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Post by eaz35173 on May 27, 2021 1:15:43 GMT -5
Exclusive The Misfits Clip – Action Flick Stars Pierce Brosnan & Nick Cannon The Misfits By Tyler Treese ON May 26, 2021
ComingSoon is excited to debut a new The Misfits clip from the upcoming action film. Releasing in theaters on June 11, the film stars an ensemble cast that includes Pierce Brosnan as an international thief, plus Nick Cannon as the leader of The Misfits (which are described as “a band of modern-day Robin Hoods). The cast is rounded out by Tim Roth, Mike Angelo, Rami Jaber, Hermione Corfield, and Jamie Chun. It will release digitally via video on demand services starting June 15.
Check out the official synopsis below: Even a federal maximum-security prison can’t hold Richard Pace (Golden Globe nominee Pierce Brosnan), a brilliant international thief. But his daring escape and high-octane car chase, eluding the FBI and police, ends with him being scooped up by The Misfits, a band of modern-day Robin Hoods. Led by the eccentric and charismatic Ringo (Nick Cannon) with Violet (Jamie Chung), the Prince (Rami Jaber), and Wick (Mike Angelo) with Pace’s daughter Hope (Hermione Corfield)— a mysterious group who do devious things for all the right reasons. The skilled group convinces Pace to join them to pull off the heist of the century: stealing millions in gold bars kept under one of the most secure prisons on earth, owned by rogue businessman Schultz (Tim Roth), and used for funding terrorist groups worldwide. Aside from the money, Pace wants revenge against Schultz, the man behind his incarceration. From LA to Abu Dhabi, it will take supercharged engines, forged identities, multiple cons, camels, nitro and massive explosions to succeed. Directed by Renny Harlin (Die Hard 2: Die Harder, Cliffhanger), The Misfits brings a new team of outsiders into the world of action-adventure.
Our clip showcases the introduction of Brosnan’s character, Richard Pace, to The Misfits, a group that kidnaps Pace after his daring escape from a federal maximum-security prison goes awry. Cannon’s character, Ringo, describes the group as “a few people trying to do us right” rather than criminals. While they know Pace’s past, they decide to give him a chance to turn his life around.
Check out the exclusive The Misfits clip below:
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Post by rosafermu on Jun 1, 2021 8:47:04 GMT -5
tHANK YOU SO MUCH
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Post by eaz35173 on Jun 6, 2021 12:06:21 GMT -5
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Post by fkma6996 on Jun 8, 2021 6:46:17 GMT -5
2 review in and both say the movie is bad, I wonder if this is why Pierce never promote this film in his Instagram.
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Post by eaz35173 on Jun 9, 2021 10:07:17 GMT -5
Reviews are starting to trickle in ...
Pierce Brosnan leads a bunch of supposed Misfits through a daring, silly heist Jesse Hassenger 5-7 minutes
Pierce Brosnan in The Misfits
Renny Harlin’s new movie The Misfits sometimes appears uncertain about how best to assemble the elements of a glamorous heist thriller. However, it is deeply confident about how to assemble elements of an effective trailer: low-slung sports cars and close-ups of their spinning wheels, implying the presence of car chases that barely exist; Jamie Chung doing mid-air martial arts, in what turns out to be a full-on Shrek-style Matrix spoof; Pierce Brosnan grinning like a maniac. The Misfits is so eager to sell itself that it uses the song “How You Like Me Now?” by The Heavy, familiar from its appearance in every movie ad released in 2010, during the opening minutes of the actual movie.
Those opening minutes, like a trailer, are supposed to prepare the audience for fast-paced irreverence. Instead, they play more like a desperate, upfront confession about how cheap this international production will look and sound—a pre-emptive warning that despite a name cast and exciting locations, it will also feature cheesy black-and-white freeze-frames, bit players doing grotesque pantomimes of human behavior, and a female character’s “girl power” being called out as such via horrifying voiceover.
