The greatest mistake the devil ever made was underestimating a woman with a gun, and director Kitamura has come to collect.
50
RogerEbert.comSimon Abrams
RogerEbert.comSimon Abrams
The bad guy likes opera in the mostly forgettable heist/hostage thriller The Doorman, a movie that’s well-versed in clichés and basically watchable, but never really good.
A Die Hard ripoff that forgets most of the lessons that action classic has to teach, Ryuhei Kitamura's The Doorman forgets first of all what a little bit — even a shred — of wit can do for a movie that otherwise relies on bullets and brawn.
The script is a clumsy patchwork of gimmicks — history professor Jon playing mind-games with his captors — obvious bits of foreshadowing and Wikipedia-shallow discourses on Rachmaninoff and Goya, all designed to fill the minutes between Ruby Rose throw-downs.