A wave of kidnappings has swept through Mexico, feeding a growing sense of panic among its wealthier citizens, especially parents. In one six-day period, there were twenty-four abductions, leading many to hire bodyguards for their children. Into this world enters John Creasy, a burned-out ex-CIA operative/assassin, who has given up on life. Creasy’s friend Rayburn brings him to Mexico City to be a bodyguard to nine-year-old Pita Ramos, daughter of industrialist Samuel Ramos and his wife Lisa. Creasy is not interested in being a bodyguard, especially to a youngster, but for lack of something better to do, he accepts the assignment. Creasy barely tolerates the precocious child and her pestering questions about him and his life. But slowly, she chips away at his seemingly impenetrable exterior, his defenses drop, and he opens up to her. Creasy’s new-found purpose in life is shattered when Pita is kidnapped. Despite being seriously wounded during the kidnapping, he vows to kill anyone involved in or profiting from the kidnapping. And no one can stop him.
Tony Scott was a British-born film director and producer. He was the youngest of three brothers, one of whom is fellow film director Ridley Scott. He was born in North Shields, Northumberland, England to parents Jean and Colonel Francis Percy Scott. As a result of his father’s career in the British military, his family moved around a lot. Their mother loved the going to the movies and instilled a love of cinema in her children.
While still a teenager, producer and director Tony Scott made his first foray into film with an appearance in his big brother Ridley Scott’s first short film, Boy and Bicycle. He later attended London’s Royal College of Art, as did his brother, and proceeded to get his feet wet behind the camera, at first by directing TV commercials for his brother’s production company Ridley Scott Associates. He became a leader in the British commercial industry, directing countless ads and building up an impressive resumé over the years. By the early ‘80s, Tony Scott… read more
Tony Scott at the height of his visual power, held back by some, shall we say, disturbing ideological undertones that make the beauty the ugliest he ever shot. The second half plays a bit too much like a disturbing movie pretending to be fun, only justifiable if you want to call it ironic. Makes me miss Lang, a master of revenge, who knew how to strike the right tone of moral ambiguity. 3 stars.
When this movie hit the theaters, it was almost universally praised as a solid revenge yarn - with many viewers adding the caveat that it was over-directed within an inch of its life. Tony Scott took to tinkering with the movie in post-production, adding an almost innumerable amount of cuts and splices, at times truly warping the image. However, the visual manipulation is just another example of how much control Scott exerts over the material. Despite a scene of Denzel filling an entire duffel bag full of artillery, a moment that's right out of "A Better Tomorrow," the movie never turns into a mindless shoot-em-up or "Death Wish" fantasy. Instead the viewer is left feeling stressed and uneasy as we watch a good man slip back into his old ways of torture and killing - when, twenty minutes ago, we swore he'd found redemption. "Man on Fire" is Tony Scott at the top of his game.
Movement 6B in a critical exquisite corpse project analyzing films by Tony Scott. This entry focuses on Man on Fire (2004).
An exquisite corpse-style critical project on the films of Tony Scott featuring twenty critics and twenty scene analyses.
One “movement” in our exquisite corpse-style critical project on Tony Scott. Each movement features ten critics and ten scene analyses.
Movement 8A in a critical exquisite corpse project analyzing films by Tony Scott. This entry focuses on Man on Fire (2004).
On the late great.