That narration is inexplicably delivered by Nick Cannon, playing a guy who has named himself Ringo after Ringo Starr as a questionable bit. With the hollow, overemphatic intonations of a TV presenter, Ringo introduces Violet (Chung), Wick (Mike Angelo—a charming Thai pop star, not the famous movie critic), The Prince (Rami Jaber), and himself; collectively, they’re a group of good-hearted thieves and con artists who have made it their business to stop bad people by taking their money. (Basically, they’re the team from 6 Underground, only without a seething resentment of humanity lurking underneath their wiseacre exteriors.) Their latest project involves stealing gold from a private prison in the Middle East, owned by Schultz (Tim Roth), who has been funding a terrorist group. Career criminal Richard Pace (Brosnan) has done time in a Schultz-owned facility, so his semi-estranged daughter, Hope (Hermione Corfield), brings him into the heist planning.
At this point, Pierce Brosnan has played a dissolute middle-aged riff on James Bond more times than he’s played the actual Bond; he’s introduced here stirring, not shaking, a martini. When he shows up, the movie settles down, as if Brosnan’s jaunty presence is putting everyone else at ease. When Brosnan gives a goofy departing hand salute at his enemy as elevator doors close, The Misfits doesn’t become good, exactly. But it’s around this point that the movie focuses more on the pleasures of its core clichés—the elaborate heist planning, the nicely underplayed father-daughter relationship—rather than stumbling through a garbage pile of disconnected enticements. Cannon’s early narration winds up performing a con-like function: Its cessation around the 20-minute mark makes the rest of the movie seem vastly superior by comparison.
‘The Misfits’: Review Reviews ‘The Misfits’: Review By Nikki Baughan7 June 2021
While the titular criminal gang at the centre of this action thriller may be presented as supposedly quirky and unconventional, the film in which they operate is as blunt-edged and cliched as they come. As the ragtag gang of five — which includes a 007-channeling Pierce Brosnan — plan their criminal activities around a Robin Hood thesis of stealing from the rich to protect the poor, veteran director Renny Harlin attempts to buoy the by-the-numbers story with his trademark frenetic editing, rambunctious set pieces and bombastic score, to little success.
As blunt-edged and cliched as they come
Releasing in US cinemas on June 11, with a swift move to on demand and digital on June 15, The Misfits (which has nothing in common with the 1961 John Huston classic which shares the title) may well attract audiences desperate for big screen thrills. It is likely to fare better on demand, but word of mouth may be hampered by lacklustre reviews, and viewers could be turned off by the narrative’s utter lack of nuance or sensitivity — especially as it pertains to issues of culture, gender and race.
That’s a huge problem in any film, but particularly for one set largely in the Middle East as the self-styled criminal squad The Misfits travel to the fictional nation of Jeziristan to rob a prison owned by shadowy English businessman Schultz (Tim Roth). Their convoluted Oceans-esque plan should lead them to gold hidden deep in the bowels of the maximum-security building, which is earmarked to fund unspecified atrocities carried out by a local terrorist group named the Muslim Brotherhood. (Yes, really).
Indeed, much of the film seems to hang on the offensive notion that large swathes of the Middle East are populated by terrorists and sadistic maniacs who think nothing of bombing innocent civilians or clubbing people to death with gold-tipped canes. If this wasn’t bad enough, the fumbled mispronunciation of Arabic names is routinely played for laughs (“Jaseem Bin of something”) and everyone (including camels) is called Abdullah or Muhammed. Equally as egregiously, extended sequences which play out in the gleaming luxury of Abu Dhabi, where gorgeous women in plunging necklines and towering heels walk cheetahs on leashes through decadent hotel lobbies, are less about plot and more about advertising. (One of the film’s production companies is the United Arab Emirate’s FilmGate Productions.)
True, The Misfits themselves are an eclectic bunch — but obviously so, as if screenwriters Robert Henny and Kurt Wimmer realised they had to tick diversity boxes somewhere. There’s smart-talking American Ringo (Nick Cannon), who delivers large swathes of establishing exposition in voiceover; slick European The Prince (Rami Jaber), who claims to be royalty of a country no-one believes exists; floppy-haired Chinese pyromaniac Wick (Mike Angelo, one half of Thai pop duo Golf & Mike); and sassy martial arts expert Violet (Jamie Chung). Brosnan is ageing, self-serving conman Pace, who is initially reluctant to join them on the Jeziristan bank job until he discovers that it has, in fact, been orchestrated by his daughter, Hope (Hermione Corfield), a humanitarian UN worker who is resorting to desperate means to stop terrorist actions after the American government turned a blind eye. (Yes, really.)
