Veteran CIA agent Evan Lake has been ordered to retire. But when his protégé uncovers evidence that Lake's nemesis, the terrorist Banir, has resurfaced, Lake goes rogue, embarking on a perilous, intercontinental mission to eliminate his sworn enemy.Written by
On 8th Dec. 2014 cinematographer Gabriel Kosuth published a guest column on Variety.com, where he wrote that he "...was denied the possibility to accomplish in post-production what is any cinematographer's duty [according to the American Cinematographer Manual]: 'assuring that what audiences will see on cinema and television screens faithfully reflects the look intended by the director'". Kosuth complained about the significant digital alterations made by the producers in post-production: "The film we shot had images with strong, violent colors and was dark. This one is not. (...) Paul Schrader wanted color to play an unusual, extremely important role in the visual style of his movie. An expressionistic approach where color doesn't just represent moods and feelings, but meanings and symbols. This is why he insisted that color should be embedded in the very fiber of the image - using filters on lenses and colored lights - so that we were not merely catching colors on film, but truly sculpting the picture with color. The moment you try to 're-paint' or modify such a thing, it is supposed to crash to pieces. And this is what has happened to Dying of the Light (2014) - an unpleasant and tragic demonstration of the limits to the so-called wonders of digital post-production. By surgically eliminating the expressionistic color from the image - the pasty yellow-green of the African scenes, the dense sepia-chocolate of the American ones, and the bluish-green from the European ones - an unknown author has offered the public not only a crippled caricature of everything, but a collection of images deprived of soul, emotion and significance. (...) As pretentious as it may sound, the reality is that color affects not only the perception of the artist's world on screen, but the perception of an actor's performance too: Eyes, skin, make-up, hair, come to us in an 'intended' emotional color. (For those who don't believe, try watching Apocalypse Now (1979) in black-and-white.) The unbalancing of a well thought 'color formula' has the effect of mutilating not only atmosphere, composition, and centers of interest in the frame, but also detailed production design, costume and make-up concepts all based on that original formula. I'm writing this letter because I'm trying to understand why would someone deliberately ruin such a visual expression. Just because it's possible? By pushing some magical buttons at a console, or because of some kind of aesthetic Daltonism? Why would someone damage something achieved with unknown effort and sleepless nights? Just because there are people today who cannot take a human activity called artistic creation seriously?" See more »
When the private jet lands in Mombasa, the Customs official stamps Evan's passport with JKIA. Jomo Kenyatta International Airport is in Nairobi. See more »
It is well Known, or maybe only well Known Among Film Geeks, that this Film has been Disowned by Director Paul Schrader and other Principals Involved in Making this Movie, and it is, Among Other Things, a Film Fanatic's Frustration.
The Director has Advised that No One See this Film.
One has to Question the Sanity of Producers that Hire the likes of Edgy Existential Film Artists and then Decide it is too Edgy and Existential for the Box Office, take the Thing Out of Their Hands and Tinker with it like a Naughty Kid Pulling the Wings off Flies. Shame Shame.
What the Movie Going Public is left with is Not a Bad Movie. enough of Schrader's Fingerprints Remain to make it an Offbeat CiA Thriller. What Doesn't Remain is the Cinematographers and Directors Visual Palette as it was "Digitally Manipulated". Shame Shame.
Nic Cage, in another Self-Realized Performance that Cannot be Ignored. He manages to be just a Heartbeat from Over-the-Top and it is usually a Fascination to Behold. If Cage does Anything Anymore it is a Willingness to Work.
The Movie may not be Appreciated for what it is, as Opposed to what it Could Have Been, it is still Worth Catching, as is all of Their Work, both Schrader and Cage are Interesting, No Matter the Product.
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