Spetnaz (Special Ops) veteran Nick Cherenko leaves Russia after his son and wife are killed in a gunfight by drug lord Aleksandr 'Sasha' Popov's mob men. He's threatened with exposure as ... See full summary »
Environmental protection agent Jack Taggart is fighting big business types led by Orin Hanner who are dumping toxic waste somewhere in the Kentucky hills region. They also killed his fellow... See full summary »
Félix Enríquez Alcalá
There were those who called him Icarus. Everyone else knew him as a divorced father working for an investment company. But they didn't know his other side-his dark side. Because Icarus was at his best when he was killing people. For years, he'd worked as a sleeper agent in America-but when the Soviet Empire collapsed, he found himself in a foreign country with no one to trust. Determined to break from his dark past, he started over with a new identity. But you can only escape your past for so long. When a sudden mishap in Hong Kong blows Icarus' identity, past and present collide - and the assassin realizes he is now the target. The people that want him dead will stop at nothing to get to him. And that means going after what he cares about most-his wife and daughter. Fighting for his life, Icarus is forced to face the demons of his past to protect the loved ones in his present. He must fight to save the only thing he's ever done right in his life. He needs to uncover who is after him ... Written by
Businessman Edward Genn (Dolph Lundgren) is actually a former KGB agent who defected to the US just before the Soviet Union collapsed and has been making his real living as a hit-man-for-hire. Naturally, he didn't tell his ex-wife (Stefanie von Pfetten), who he has a daughter with. But she finds out soon enough when her family is in the crossfire of a mob war led by Eddie's old comrade Vadim (Bo Svenson). This is Lundgren's sixth effort as a director and, surprisingly, it is his worst effort behind the camera so far thanks mostly to a lame script and that pesky jittery camera work. The prospect of Dolph teaming with fellow Swede Svenson is enticing, but they really only have 5 minutes on screen. There are lots of fights/shootings but Dolph films them all terribly, which is strange given his penchant for well-shot action displayed previous to this. The worst is he has fallen into the Hollywood cliché of shaky-cam/crash zooms, even during quiet dialog scenes. Not as bad as Stallone did with THE EXPENDABLES, but still annoying.
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