That the heist offers Hope and her father time to confront her so-called “daddy issues’ is just one example of the film’s casually sexist attitudes. Others include a plethora of scantily clad women in the background of every scene, an uncomfortable flirtation between Pace and the much-younger Violet and the fact that Shultz is motivated to catch Pace not because of his criminality but because he, as Ringo delicately puts it, “laid pipe in Shultz’s wife”.
And it’s all delivered through a maelstrom of clunky dialogue — Violet’s physical prowess is labelled as “girl power”, Hope tells her father that he’s a good man “under that urban panache and capricious thievery” — and a visual bombast of flash cuts, slow motion explosions, endless car chases and lingering drone shots of the Abu Dhabi skyline. One single sequence turns everything black and white apart from gleaming gold and blood red accents. A high-octane soundtrack veers haphazardly from Middle Eastern-inspired strings to J-pop and rap.
Production companies: K.Jam Media, FilmGate Productions, RNG Entertainment, Highland Film Group
International sales: Highland Film Group
Producers: Mansoor Al Yabhouni Al Dhaheri, Kia Jam, Dean Altit,
Screenplay: Robert Henny and Kurt Wimmer
Production design: Uzair Merchant
Editing: Colleen Rafferty
Cinematogrpapher: Denis Alarcon Ramirez
Music: Lasse Enersen, Trevor Rabin
Main cast: Pierce Brosnan, Tim Roth, Nick Cannon, Rami Jaber, Mike Angelo, Jamie Chung, Hermione Cornfield
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Post by rosafermu on Jun 10, 2021 8:10:56 GMT -5
Genial. Thanks
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Post by eaz35173 on Jun 10, 2021 14:59:49 GMT -5
Renny Harlin Bonds With Pierce Brosnan For Gold Heist Film Angela Dawson
Legendary action and horror filmmaker Renny Harlin had long wanted to collaborate with world-renowned Irish actor Pierce Brosnan, best known for playing the suave spy James Bond in four installments of the longrunning franchise. He finally had his wish granted with The Misfits, an action-packed heist film in which Brosnan plays a cool and brilliant international thief who joins forces with a band of young, smart and savvy modern-day Robin Hoods.
Harlin, who hails from Finland and has a long list of credits including A Nightmare on Elm Street 4: The Dream Master, Die Hard 2, Cliffhanger and the 2016 Jackie Chan starrer Skiptrace, assembled an eclectic group of international actors, including Mike Angelo (Full House), Rami Jaber (Tough Love), Hermione Corfield (XXX: Return of Xander Cage), Jamie Chung (Lovecraft Country, Dexter reboot), Tim Roth (Pulp Fiction) and Nick Cannon (Drumline). Producer Rami Jaber serves double duty as a producer and actor, playing an enigmatic character in the film known simply as The Prince.
The heist crew proposes to serial prison escapee Richard Pace (Brosnan) that he join them in their plot to steal millions of dollars-worth of gold bars from a corrupt international private prison operator named Warner Schultz (Roth) who has stashed the loot for a terrorist organization at one of his facilities. Pace’s estranged daughter, Hope (Corfield) joins in the action and, over the course of their adventure, bonds with dad. Calling themselves The Misfits, the ring plans to steal the gold and then donate it to UNICEF. Each member of the group possesses a specific skill, such as Chung’s Violet is a martial arts expert while Mike Angelo’s character, Wick, is an energetic explosives expert, required to break into a highly fortified prison in Abu Dhabi, which contains a secured vault with the gold locked inside. Meanwhile Brosnan’s Pace uses his cunning to help orchestrate the operation to infiltrate the prison and steal the loot, all under Schultz’s nose.
From Sofia, Bulgaria, where the peripatetic filmmaker has just wrapped production on The Refuge, a horror film involving the occult and a returning combat veteran, he is eager to talk up The Misfits, which is mostly set in Abu Dhabi, working—finally—with Brosnan, wrangling camels and his five-year China sojourn that ended at the start of the global pandemic.
The Avenue will release The Misfits in theaters Friday June 11, and On Demand and Digital Tuesday June 15.
