Frank Martin puts the driving gloves on to deliver Valentina, the kidnapped daughter of a Ukranian government official, from Marseilles to Odessa on the Black Sea. En route, he has to contend with thugs who want to intercept Valentina's safe delivery and not let his personal feelings get in the way of his dangerous objective.
Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.
Mei, a young girl whose memory holds a priceless numerical code, finds herself pursued by the Triads, the Russian mob, and corrupt NYC cops. Coming to her aid is an ex-cage fighter whose life was destroyed by the gangsters on Mei's trail.
A thief with a unique code of professional ethics is double-crossed by his crew and left for dead. Assuming a new disguise and forming an unlikely alliance with a woman on the inside, he looks to hijack the score of the crew's latest heist.
Toxic waste bubbles in a ship waiting permission to dock in Odessa. Frank Martin turns down a job in Marseilles, referring it to a pal. A short time later, the pal, wounded by gunfire, crashes his car into Frank's living room and dies, leaving a young woman in the back seat. The employer of the dead man shows up, forces Frank to take the job, snaps a bracelet on his wrist that will explode if Frank gets more than 75 feet from his car, and sends Frank on a journey east with the young woman and a trunk full of something. She's Valentina, nearly mute. Can Frank figure out what's going on, deliver the package, and escape alive? And what does the ship have to do with it? Written by
Olivier Megaton's first feature film in six years. In between this and La sirène rouge (2002), he directed numerous ads, music videos, documentaries and short films, as well as being the second unit director on Hitman (2007). See more »
At the beginning of the movie when the 2 guys are fishing, one hooks on to a big fish. They are using open-faced spinning rods and reels, but you don't turn the handle to bring large weights up. First you need to pump the rod to make slack and then wind fast to take up that slack. If you do it the way they did, the line twists and breaks. See more »
You don't want to do this.
I don't think you're in a position to tell me what to do or don't what to do. You have ten seconds to change your mind.
I'll give you five seconds to remove your hand.
See more »
Set It on Fire
Written by Eve (as Eve Jeffers) / Frankie Storm / Lamont Coleman / Pierre-Alexandre Busson / Alexandre Azaria
Performed by Eve
(p) 2008 EuropaCorp
(c) EuropaCorp Music Publishing
UW Infini & All you need is songs / Blondie Rockwell (ASCAP), Dabney Music Publishing Sony/ATV (BMI),
Yawehimi Publishing Llc. (BMI)
Music produced and arranged by Yuksek
Yuksek appears with Courtesy of Uncivilized World See more »
Honestly, I thought I was going to have an epileptic fit from the fight scenes. No joke - in a one minute fight scene there are almost 50 cuts. Can you imagine Bruce Lee, Jackie Chan or Tony Jaa doing that? No way. The point of an action film is to highlight cool action scenes. You can't do that when this Michael Bay-influenced rapid fire editing.
I liked the first two entries in this series, but this one is really, really bad. I think the blame lies with director Olivier Megaton who seems to not know how to shoot or edit a fight scene to save his life. Seriously, why hire Corey Yuen to do your fight scenes if you are going to cut ever half second? Just a complete mess. The sad part is that nearly 60% of the movie is edited like this. Honestly, do we need three flash cuts when you are just showing a picture on a passport?
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