When a Las Vegas performer-turned-snitch named Buddy Israel decides to turn state's evidence and testify against the mob, it seems that a whole lot of people would like to make sure he's no longer breathing.
When the DEA shut down its dummy corporation operation codenamed SWORDFISH in 1986, they had generated $400 million which they let sit around; fifteen years of compound interest has swelled... See full summary »
When his mentor is taken captive by a disgraced Arab sheik, a killer-for-hire is forced into action. His mission: kill three members of Britain's elite Special Air Service responsible for the death of his sons.
An aging alcoholic cop is assigned the task of escorting a witness from police custody to a courthouse 16 blocks away. There are, however, chaotic forces at work that prevent them from making it in one piece.
Walter Weed is an unassuming desk jockey at the FBI when the Bureau uncovers a plot to assassinate him. A team of degenerate, psychotic assassins dispatched by mystery man Hal Leuco to win ... See full summary »
Two ex-government agents turned rival industrial spies have to be at the top of their game when one of their companies prepares to launch a major product. However, they distract each other in more ways than one.
Late at night, in an unnamed U.S. city, a solitary man sits at a bus stop. A pregnant woman runs by, pursued by a man with a gun. With reluctance, the man at the bus stop rescues her and assists with the baby's delivery, while additional pursuers fire at them, including the gang's particularly nasty leader, an intuitive man named Hertz. Our hero, known only as Smith, determines to save the child and find out why Hertz wants the baby dead. At a local bordello, he tries to employ a lactating hooker to watch the child, but things quickly escalate, and this makeshift family is soon on the run. Heavy metal music calms the baby. Why? A laboratory, gun factory, and presidential campaign all figure in Smith's quest for the child's safe deliverance. Written by
This film has several similarities to "Crank" in that 1.) both main protagonists are experts at killing played by British actors who constantly handle guns throughout the separate movies they're in; 2.) both films belong to the action/black comedy genre as well as crime; 3.) almost no explosions whatsoever occur in either movies even though there's nearly non-stop action in both of them; 4.) Jason Statham and Clive Owen both fall from aerial vehicles toward the end of their respective movies (Statham from a helicopter and Owen from a plane); 5.) the directors of both movies also completely self-wrote them; 6.) someone named Michael Davis played a high role in the crew for both films (one of "Crank's" producers and "Shoot 'em Up's" writer/director), even though neither are actually related in real life; 7.) Paul Haslinger composed both films and even has a track titled "Warehouse Shootout" in both soundtracks when the main protagonists get into a gunfight with several enemies at a warehouse; 8.) the separate running times for both films are only two minutes apart from each other ("Crank" at 88 minutes and "Shoot 'em Up" at 86 minutes); and 9.) "Crank" and "Shoot 'em Up" were released nearly one year to the day of each other (the former on Sep. 1, 2006 and the latter on Sep. 7, 2007). See more »
Despite the movie being set in New York City and its surrounding areas, the CN Tower (located in Toronto) can clearly be seen in an establishing shot of New York. See more »
A film that aims to be a parody on the extremeness and over-the-top tendencies of the action genre, and succeeds in becoming entertaining and exhilarating. I doubt there will be a more entertaining piece of work this year. It was so over-the-top and hilarious. Some of it did go a tid bit too far for me (the firefight while jumping out of a plane, the fact that there wasn't a single cop to be found) but all of the wild absurdity combined with an encompassing metal soundtrack and perfectly choreographed action made it one of the funnest movies I've ever seen. The clash of Clive Owen and Paul Giamatti certainly added a great stride to it, with Clive's deadpan hilarity and Giamatti's winning charisma. It's this extravagance and extreme unrealism that makes the film entertaining, but can also be a flaw from time to time. But it is absolutely impossible not to have an uproarious time watching Clive Owen shoot an umbilical cord to separate it from the mother, kill numerous people with a simple carrot, and (in my favorite scene of the film) have raunchy sex with Monica Bellucci whilst laying out an endless supply of armed hit men. Certainly something I could see myself re-watching time and time again.
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