“Man on Fire” produces mixed feelings, and Tony Scott’s direction doesn’t help matters.
Washington plays an alcoholic ex-CIA killer, Creasy. He travels to Mexico, which has been plagued with numerous kidnappings. He finds a job as a bodyguard for Pita (Dakota Fanning), the daughter of a wealthy family.
Creasy doesn’t care about living, and he dodges the advances and endless questioning of the child. But soon he forms a bond with Pita, and then the generic plot kicks in: Pita is kidnapped, and Creasy becomes a hound for vengeance.
Washington pulls off another astounding performance. He balances a vengeful spirit with a longing for redemption. If you thought Washington was unpredictable and twisted in “Training Day,” he will surprise you again with the more complex, human character of Creasy.
Dakota Fanning emulates a whiny, spoiled brat all too well; in fact, her survival meant nothing to this viewer, which detracts from the emotional objective of this film.
As far as Pita’s parents go, Radha Mitchell invigorates the screen as a confused and angry mother. Enjoy her outbursts of profanity and wailing while they last.
On the other hand, Marc Anthony’s attempts as a shady father are amateurish. Anthony’s performance reeks of forced ambiguity, and the casting team should be shot for giving him this role.
Unquestionably, this film runs too long. The first hour drags along, and when the film does swing into action, the senses barely have time to adjust. Excess close-ups and slow motion wear thin quickly.
Of course, the revenge/redemption plot is about as original as celebrity autobiographies, and most of the twists never astonish.
Luckily, the writers threw in some depraved torture scenes, and Washington has gloriously wicked fun with the bad guys-rectal explosives should give a hint.
Director Tony Scott is no stranger of action, and when the plot starts to bore, stimulating destruction hits like Mike Tyson on crack.
Yet Tony Scott’s distracting direction is the biggest flaw of “Man on Fire.”
Unless fidgety camerawork, innocuous still-frame shots, and convoluted imagery excite your eyes, Scott nearly butchers any reason to keep watching.
Even worse, at times there are English subtitles for English in the middle of the screen! Yes, you will hear a character say something in English, and you will read it. Did the planning of this film take place in an opium tent or what?
For the umpteenth time in his career, Washington makes a mediocre director and story look sweeter. Meanwhile, Tony Scott needs some advice: when a plot of supposed substance is on hand, leave all the stylish nonsense at home.
Extras are limited to commentary tracks. Director Tony Scott and other significant creators muse over their artsy incompetence and hard work. If you like to hear children talk about acting and training, perhaps Dakota Fanning’s words will present interest. Overall, these are truly boring people, and one can only regret that Washington was not included to speak about his psyche during the torture scenes.