A congressman's daughter under Secret Service protection is kidnapped from a private school by an insider who calls Det. Alex Cross, sucking him into the case even though he's recovering from the loss of his partner.
As the Japanese surrender at the end of WWII, Gen. Fellers is tasked with deciding if Emperor Hirohito will be hanged as a war criminal. Influencing his ruling is his quest to find Aya, an exchange student he met years earlier in the U.S.
John McClane travels to Russia to help out his seemingly wayward son, Jack, only to discover that Jack is a CIA operative working undercover, causing the father and son to team up against underworld forces.
Dr. Alex Cross is on his last police duty to track down an assassin called Picasso, who's been torturing and killing rich businessmen in Detroit. Soon when the mission gets personal, Cross is pushed to the edge of his moral and psychological limits to end this once and for all. Written by
The Villa is in Bali, Indonesia. When Alex says "Terima kasih banyak, Chief" towards the end of the movie he is saying "Thank you very much, Chief" in Indonesian language. See more »
In the final scenes of the movie:
SPOILER: When Picasso falls in the car at the end of the movie, his body slips down and his head is placed between the hood and the windshield. When they are examining him, his head is in the middle of the windshield. See more »
This is hands down one of the worst movies I have ever seen in my life, and I've seen a boatload of lousy movies. Both the dialog and plotting are hackneyed beyond description--not one original idea or twist, and not a single exchange that feels genuine. It's the kind of childishly obvious genre rehash in which you can tell who's going to be killed just by the relative one-dimensionality of their characters. Matthew Fox, who clearly dropped his body fat to zero for this film, will one day look back and regret all those months he went without a decent meal, because a) the movie is terrible, and b) his portrayal of a psychotic killer is ultimately a study in cliché. Ed Burns furrows his brow convincingly enough, but his easygoing charm has nowhere to go here. Likewise John McGinley, whose neurotic fatalism seems plucked from an entirely different and more lighthearted police procedural being filmed down the street. And then there's Tyler Perry, who expends so much energy in a futile attempt to project faux masculinity and criminological gravitas that he apparently has nothing left for tangential stuff like changing his facial expression once in a while. Perry can thank his lucky stars he's already a Hollywood fixture, because If this were his first movie, he'd never get another offer--truly, he's that bad.
137 of 226 people found this review helpful.
Was this review helpful to you?