A newbie guard for an armored truck company is coerced by his veteran coworkers to steal a truck containing $42 million. But a wrinkle in their supposedly foolproof plan divides the group, leading to a potentially deadly resolution. —IMDb
Nimród E. Antal (pronounced: Neemrode; born November 30, 1973) is a Hungarian American film director, screenwriter and actor.
Life and career
Antal was born in Los Angeles to parents of Hungarian ancestry. In 1991, following his father’s advice, Antal moved to Hungary to study at the Hungarian Film Academy. After graduating he began work in the film and television industry; in 2005, he returned to Los Angeles and continued to work in the film and television industry in Hollywood.
He is best known for writing and directing the Hungarian-language film Kontroll (2003), which won numerous awards, including the Award of the Youth at the 2004 Cannes Film Festival and the Golden Hugo (main prize) at the Chicago International Film Festival, as well as a European Film Award nomination for Best Director. The backdrop of the film is the Budapest Metro subway system. Kontroll, refers to the act of ticket inspectors checking to ensure a rider has paid their… read more
My fellow Mubians rarely steer me wrong, although our tastes may differ at times. That said, I couldn't find anything particularly noteworthy about "Armored." The filmmakers managed to rope in several talented actors - including Laurence Fishburne, Jean Reno, and Fred Ward - but committed the sin of giving these talented men absolutely nothing to do. As another reviewer points out, this is essentially an action movie take on "Reservoir Dogs" - yet the script is not up to the task. Notice whenever an argument erupts between the 'bad guys,' the dialogue track literally descends into little more than a shouting match while the camera pans away and finds something else to focus on. Like the blue-collar workers they portray in the film, our cast seems most interested in collecting their paycheck and going home.
No frills genre the likes of which hasn't been seen in years. Antal's shot choices are intelligent and unassuming, casually expressive, and he's an expert at wringing visual tricks from his spare, drab setting. An interesting pair with Universal Soldier: Regeneration in its use of dead industrial spaces, but not concerned with the heady philosophical questions of that film. Rather, Antal is a master of shooting blue collar men committing blue collar crimes.