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An outlaw, a waitress and her misfit neighbor come upon a baby in the midst of car wreckage. With his former partner in crime out to get him, the outlaw and his new friends put their lives on the line to protect the infant from danger.
Kevin Burke a young executive for a multinational investment bank, is a rising star in the Rotterdam office. Rewarded for his perceptive eye and mastery of foreign languages, Kevin receives the promotion he has been working for - a coveted spot on the company's internal security team. Trained by the enigmatic Mr. Ficks to protect the firm's employees in volatile, third world markets, Kevin thinks he has a shield for every arrow. And this makes him feel safe, or at least "safer" than he's felt since his father's mysterious death. Karl Jorgensen, the Managing Director of the bank, is Kevin's boss and surrogate father. He has mentored Kevin over the years, which makes his biological son, Karl Jorgensen Junior, visibly jealous. Jorgensen brushes off the "sibling rivalry", but clearly favors Kevin, molding him into a confident, young man. It is this confidence that gives Kevin the courage he needs to propose to the woman he loves. One smile from Rosalind Bremmond and it is easy to ... Written by
Parabolic Pictures, Inc.
Beyond an absolutely brilliant performance by Skeet Ulrich as a man trained to be a hit-man for a criminal corporation, there's not much to recommend this film. It's not as terrible as some reviewers remarked - beneath the flashy visuals lies a rather old-fashioned suspense thriller. Unfortunately, the producers were clearly shopping for another "Bourne Identity", and the director, probably a meth-addict, had watched too many John Woo films. I mention this because while I watched the bicycle chase stunts - all too clearly created by the editor rather than the stunt crew - I thought of Jackie Chan's marvelous bike chase in "Project A" and thought to myself, 'gee, that's what this movie needs - Jackie Chan, not John Woo'. But John Woo is the influence here, and since Woo is an arch-stylist, to imitate him you have to have a real schmaltzy but original plot going on beneath the style; and while this film has the schmaltz, it has no originality to speak of. There are glaring references to Hitchcock and Stanley Donen, Samuel Fuller's "Dead Pigeon on Beethoven Street" and an obscure thriller based on an Alistair MacLean novel, "Puppet on a Chain" - glaring because the originals were so much better and certainly don't need this sort of 'tribute'.
I won't say this is a bad thriller; some will find it entertaining enough. But it pretends to be so much more - what a disappointment.
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