Director:
Tony ScottGuión:
Brian HelgelandCámara:
Paul CameronMúsica:
Harry Gregson-WilliamsReparto:
Denzel Washington, Dakota Fanning, Radha Mitchell, Christopher Walken, Marc Anthony, Giancarlo Giannini, Mickey Rourke, Rachel Ticotin, Roberto Sosa (más)Streaming (4)
Sinopsis(1)
Un frustrado y bebedor miembro de la CIA, John Creasy (Washington) se ha rendido ante la vida, hasta que encuentra trabajo como guardaespaldas de una niña de nueve años, Pita Ramos (Dakota Fanning). Poco a poco Creasy comienza a recuperar su alma, pero cuando Pita es secuestrada, la feroz ira de Creasy toma rienda suelta y nada le parará hasta rescatarla. (20th Century Fox España)
(más)Reseñas (9)
*** ¡Spoilers! *** Tony, eres un buen director de acción, pero ni siquiera con la voz de Lisa Gerrard (sospechosamente familiar) lo suficiente bueno para una historia ingeniosa sobre la redención de un hombre. Al menos en el caso de un tema así, envuelto en una ejecución excéntricamente pop. Estás fallando completamente en la construcción de historias dramáticas. Me emocionas en la primera mitad, haces que me enamore de la pequeña heroína y luego quieres que sienta catarsis de eliminar a sus verdugos sin derramar una sola lágrima por ella. Su héroe se venga, no para salvarla, sino por las mismas razones por las que Van Damme peleaba en la década de 1980. Y así, la segunda mitad de la película se convierte así en una aburrida acción segadora sin una conexión dramática con la trama anterior. El «sorprendente» remate no es más que el último clavo en un ataúd contradictorio. Pero, además de Denzel Washington y algunas secuencias de clip, El fuego de la venganza tiene un gran punto a favor que es Dakota Fanning.
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Scott overdid it, he exhibited too much for my taste. His nervous camera games were too frequent, even annoying, I would say. The simple script was not devoid of logical nonsense, but the ambiguous ending was quite a pleasant surprise. Washington repeats himself as an actor, essentially performing a variation on his Oscar-winning Training Day (you're right, sepp). It was nice to see Walken in a different than his traditionally villain role, and I was pleasantly surprised by the leading girl who gave a very convincing and natural (for a child) performance. Finally, a cool line from a conversation Washington (about to assassinate one of the bastards) has with an old man: "In the church, they say to forgive." – "Forgiveness is between them and God. It's my job to arrange the meeting.”
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Classic American Rambo revenge morality covered with the skin of a top techno-thriller form. The lemonade motif of the pursuit of justice and the pursuit of the last shudder of love in the soul of the bestial good guy didn't really irritate me, because Denzel Washington, the killer with a human face is good, and Scott even serves the loving relationship with little Pita in a tolerable way. The dumb content is clearly overridden by a selective form, a high-tech camera, perfect editing, and a clip-like incorporation of a musical undertone. Maybe if the story didn’t take itself so deadly seriously and some of the really forgettable dialogues were left out, Man on Fire would have been a very good, low-value film. Especially thanks to the directing and technical implementation, I was quite interested in the story, but I was definitely not satisfied. There's something infantile stupid about it, and Tony Scott can pull any sort of fat rabbits out of his hat, but this fact can't be disguised. A stupid action film in a selective guise with good acting.
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Tony Scott is back in form at last. He didn’t hesitate to incorporate epileptic editing, violence and outstanding actors into a raw story about a girl being kidnapped. With a different cast, this might have collapsed like a house of cards, but when the main protagonist is played by Denzel Washington as a devotee of the “dark side", this clearly leaves no room for any humor. Especially when revenge tastes best when it’s cold blooded, isn’t that right?
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Although I didn't believe it, Tony Scott is capable of a sensitive and unique approach. In other words, he indulges in flashy playfulness only in action scenes and when bringing together a large sad bear and the cutest child movie star of recent times, he keeps the camera still and lets the atmosphere take effect. Thanks to this, the sensitive moments stand out and the twists are filled with emotions to the breaking point. A perfectly crafted piece of filmmaking, created with love, to which the story naturally lends itself.
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Tony Scott for the first time in full-on experimentally impressionistic mode in a feature-length film. The cinematography and editing, or rather the use of fragments of shots, become the equivalent of massive deposits of paint and brushstrokes. In a nervously agitated way, Scott transforms a gritty thriller into fantastical macho camp whose overwrought images are just as infused with kitsch and surreal artificiality as the peak works by the master of melodrama, Douglas Sirk. On a small monitor, it is a ridiculous spectacle for pubescent boys fumbling about in their masculinity, but on the big screen, Man on Fire is breathtaking as a spectacular audio-visual equivalent of kinetic art. The magnificent experience is framed by a mix of impressions from a unique work that manages to be unintentionally funny in its bleakness, cringy in its kitsch, touching in its pathos and captivating in its formalism.
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Tony Scott scored a bullseye with me again. Man On Fire is a perfectly made action thriller with no shortage of deep emotions and perfect action, all framed in Tony’s classic “epileptic" style. The screenplay is also pretty well written and the actors, headed by Denzel Washington, have something to say. For action and Tony fans, just superb.
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In order for someone to really like this movie, they probably have to be a fan of Tony Scott in the first place. It has dynamic directing, sharp and lively cinematography, fast editing, blending of colors, and many other directorial tricks that the fans will enjoy, and basically it doesn't matter what the plot is about.
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I won't hide the fact that I expected a bit more from it. The first half is a compelling look at the growing friendship between a beleaguered bodyguard and a charming young girl, which is a joy to watch thanks to the performances and Scott's precise direction. The second half, marked by Washington's revenge and the liquidation of the kidnappers, does not lack momentum and brutality, but it’s surprisingly cold and the jerky camera got on my nerves instead of making everything more interesting. But that doesn't change the fact that Tony Scott was a great director who could make even a wheelchair chase look spectacular, and his action prowess and experience can be felt in every scene and especially in the ending. Man on Fire didn't impress me given the reviews, but on the other hand it didn't bore me for a moment. 3.5*
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