Angela Dawson: Could you discuss assembling this international cast?
Renny Harlin: The casting started, of course, with Pierce Brosnan. I had previously—a couple of times—tried to make a movie with him. He immediately came to mind when I read the (Robert Henny and Kurt Wimmer) script. Then, when he was onboard, I wanted to build an interesting ensemble around him. I thought Tim Roth would bring some intelligence without being an imposing big guy (as the villain).
For the other roles, I’d been a fan of Jamie Chung whose known for playing strong, female characters. Hermione Corfield I’d seen in a very small role in Mission: Impossible—Rogue Nation and thought she was great. In terms of Mike Angelo—he’s from Thailand and is a huge star both in Thailand and in China (as half of the popular music duo Golf & Mike).
As I had lived in China, I knew him from there. It thought it would be interesting to mix it up and have this truly international cast. I like how it came together. Obviously, you need somebody internationally famous to play the main character in your movie to get it financed, but I also really like using new faces and up-and-comers to build a movie that feels fresh.
Renny Harlin assembles an international cast, led by Pierce Brosnan, for his high-flying Abu ... [+] Dhabi-set heist film, 'The Misfits.' The Avenue
Dawson: You have a track record with popular action films including Die Hard 2 and Cliffhanger. What’s the secret sauce of making a successful action movie?
Harlin: That’s a tough question, obviously, but it starts with the characters. You can have all the action in the world, but if you don’t care about the characters, if (the audience) can relate to the characters, then you don’t really have anything else other than spectacle for spectacle’s sake. So, you have to make sure the characters are relatable and that you have a plot that isn’t one that people have seen 1,000 times before and that it’s surprising and the characters are intelligent so that the audience will respect them.
Dawson: You have a sequence in which your protagonists have to cross the desert by camel. So how was it working with these animals? Did you draw some inspiration from David Lean’s Lawrence Of Arabia in filming those sequences?
Harlin: They are interesting animals and not that easy to deal with as “actors.” And, yes, Lawrence Of Arabia was my inspiration forever, and I did revisit it again to get some inspiration.
You don’t think of little things like actually shooting people riding camels. I don’t know how they did those scenes 60 years ago where they had to lug in these huge cameras and didn’t have the modern communication devices we have now. That was an insane achievement. Of course, I can tell you that now, having shot in the desert, in the sand, it’s still pretty rough conditions with camels.
Just doing a scene where the actors are sitting on camels and talking, you don’t realize they’re a good 12-15 feet off the ground, so we had to have this vehicle mounted with a crane just to get to their level for the camel camera. That was the first real challenge. Then, just getting them to do what you wanted them to do, it’s a little tricky, and for the actors getting on and off the camels was another challenge. They were riding them for real. It’s dangerous and it’s difficult. Working with horses is challenging enough, but that’s easy compared to working with camels.
Dawson: There’s a story about how you filmed one scene in Pierce’s hotel room on a day when weather prevented you from shooting outside and you needed a nice hotel room fast.
Harlin: It’s true. We quickly needed a location and the only location spectacular enough for the scene was Pierce’s room. That’s kind of unusual that you get to shoot in your star’s room, but Pierce is that kind of guy—very generous and lovely to work with.
Dawson: Your production company, Extraordinary Entertainment, is based in China and you shot three films there in five years. You seem to have been ahead of the curve in terms of Hollywood’s lovefest with China.
Harlin: I had tried to make a movie twice with Jackie Chan. He sent me the script for Skiptrace, and I thought, “The third time has to be the charm. Let’s do this movie.” So, I went to China without really knowing much about China except what (Westerners) know about it, just the cliché ideas of rice fields and people on bicycles. I started to become educated and began to see how advanced and modern the country is.
Yes, there is the countryside, where it feels like you’re traveling back 500 years ago and, on the other hand, there are the big cities that are more modern than anything you’ve ever seen. I fell in love with the opposites, the differences of the country. Because my first movie gave me a great take on (the country)—sort of a travelogue of the entire country because we traveled from up north near Mongolia all across the country to Macau, and saw a lot of things in-between. We saw a country with different climates and different kinds of people, different types of architecture and culture—I just fell in love with it. I happened to be the right guy at the right place at the right time. It was just a coincidence.
