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.
It's 1949 Los Angeles, the city is run by gangsters and a malicious mobster, Mickey Cohen. Determined to end the corruption, John O'Mara assembles a team of cops, ready to take down the ruthless leader and restore peace to the city.
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
Director Niels Arden Oplev has disowned the American advertising campaign, which he felt misrepresented the film. He also spoke of budget problems during production, which forced him to speed up the shoot, and of not being able to edit the film the way he would have preferred. See more »
When Beatrice is looking at a newspaper cutout about her accident, the headline has the word sentence spelled as "sentance". 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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A short story about love hidden in a crime thriller.
I'll admit; this isn't my typical kind of film. I only went because the writer is Joel Wyman. I am a huge fan of FRINGE, a science fiction/family drama for which he served as show-runner, and as a writer. I was pleasantly surprised: it's not too shabby. The film uses an intricate little plot about Farrell's character's motivations, and how he was going to exact his revenge..
Wyman seems to go for common themes in his work - love, building something, family, and connections. Although there is an underlying theme about love, the film does not skip out on the action: This is a story about revenge in the name of love, and there are several scenes in which people die in the most terrible ways imaginable. Right at the start even, when our characters get involved in a little "game."
Maybe I am a huge softie, but when we first meet Victor and Beatrice, who had been staring at each other across from their respective apartments, I felt very emotional about a specific gesture in the scene. There's a bit of a slow buildup, but that is suddenly dashed when we find out why Beatrice has really been watching Victor. Turns out she is need of a bit of revenge, and she has some proof of something that could get Victor into a lot of trouble. As the plot progresses, these two seem to develop genuine feelings for one another. Victor lost something precious to him, and both could understand the need to make those responsible for their pain, pay.
My chief beefs with the film stem around a few things.
First, Farrell... well, I hope he deliberately looked like he was staring into the distance all the time. I guess he had that thousand- yard-stare because of his family and his hopes to avenge them at all costs, but Farrell left me flat. Noomi Rapace was OK, but I liked her much better in Prometheus. I found her Beatrice mostly annoying, although her back-story was heartfelt, and I understood how she felt. In my opinion, Terrence Howard is the winner here; his Alphonse, a truly disgusting sociopath.
Second, the love part was a hard sell for me because of the terms in which Victor and Beatrice become involved. But, then again, they did share a deep hurt, so they seemed to understand one another. Not the best love story ever, but good enough for a film.
Like many films, this one uses an object to convey some kind of meaning. I won't spoil it here, but I liked its use. There is also some nice use of cinematography.
It was fun and I felt my money was well spent.
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