#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Hard-drinking, burnt-out ex-CIA operative John Creasy has given up on life until he’s hired as a bodyguard to protect 9-year-old Pita Ramos. Bit by bit, Creasy begins to reclaim some of his soul, but when Pita is kidnapped, Creasy’s fiery rage is finally released and he will stop at nothing to save her as he sets out on a dangerous, revenge-fueled rescue mission.
Plot: Jaded ex-CIA operative John Creasy reluctantly accepts a job as the bodyguard for a 10-year-old girl in Mexico City. They clash at first, but eventually bond, and when she’s kidnapped he’s consumed by fury and will stop at nothing to save her life.
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His bodyguard style is much entertaining. I could watch it all up until certain point. Then it seems Denzels character goes against his usual serious bodyguard style. Only to progress the plot. That is when I turn this movie off
_**The Punisher in Mexico City, albeit black**_
A disillusioned ex-CIA operative (Denzel Washington) gets a gig in Mexico as the bodyguard of a precocious girl (Dakota Fanning) from a wealthy family. Christopher Walken plays his friend, Radha Mitchell the mother of the girl and Mickey Rourke an attorney of the family.
“Man on Fire” is a crime drama/thriller that debuted five days after Thomas Jane’s “The Punisher” in 2004. While “Man of Fire” was based on a novel by A.J. Quinnell and “The Punisher” was based on the Marvel Comics’ character, they’re both about men who suffer great tragedy and enact merciless strategies to take out the criminals responsible. They’re about on par, but I give this one the edge as it has more dramatic depth and flashier filmmaking by director Tony Scott (which some may find annoying). But neither is as supremely effective as the later “Taken” (2008).
Some complain that the movie’s “schizophrenic” because it’s like two movies stitched together, but don’t all revenge stories have a set-up for the oncoming revenge part? This one just has a longer and more satisfying set-up.
The film runs 2 hour, 26 minutes, and was shot mostly in Mexico City.
A film of two halves.
Based on the novel of the same name by the pseudonymous AJ Quinnell, which is itself alleged to be based around true events, Man On Fire has previously been brought to the big screen in a 1987 European production by French director Elie Chouraqui. At it’s heart, a simple revenge fable, Man On Fire follows the fortunes of a formerly accomplished military man known simply as Creasy, that’s Creasy with a C, not a G as it sporadically sounds in the movie. Portrayed in this adaptation by Denzel Washington, Creasy is an amiable if evasive character, clearly troubled by a shadowy past of contentious moral value. This exhibits itself in a pervasively melancholy facial expression and an eagerness to spend rather too much time with his good friend Jack Daniels. It’s only through the ever watchable Christopher Walken’s character Rayburn, a friend and former colleague, that the viewer is afforded any insight into Creasy’s character or past. After we’re explicitly informed of the prolific rate of kidnappings in South American states, a bearded, bottle hitting Creasy is cajoled by Rayburn into taking a job as a bodyguard in his adopted home, Mexico. He’s immediately hired by the unconvincing couple of Samuel and Lisa Ramos, played by Jennifer Lopez casualty Marc Anthony and Neighbours alumnus Radha Mitchell, to protect their little girl Pita, played by Dakota Fanning. Of course Pita is summarily abducted, Creasy is riddled with bullets, and the subsequent ransom drop is botched, ostensibly meaning curtains for the little girl. Well Creasy needed something to burn about, you didn’t think it was about visit to the clap clinic did you? The rest of the film depicts a largely irrelevant criminal network being dispatched in creatively gruesome ways until the inexorable showdown with the architect of the kidnapping.
The first half of the film plods along with a pleasantly restrained pace, allowing us to enjoy some truly memorably scenes between the excellent Washington and Fanning. Creepily precocious in previous appearances, c.f. the saccharine I Am Sam, Fanning is charming as a convincingly bright youngster with maturity beyond her years, and a penchant for oral hygiene, rather than some kind of miniaturised twenty-something. Washington performs admirably as a character that is detached and distant, not least because he clearly has little back story to speak of. Walken is used sparingly and his performance is restrained. His only foray into his usual trade of scene stealing dramatic monologues even ends with the assurance “I don’t have anything else to say”. Mickey Rourke puts in a brief performance as a lawyer that appears as though the word bar has no legal connotations to him at all, and all the other supports are of a generally high standard. Anthony and Mitchell, however, fail to convince as either spouses or parents. Mitchell manages to be pert and distressed at the appropriate junctures, but Anthony clearly struggles to make his character credible as an actual human being.
The second half of the film, and it does start almost exactly half way through the two and half hour runtime, sees Scott abandon all directorial restrain and turn up the affectation to 11. In a scene which had the potential for Washington and Mitchell to display a deeper emotional side to their characters, Creasy flicks through his departed charge’s diary while sitting on her bed, and is interrupted by the grieving MILF. After some cursory navel gazing, Lisa concedes that she doesn’t know what to do and solicits Creasy’s plans for the future, “What are you going to do?” “What I do best. I’m gonna kill ’em. Anyone that was involved, anybody who profited from it, anybody that opens their eyes at me (!?)” This statement of murderous intent comes complete with an irritating musical cue courtesy of Nine Inch Nails, and Lisa’s response? Clearly suffering from a bout of the ever popular Lady Macbeth syndrome, barely batting an eyelid, she offers “you kill ’em all”, pecks him on the cheek and sends him on his merry way. The inevitable ‘tooling up’ montage follows promptly.