Dawson: What stands out as the most memorable part of that experience?
Harlin: The moviemaking experience was great. The Chinese way of making movies couldn’t be more different from the way they’re made in Hollywood, which is meticulous and very organized in terms of budgets and scheduling. In China, it was surprisingly improvised: you show up and kind of start making stuff up, and it takes however long it takes—whether it’s weeks or months or years and it takes as much money as it needs. I learned a lot from the Chinese crew and I was able to teach them about Hollywood ways.
The crew liked it because it was organized and the financiers and producers liked it because it was very well-planned and cheaper than what they were used to. So, it was kind of a lovefest, and they asked me to stay. They developed a movie and meanwhile this whole invasion by Hollywood was starting. They were sending over (studio) people for a few days for some Peking duck. I saw how little they knew about China. You don’t learn how China works by going there for a week. I had now spent more than a year there and I still knew very little but I knew that I knew more than these Hollywood types who had a little bit of what you’d call a superior attitude coming in. They’d say, “This is how it’s done,” but you can’t work like that in China.
Mutual respect is important and understanding the culture is very important. So, I saw a great opportunity there. They wanted me to work there. I liked working there. I was helping other Hollywood people there and educating the Chinese (film industry) about international filmmaking—both storytelling and the technical side of it. It became clear and made sense, so I stayed for five years. It’s shocking how quickly time flies. I started my own company there and I still have offices in Beijing and Hong Kong.
Dawson: Why and when did you leave China?
Harlin: I left Beijing right before COVID started. I left with one suitcase (expecting to return). Everything else was in my home and offices, and I still haven’t been back. It’s impossible to go back because of the quarantine and regulations right now. To be honest, the political climate hasn’t helped. If you’d asked me a year and a half ago what I see my future being, I would have said, “I’m going to be living in China for the rest of my life making movies there.” But co-productions there became pretty much impossible. I have many Chinese-American co-productions in development but they are right now impossible (to proceed) because of the political situation. And, COVID has had a huge impact on everything, so we’ll have to wait and see what happens.
Dawson: What are you doing next?
Harlin: I don’t know where my current path will take me but I doubt it’s going to be in China. So, I’m making The Refuge (in Bulgaria), which is a horror-thriller. It’s about a young US soldier who is returning to his wife after a tour of duty in Afghanistan. Everybody in his family thinks he has PTSD because his whole personality has changed but it turns out it’s not PTSD. He’s actually is possessed by a demon and it has to be exorcised. The movie deals with racial stereotypes and religious stereotypes because the possession is based on beliefs in the Muslim religion. The unexpected hero turns out to be an imam played by Raza Jaffrey (Homeland) who has to save this family. The young soldier’s father, played by Jason Flemyng (Lock, Stock And Two Smoking Barrels), is a racist who comes to realize that the only man who can save his son is the last person he expected, an American Muslim. The movie, while it is very scary horror film, it deals with some real cultural issues. I’m proud to be shedding light on these issues.
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Post by SeriousJacko on Jun 21, 2021 12:11:38 GMT -5
You know? Having seen The Misfits by now, the film turned out exactly how I expected. Trouble is that... It tries to be something clever, but the script really suffers from poor writing despite being doctored by Kurt Wimmer. The entire thing screamed Ocean's Eleven and Fast & Furious ripoff (minus the cars) that actually could have worked had they involved a proper pitch to a major studio. I don't know if I can pin the blame on the cast because they weren't the one with the problem. I think Renny Harlin's directorial style was becoming rather tired, even though it was obvious he was trying. This definitely wasn't the same man who handled something like Die Hard 2. Perhaps it's the age, perhaps it's the productions in the Southeast Asia he's been working on that changed his style which wasn't suitable to western audiences (myself included). All in all, it could have been better.
The following contains minor spoilers, so turn back if you haven't seen the film... Or proceed at your own risk.
That said, the only reason I watched this film was Brosnan and he definitely made the film. I could easily say he's playing the sort of character who would be Remington Steele had he not met Laura Holt and continued to be a loner thief, seeing his life pass him by as he leaves regrets behind. Don't be fooled, however, as that suave and playful Pierce Brosnan is still very much there in the film, so I would say just lower your expectations and you will enjoy the experience as have I. In spite of a poor reception, I'd like a sequel, albeit with a different director. It was something mediocre that Brosnan made it work and the ending definitely promises a sequel I'd love to watch.
