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.
When a cure is found to treat mutations, lines are drawn amongst the X-Men, led by Professor Charles Xavier, and the Brotherhood, a band of powerful mutants organized under Xavier's former ally, Magneto.
Dr. Bruce Banner, thanks to a gamma ray experiment gone wrong, transforms into a giant green-skinned hulk whenever his pulse rate gets too high. Meanwhile, a soldier uses the same technology to become an evil version of the original.
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
A robotic warrior from a post-apocalyptic future travels back in time to protect a 20-year old drifter and his future wife from an most advanced robotic assassin and to ensure they both survive a nuclear attack.
In 2079, in Washington, the ex-CIA Operative Snow is brutally interrogated, accused of treason against the United States. The chief of the secret service Scott Langral believes that he shot the agent Frank in a hotel room. Meanwhile, the idealistic daughter of the president of the USA, Emilie Warnock, is visiting MS One, a maximum security prison in outer space expecting to find evidences that the prisoners are actually guinea pigs of a huge corporation. When one of her bodyguards loses a hidden pistol to the dangerous prisoner Hydell, he subdues the staff in the central control room and releases the prisoners, including his brother Alex who becomes the leader of the riot. Now the veteran agent Harry Shaw offers freedom to Snow if he succeeds in rescuing the president's daughter. But the idealistic Emilie does not want to leave MS-One without the hostages. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Earlier in the film Snow punches Emilie to toughen her up which leaves a bruise/cut. This changes in place and appearance on her face. See more »
Again, what happened in that hotel room?
Oh, it was coupon night and I was trampolining your wife.
[Snow is punched in the face]
You're a real comedian aren't you, Snow?
Well I guess that's why they call it the punch line.
[Snow is punched again]
You don't like me, do you?
Don't flatter yourself. I don't like anybody.
With that attitude, I can see why nobody likes you.
[...] See more »
Summer must be coming around soon, as here come the popcorn blockbusters! Although "Lockout" still might be a little bit "lightweight" to be considered a box office hit, in spite of the explosive and spectacular action sequences and a couple of familiar fresh faces. "Lockout", based on an original concept idea by the mighty respectable Luc Besson, initially feels overwhelming and imposing, but it's actually one of the most derivative action thrillers you'll ever see. The plot borrow its main story lines and characterizations from a series of world famous as well as lesser known Sci-Fi classics/gems. The setting of a (supposedly) inescapable maximum security prison floating around in space comes from the early 90's cult favorite "Fortress", the premise of a noble convict sent in to try and evacuate a presidential relative naturally comes from John Carpenter's legendary Sci-Fi monument "Escape from New York" and Guy Pearce's character Snow fires off as many witty one-liners as Bruce Willis did in all of the "Die Hard" movies combined. The year is 2079 and Pearce depicts an elite secret agent wrongfully accused of espionage and murder, but the only evidence that can set him free has gone missing. Snow is about to be sent to MS-1, a super hi-tech penitentiary in space, when all of a sudden riots break out. Snow is nonetheless sent to MS-1; not as a prisoner but as the last hope to bring back the president's daughter Emilie, who was there to investigate the effects of brain stagnation and accidentally caused the prison disorder. "Lockout" is definitely amusing while it lasts, but it's unmemorable and occasionally even too preposterous for its own good. The structure of the film is logical and most of the key sequences are easy to predict, but at least it's fun to behold the excessive violence and some of the over-the-top performances, like Guy Pearce and particularly the prototypical British scumbag Joseph Gilgun as the indescribably psychotic and maniacal inmate Hydell. The CGI-effects are surprisingly inane and laughable. There's one scene in particular that is quite terrible, namely near the beginning when Snow tries to escape from a crime scene on a motorcycle seemingly borrowed from "Minority Report". That sequence actually looks as if you're watching a video game. Premiered at the annual Belgian Festival of Fantastic Films.
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