An assassin-for-hire finds that he's become a target after he refuses to complete a job for a dangerous criminal organization.An assassin-for-hire finds that he's become a target after he refuses to complete a job for a dangerous criminal organization.An assassin-for-hire finds that he's become a target after he refuses to complete a job for a dangerous criminal organization.
- Director
- Writers
- Dario Scardapane(screenplay by)
- Jef Geeraerts(based on the book "De Zaak Alzheimer" by)
- Carl Joos(based on the picture "De Zaak Alzheimer" by)
- Stars
Top credits
- Director
- Writers
- Dario Scardapane(screenplay by)
- Jef Geeraerts(based on the book "De Zaak Alzheimer" by)
- Carl Joos(based on the picture "De Zaak Alzheimer" by)
- Stars
Videos2
Vladimir Mihaylov
- Special Agent Coleman
- (as Vlado Mihailov)
- Director
- Writers
- Dario Scardapane(screenplay by)
- Jef Geeraerts(based on the book "De Zaak Alzheimer" by)
- Carl Joos(based on the picture "De Zaak Alzheimer" by)
- All cast & crew
- See more cast details at IMDbPro
Storyline
Did you know
- TriviaBased on the Belgian film The Memory of a Killer (2003), directed by Erik Van Looy (known for The Loft (2014) written by Carl Joos (known for Cordon (2014), The Treatment (2014) and The Broken Circle Breakdown (2012)).
- GoofsAt around 1.16.20 into the movie, as Detective Hugo Marquez (Harold Torres) enters the bakery, a hand can be seen three times in quick succession, throwing pigeons into the frame.
- Quotes
Alex Lewis: [from the trailer]
[as he leaves Mauricio to be blown up by a car bomb]
Alex Lewis: Happy Retirement Maury
[last lines]
Mauricio: Alex/Lewis
[said bomb detonates]
- ConnectionsFeatured in USFL on Fox: Birmingham Stallions vs. Houston Gamblers (2022)
- SoundtracksScent from the Past
Written by Giordano Trivellato & Giuliano Sacchetto
Published by Tobacco Music Edition
Performed by Relaxing Instrumental Jazz Academy
Courtesy of Equilibrium SRL
Top review
He's back and better than ever. Even revenge never had it better.
"Justice comes down to him." From The Marksman
Vigilante revenge is riddled through American thriller films, and nobody does it better than Liam Neeson. In an interview, he believes audiences love seeing the big old guy kicking butt for the rest of us stuck home from covid, retirement, or whatever.
In Martin Campbell's Memory (the 78-year-old Casino Royale director like Neeson still has his mojo), he plays Alex Lewis, a contract killer telling his sponsors he's done, but they refuse to accept his offer. Because his current contract involves murdering a 13-year-old girl, Beatriz (Mia Sanchez), he's not going to do it, period! Per usual, Neeson's hardcore vigilante has his limits: Involving children is a non-no, and it's an immediate softener for the audience. Plus, such a code allows the essential Neeson to emerge-a good guy underneath his "special skills."
This refinement of past assignments, this surfacing of a standard that brooks no trafficking in young people, is a moral advance for an immoral assassin. The audience immediately sides with the hit man and shows no sympathy for the rich people doing the reprehensible trafficking. Memory's loaded with sympathy for Alex, especially when he connects with FBI agent Vincent, played by Guy Pearce (a nice touch as we remember him in that classic thriller, Memento). Both are tough men on the opposite sides of the law, who have a sympathetic side that ingratiates without sapping the tough guy the audience has always savored.
The strongest leitmotif is that of memory, or the lack thereof, so that the early-onset Alzheimer's plays a technical part of the plot and a thematic reminder that combating trafficking is going to involve memory, not just of the computer kind. One memory Alex never loses is the murder of young Beatriz, for whose violent end Alex was not responsible.
Along the way, this layered thriller comments on the limits of justice and the questionable answer of vigilantism. While the film leans toward the latter, so too does the stock Neeson character, whose sympathy we have when we see how free the bad boys and girls go.
They still need to be wary of old men with dementia-it's those hidden skills, Baby. "HIS MIND IS FADING. HIS CONSCIENCE IS CLEAR," says the memory poster.
Vigilante revenge is riddled through American thriller films, and nobody does it better than Liam Neeson. In an interview, he believes audiences love seeing the big old guy kicking butt for the rest of us stuck home from covid, retirement, or whatever.
In Martin Campbell's Memory (the 78-year-old Casino Royale director like Neeson still has his mojo), he plays Alex Lewis, a contract killer telling his sponsors he's done, but they refuse to accept his offer. Because his current contract involves murdering a 13-year-old girl, Beatriz (Mia Sanchez), he's not going to do it, period! Per usual, Neeson's hardcore vigilante has his limits: Involving children is a non-no, and it's an immediate softener for the audience. Plus, such a code allows the essential Neeson to emerge-a good guy underneath his "special skills."
This refinement of past assignments, this surfacing of a standard that brooks no trafficking in young people, is a moral advance for an immoral assassin. The audience immediately sides with the hit man and shows no sympathy for the rich people doing the reprehensible trafficking. Memory's loaded with sympathy for Alex, especially when he connects with FBI agent Vincent, played by Guy Pearce (a nice touch as we remember him in that classic thriller, Memento). Both are tough men on the opposite sides of the law, who have a sympathetic side that ingratiates without sapping the tough guy the audience has always savored.
The strongest leitmotif is that of memory, or the lack thereof, so that the early-onset Alzheimer's plays a technical part of the plot and a thematic reminder that combating trafficking is going to involve memory, not just of the computer kind. One memory Alex never loses is the murder of young Beatriz, for whose violent end Alex was not responsible.
Along the way, this layered thriller comments on the limits of justice and the questionable answer of vigilantism. While the film leans toward the latter, so too does the stock Neeson character, whose sympathy we have when we see how free the bad boys and girls go.
They still need to be wary of old men with dementia-it's those hidden skills, Baby. "HIS MIND IS FADING. HIS CONSCIENCE IS CLEAR," says the memory poster.
helpful•3338
- jdesando
- Apr 29, 2022
Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Флешбек
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $7,329,043
- Opening weekend US & Canada
- $3,113,298
- May 1, 2022
- Gross worldwide
- $12,069,159
- Runtime1 hour 54 minutes
- Color
- Aspect ratio
- 2.39 : 1
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