In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged out rock 'n' roller presumed to be dead but very much alive -- has a multi-million dollar prize fall into... See full summary »
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.
Nick Love based the screenplay on newspaper stories and anecdotes he's been told by people all over the UK. The narrative is fictional, but many of the incidents portrayed are based on fact. See more »
When I saw the trailer for OUTLAW I knew I wanted to see it Sean Bean is one of my favourite actors and I loved the look of the vigilante plot. But it was one of those films that slipped by until now, when I finally caught up with it on TV one night. I'm glad I didn't get to it sooner.
The film is a crushing, no-budget disappointment, nothing like it's made out to be in the trailer. The plot is passable at best, and while it contains some intense, shocking moments (the attack on the barrister's wife is one of the most disturbing I've seen in some time), it never seems to go anywhere, and by the end turns into the usual good guys vs. arch villain type action flick. Some scenes are ludicrous, like the bit with the shoot-out with the police in the wood, and the characters are never likable as they should be. Take Sean Bean's lead for instance he's a disturbed ex-soldier, yes, but we never learn a thing about his background or what makes him tick. Bean tries hard to make the best of the material, but his talents are wasted here.
It's a shame, as the talents of other decent actors such as Lennie James and Bob Hoskins are also left unexploited to their full potential. The biggest problem of all lies in the director, Nick Love. For some stupid reason, he adopts a shaky cam in an attempt to give his film edge, but it's distracting at best and nauseating at worst. Paul Greengrass he certainly isn't and the camera-work alone is enough to ruin what was potentially an interesting film that raises some important questions about crime and justice.
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