A disgraced black ops agent is dispatched to a remote CIA broadcast station to protect a code operator. Soon, they find themselves in a life-or-death struggle to stop a deadly plot before it's too late.
Ray Keene (John Cusack), a father who wants to redeem himself in the eyes of his son (Jamie Anderson), is trying to bring Carden (Morgan Freeman), a world-class assassin to justice. All the... See full summary »
A political satire set in Turaqistan, a country occupied by an American private corporation run by a former US Vice-President. In an effort to monopolize the opportunities the war-torn ... See full summary »
Detective Mike Fletcher, a rugged and obsessive police officer, and his partner Kelsey Walker, are on the trail of a serial killer who prowls the streets targeting young streetwalkers. When his teenage daughter disappears, Fletcher discovers that the killer has kidnapped her after mistaking her for a prostitute. Fletcher's obsession goes into overdrive when he drops all professional restraint to get the killer and save his daughter. Written by
Mae Whitman plays a very similar character in this film as she does in a similarly plotted episode of Criminal Minds (season 5, "Cradle to the Grave"). See more »
When Carl comes into the cellar to get Abbey for dinner, she's managed to change into a dress even though her hands are chained together and could not possibly put her hands through the two sleeves without them being unlocked by Carl who has the only key to the locks. See more »
Cusack tries, but can't save a sinking ship all by himself.
Hollywood veteran John Cusack is detective Mike Fletcher, a maverick cop who has a hard time playing by the rules at the best of times, let alone when trying to find his missing daughter. Mistaken for a streetwalker by the creepy-for-the-sake-of-being-creepy Gary Gemeaux (Dallas Roberts), Abby Fletcher (Mae Whitman) is thrown into a makeshift dungeon with a couple of other inmates who are forced to produce children for a mysterious benefactor.
Cusack and Roberts make an honourable effort despite an uninspired script, but that is the only highlight to draw from this film. Part-police procedural, part-torture porn exploitation, The Factory blends the two polarising genres with mixed results; the end product serving more to unsettle than stimulate or entertain.
Many of the film's victims are inherently unlikeable, and as such do not demand audience sympathy for their dire situations to the extent that they should. The Factory is actually tolerable, albeit immediately forgettable, for much of its run time, until an overly ambitious climax shreds any filmic credibility that might have still lingered in the mind of the viewer. The 'twist' ending is both predictable and illogical, resulting in a disastrous conclusion leaving one feeling somewhere between 'unsatisfied' and 'downright cheated'.
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