A factory worker, Douglas Quaid, begins to suspect that he is a spy after visiting Rekall - a company that provides its clients with implanted fake memories of a life they would like to have led - goes wrong and he finds himself on the run.
A family's moral codes are tested when Ray Tierney investigates a case that reveals an incendiary police corruption scandal involving his own brother-in-law. For Ray, the truth is revelatory, a Pandora's Box that threatens to upend not only the Tierney legacy but the entire NYPD.
Victor, a rising gangland player, has infiltrated the crime empire run by ruthless kingpin Alphonse, with the single purpose of making Alphonse pay for destroying his once happy life. As he meticulously orchestrates his vengeance from his high-rise home, Victor watches and is watched by Beatrice, a mysterious young woman who lives in the apartment across from his. On the surface a fragile woman-child, Beatrice seethes with a rage of her own. When she uncovers Victor's dark secrets, she threatens to expose him unless he helps her carry out her own campaign of retribution. Each fixated on avenging the past, they devise a violent and cathartic plan that could change their worlds forever. Written by
Stu Bennett ("Kilroy") performs as a professional wrestler for World Wrestling Entertainment (WWE) under the name Wade Barrett. WWE Films is one of the producers of this film. See more »
At the end of the film, while Victor and Beatrice travel home on the NYC subway, you can see the sign "York-Dauphin", which is a Elevated stop on Philadelphia's SEPTA Market Frankford Line. See more »
[holding infant son]
It wasn't meant to be this way, you know? We make our plans, sure. But life... life is what happens to you along the way. You know, first I didn't want this. I didn't want to connect. I didn't want to get involved. But she kept on with me, you know. This is what life is. This is why we're here. To connect. To... to build. We're here to build something. And then we had Theo. And then I understood that... you know, she was right. We're not meant to be alone. You ...
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There is always a big gamble with revenge flicks : these stories have been told so many times it takes more than a few big names to make them memorable. Characters, dialogue, tension, subplots, impressive kills...If used properly, these elements will differentiate any formulaic revenge flick from the lot. While Dead Man Down is not a terrible movie, it's just another title that falls in the loop of quickly-released and just-as-quickly-forgotten anonymous revenge flicks.
The storyline makes for a synopsis a thousand times more interesting than the actual product resulting from its lazy execution. We've got two parallel quests for revenge, and neither of them is ever able to capture any sense of depth or avoid clichés, thanks to typical sequences of Farrell watching 8mm tapes of an afternoon in the park with the wife and daughter, where they just laugh and do every possible thing to look like the perfect little family. The other quest for revenge, which involves Noomi Rapace's character, stays on the shelf for nearly the entire runtime, which makes it hard for the average and not overly sensitive viewer to become emotionally involved (or to simply give a rat's ass about it) at any point.
The very few action sequences are poorly shot. There is not one moment where Colin Farrell is believable as a Hungarian mobster, nor is Noomi Rapace as a French woman that is both physically and emotionally scarred, thanks to the silly accents that both actors clumsily mimic. And while the acting may be Dead Man Down's strongest point (that says a lot), you can feel the cast is trying hard to bring some life to these frustratingly empty characters, especially Terrence Howard.
It is a very typical story, and for it to become something special, its basics had to be strong. And it is not the case. Instead of working on its characters, Dead Man Down prioritizes clichéd rubbish visual elements to add some sort of an intrigue feel that never materializes. From the picture puzzle to the bars on the "f"s, the ensemble feels like it was written to feel way more complex than it actually is.
Visually, Dead Man Down is equal to its script : we've seen this a thousand times already. A greyish tone to give it some sort of gritty edge, bland directing lacking anything fancy that is never able to generate any kind of dramatic tension whatsoever. It's all tame. Not awful, just awfully tame.
This will be on the shelves of video stores for a month, and next times you will see a copy of Dead Man Down, it will be in 5 years, in the five-dollar movie bin at Wal-Mart, lost under a pile of similarly forgettable products.
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