How can a movie with this many action sequences be this boring? I mean, it had potential - decent concept, good director, mostly decent cast (I love Noomi Rapace but I'm still not a fan of Terrence Howard) - but somehow it never gelled and never gained any momentum beyond a loping gait. Even the mise-en-scène felt tired and the ending was so trite as to be groan-worthy.
A far better gangster-revenge film than reviews suggest. If the film were Korean (which it resembles not only stylistically but in its melodramatic cliches & contrived ludicrousness), I wonder if critics would be more forgiving. But I like its dark and self-serious absurdity. Great potpourri of an ensemble cast too.
Quite enjoyable action thriller from Oplev that mostly sizzles thanks to the cast. Colin Farrell and Noomi Rapace are well cast here but the film really sings when Terrence Howard is on screen marking his meatiest performance since "Hustle & Flow". Plus one can't go too wrong with a small role by Isabelle Huppert. Story offers nothing new but doesn't take away from the enjoyment of revenge wrought.
Not bad but not very good either. The cast is beyond stellar but is largely squandered thanks to half assed script writing and sometimes stale plotting. The director does what he can to keep things going but is seems that the whole movie suffers from lack of direction. Still it kept my interest throughout its running time eventhough is feels very apparent that this could have been so much more.
Thriller which somehow manages to be convoluted and forgettable at the same time. A good cast (a still foxy Isabelle Huppert, Farrell, Rapace, F. Murray Abraham) is sadly squandered; Farrell does his well-worn, vulnerably charming, "I'm wearing black and grey because I'm a very serious character" thing well enough, but perhaps his wistfulness is in part a realisation that he is wasting his time on this one.
A moody and lovably melodramatic revenge thriller that glides on its distinctly European sensibilities and brooding turns from Farrell, Rapace and Howard. The labored, creative and satisfying psychological torture exacted here rivals most of South Korea's recent output. Confidently photographed by Paul Cameron. Somewhat underrated.