A loan shark gives ex-con Nick a period of 24 hours in order to pay back the money he owes. Up against it, Nick involves his best mate on a multi-part mission in order to raise the cash ... See full summary »
A gun-for-hire known only as Agent 47 hired by a group known only as 'The Organization' is ensnared in a political conspiracy, which finds him pursued by both Interpol and the Russian military as he treks across Russia and Eastern Europe.
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.
A loan shark gives ex-con Nick a period of 24 hours in order to pay back the money he owes. Up against it, Nick involves his best mate on a multi-part mission in order to raise the cash before it's too late for them both. Written by
Nick only just makes the train from Manchester to London before it leaves, but the man following him is already on the train waiting for him. There was no way for the man to know Nick would get that exact train beforehand, and in fact he very nearly did miss it. See more »
Performed by The Prodigy
Written by Liam Howlett (as Howlett) / Keith Flint (as Flont) / Maxim Reality (as Maxim)
Published by EMI / Virgin Music Publishing, EMI Music Universal / MCA Music
Licensed Courtesy of XL Recordings Ltd
(P) 1997 XL Recordings Limited
ISRC No: GB-BKS-97-00074
Also available on the album 'Their Law The Singles 1990-2005' XLCD 190 See more »
Strictly by-the-numbers, but still quite watchable.
The plot: Given 24 hours to pay off his massive debt, a reformed gangster descends back into the underworld he struggled to escape.
Dead Man Running isn't a bad film, but it's strictly by-the-numbers. It lacks the brutal realism of something like Refn's Pusher trilogy or Hodges' Get Carter, operating in a universe more like Guy Ritchie's, where the underworld is populated by idiosyncratic acquaintances, crime bosses with dangerous reputations, and oddball sidekicks. The biggest difference, however, is that this seems like something of a breezy overview of the genre, where each character is given a brief cameo, rather than any kind of reinterpretation. Nobody really has much to work with, but it does give the film a certain simplicity that many people found lacking in Get Carter and Revolver, which are often accused of having overly intricate plotting.
It's not an original movie, but it's enjoyable enough for what it is. If all you want is a simple, mildly violent crime thriller, then this will fit the bill nicely. If you're looking for something a bit deeper or original, I think you'd be better off skipping it. You'll just be bored or annoyed by all the clichés.
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