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Bond
Nomad
Posts: 20
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Post by Bond on Jun 22, 2021 11:25:10 GMT -5
You know? Having seen The Misfits by now, the film turned out exactly how I expected. Trouble is that... It tries to be something clever, but the script really suffers from poor writing despite being doctored by Kurt Wimmer. The entire thing screamed Ocean's Eleven and Fast & Furious ripoff (minus the cars) that actually could have worked had they involved a proper pitch to a major studio. I don't know if I can pin the blame on the cast because they weren't the one with the problem. I think Renny Harlin's directorial style was becoming rather tired, even though it was obvious he was trying. This definitely wasn't the same man who handled something like Die Hard 2. Perhaps it's the age, perhaps it's the productions in the Southeast Asia he's been working on that changed his style which wasn't suitable to western audiences (myself included). All in all, it could have been better. The following contains minor spoilers, so turn back if you haven't seen the film... Or proceed at your own risk.That said, the only reason I watched this film was Brosnan and he definitely made the film. I could easily say he's playing the sort of character who would be Remington Steele had he not met Laura Holt and continued to be a loner thief, seeing his life pass him by as he leaves regrets behind. Don't be fooled, however, as that suave and playful Pierce Brosnan is still very much there in the film, so I would say just lower your expectations and you will enjoy the experience as have I. In spite of a poor reception, I'd like a sequel, albeit with a different director. It was something mediocre that Brosnan made it work and the ending definitely promises a sequel I'd love to watch. you are so right!! no originality in the script, very bad script actually... Brosnan is the only reason to see this movie.
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Post by SeriousJacko on Jun 23, 2021 5:17:18 GMT -5
You know? Having seen The Misfits by now, the film turned out exactly how I expected. Trouble is that... It tries to be something clever, but the script really suffers from poor writing despite being doctored by Kurt Wimmer. The entire thing screamed Ocean's Eleven and Fast & Furious ripoff (minus the cars) that actually could have worked had they involved a proper pitch to a major studio. I don't know if I can pin the blame on the cast because they weren't the one with the problem. I think Renny Harlin's directorial style was becoming rather tired, even though it was obvious he was trying. This definitely wasn't the same man who handled something like Die Hard 2. Perhaps it's the age, perhaps it's the productions in the Southeast Asia he's been working on that changed his style which wasn't suitable to western audiences (myself included). All in all, it could have been better. The following contains minor spoilers, so turn back if you haven't seen the film... Or proceed at your own risk.That said, the only reason I watched this film was Brosnan and he definitely made the film. I could easily say he's playing the sort of character who would be Remington Steele had he not met Laura Holt and continued to be a loner thief, seeing his life pass him by as he leaves regrets behind. Don't be fooled, however, as that suave and playful Pierce Brosnan is still very much there in the film, so I would say just lower your expectations and you will enjoy the experience as have I. In spite of a poor reception, I'd like a sequel, albeit with a different director. It was something mediocre that Brosnan made it work and the ending definitely promises a sequel I'd love to watch. you are so right!! no originality in the script, very bad script actually... Brosnan is the only reason to see this movie. Quite. As a huge Brosnan fan, it's sad to see him waste himself in such mediocre movies. The last quality production he was involved with was The Ghost Writer and that already was a decade ago. Not my type of film, mind you? But, he's the sort of man who should have more than a couple of franchises under his belt outside of Remington Steele and James Bond. I know the original pitch for The Misfits was somewhat dark and personal before Brosnan's involvement, and to tell you the truth, I wouldn't have wanted something depressing, anyway. But, it was the sort of film that should have been handled by a director who (still) has a flair for this type of flick. It tries to be something, but the execution fell flat. Now, had someone like Chad Stahelski handled a flick like this, it would have been outstanding.
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Post by fkma6996 on Aug 30, 2021 10:15:01 GMT -5
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Post by rosafermu on Aug 30, 2021 11:22:37 GMT -5
Many thanks for everyone
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