From here on in, the film resembles some unholy mash of Stone and Soderbergh via Akerlund, filming a Tarrantino script without the dialogue or stylistic aplomb. The soundtrack proceeds to irritate, offering the abrasive cheese-grater on a guitar posturing of Nine Inch Nails to let us know when the action is suitably ‘hardcore’, and the pseudo mystical foreign female vocals popularised by Scott senior in Gladiator, when something ‘poignant’ is occurring. The subtitles, required by virtue of the Mexican locale, fade, grow, wipe and move across the frame in manner initially intriguing, but quickly distracting. These two aberrations, on top of the ‘kid in a sweet shop’ approach to visual effects, serve to totally distance the viewer from any connection they may have established in early scenes. On top of this we’re offered a fearless journalist who can seemingly find out anything, Creasy attracting and taking bullets like Rocky does punches, and yet another ridiculous club scene. Aren’t there any normal night spots in Hollywood? The violent set pieces are generally well executed, no pun intended, the most memorable being a Reservoir Dogs style extremity deprivation to the strains of the radio. The climax, when it finally arrives is surprisingly subdued, though a tacked on final moment of retribution caused the film to leave me rolling my eyes in irritation.
The main problem with Man On Fire is that it’s a thin, simplistic story, prolonged to 146 minutes by a desire to show off stylistically. After Creasy sets off on his killing spree, the only thing left is to sit back and count the bodies. There isn’t really any interest left in the characters, and the shadowy criminal network offers little more than greedy Creasy fodder. On the whole, it’s a good quality action film, so long as you don’t mind the bloated run time. Man On Fire is a predictably undemanding, enjoyable piece of entertainment from Tony Scott.
Righteous retribution and the John Creasy redemption.
Man on Fire is directed by Tony Scott and adapted to screenplay by Brian Helgeland from the novel of the same name written by A.J. Quinell. It stars Denzel Washington, Dakota Fanning, Marc Anthony, Rachael Ticotin, Radha Mitchell, Christopher Walken, Giancarlo Giannini, Mickey Rourke and Jesús Ochoa. Music is scored by Harry Gregson-Williams and cinematography by Paul Cameron.
Mexico City and kidnappings are rife. Enter ex-military operative John Creasy (Washington). Often drunk and with no discerning aims in life, Creasy is hired by the Ramos family to act as bodyguard to their young daughter Pita (Fanning). After initially being cold and distant, Creasy starts to form a warm relationship with Pita, but tragedy strikes and Pita is kidnapped. This sets the wheels in motion for Creasy to go on a one man war of revenge against anyone involved in the snatch.
Directed with a raft of deliriously ace neo-noir flourishes by Tony Scott, Man on Fire is 145 minutes of fatalism. From the outset it’s evident that this sweaty part of Mexico is home to a tortured soul, a man in desperate need of redemption. John Creasy will get this redemption, by hook or by crook, we know this, the narrative structure quickly pulls us in to impress this fact upon us. How he finds it, both emotionally and physically, is what drives the picture on. This is no ordinary tale of revenge, an excuse for pyrotechnics and inventive deaths, it is about one man’s journey to said redemption, his trawl through hell, his personal sacrifice is his calling.
The catalyst is the kidnapping of young Pita Ramos, but where it would have been easy for Scott to jump in early and unleash Creasy hell, the director shows great restraint by affording time to the relationship of John and Pita. Most of the first hour is spent building a bond between them, the child softening the edges of the Creasy exterior, to then enter into his heart as he becomes not just a friend, but a surrogate father as well. It’s a very real relationship, a natural one, so when things go pear shaped in the second half of the piece, we care what is happening.
Yet constantly that air of fatalism and pessimism hangs heavy as the plot thickens, the unfolding story pulsing with betrayal at almost every turn, classic neo-noir and Scott amps up the disorientation as we enter a hellish world of social decay. His box of tricks contain jump-cuts, film stock, reverse process, over-saturated colours, kinetic camera work, step-printing and slow-mo, all used to create the perfect tonal discord, a marrying up of the anti-hero’s state of mind and that of the realm he has entered.
The film can be accused of pandering to stereotyping Latino baddies, especially irksome since the source novel was based in Italy, and that is a misstep that could have been avoided, but Man on Fire remains one of the most important neo-noirs available to view. It refuses to take easy options, particularly with the jet black finale, it has a grasp on what is required for quintessential neo-noir. Backed by stunning work from Washington, Scott and Cameron, it’s a film equally of high technical merit as it is of narrative bite. 9/10
Original Language en
Runtime 2 hr 26 min (146 min)
Genre Action, Crime, Drama
Director Tony Scott
Writer A.J. Quinnell, Brian Helgeland
Actors Denzel Washington, Christopher Walken, Dakota Fanning
Country United States, United Kingdom, Mexico, Switzerland
Awards 1 win & 7 nominations
Production Company N/A
Sound Mix DTS, Dolby Digital
Aspect Ratio 2.35 : 1
Camera Aaton A-Minima, Aaton XTR Prod, Arriflex 35 IIC, Panavision Primo and Ultra Speed MKII Lenses, Arriflex 435 ES, Panavision Primo and Ultra Speed MKII Lenses, Panavision Panaflex Millennium XL, Panavision Primo and Ultra Speed MKII Lenses, Panavision Panaflex Platinum, Panavision Primo and Ultra Speed MKII Lenses
Laboratory Company 3, Los Angeles (CA), USA (digital intermediate), DeLuxe, Hollywood (CA), USA (prints), FotoKem Laboratory, Burbank (CA), USA
Film Length 4,001 m (Sweden)
Negative Format 16 mm (Eastman Ektachrome 160D 7239), 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision Expression 500T 5284, Ektachrome 100D 5285)
Cinematographic Process Digital Intermediate (2K) (master format), Spherical (16 mm footage) (source format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (partial blow-up) (Kodak Vision 2383)