene the driver of the kidnapper's car reverses into the taxi at relatively high speed, which would have caused easily visible damage. When the kidnapper picks up Pita and the car is driving away the back end is clearly visible and is 100% intact. See more »
70% of the victims do not survive.
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Alcoholic mercenary Creasy (Washington) is all washed-up, until his friend (Walken) finds him a job in Mexico City, as bodyguard for a rich family's little girl Pita (Fanning). The taciturn man and melancholy girl slowly develop a strong bond... that is utterly shattered the day that Pita is kidnapped and that negotiations are sorely mishandled.
"Man on Fire"'s title works against it. It proclaims an adrenaline-fueled action film, when in fact what we get is very different. What could be mistakenly thought to be a prologue (Creasy is introduced, meets Pita and the relationship is shown) constitutes a good half of the film's running time. Washington and Faning are on top form, the former tortured and angry and the latter endearing without being cloying, so it is a tribute to Scott and screenwriter Helgeland that the film takes its time showing their odd relationship. This makes things all the more hurtful and outraging when she is captured in a kidnapping that leaves Creasy severely scarred, both emotionally and physically.
The film earns its title in the second half, not because of non-stop action - which it fore-goes in order to give us something more pondered and cruel - but because Creasy is literally ablaze with silent fury. As he hunts down anyone who participated or profited from Pita's kidnapping, dismantling rings of Mexico City's tower of corruption, his methods get bloodier while his movement actually get slower. Creasy races against time and his own likely death, as a tragic figure who's newfound reason to live has been taken away from him.
The performances are fine, with great turns from the two leads and superb supporting turns by the always reliable Christopher Walken and Jiancarlo Giannini. What sometime detracts from the film's quality is Tony Scott's now signature messy visuals. While some shots are magnificent, reminiscent of brother Ridley's work, some are almost trashy and epilepsy-inducing (some unnecessary hyper-MTV editing). the man redeems himself by handling his actors with care, superbly illustrating his environment and creating a stark atmosphere.
This is a precious oddity: a quality blockbuster.
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