The Last 24 Hours of Brian Smrz | Review


Published on Jul 24, 2018


There is one idea more than interesting, at the base of The Last 24 Hours, the new action starring Ethan Hawke: the film begins where many other similar films come to an end, that is, with the death of the hero, and from here again to show you how a second chance enables the protagonist to undertake a different style of life. So, if before dying, Travis Conrad was basically an anti-hero (a mercenary who in the past has killed anyone, and to anyone who was willing to pay enough) once back on the life you leave behind the dark side and decide to try, for once, to do good.

The big problem with the movie is that, in the course of about 90 minutes, will do exactly the same things all those other action by which he had tried to dodge through an original subject.

Just like the franchise, John Wick, The Latest 24 Hours door behind the room taking a stuntman Brian Smrz: the man with no vowels in the surname, before this experience, she worked as a stunt coordinator, and director of the second unit for some of the action the most famous of the last few years (Mission: Impossible 2, Die Hard – Vivero o Morire), and had directed the film direct-to-DVD Hero Wanted. His debut film mixes the action modern to science-fiction (there are echoes of 1997: Escape from New York: also in the films of John Carpenter, the film had a deadline) but it makes the grave mistake of taking damn seriously.

The saga of Chad Stahelski and David Leitch starring Keanu Reeves played the total absence of plot (John Wick came back into action to avenge his dog) to afford to leave space only and exclusively to the action sequences, which were (especially the second) compared to a true art form, consisting of a own style and their own pace in the same way to a dance.

The Last 24 Hours, instead, you try to talk about a lot of things serissime that have little to do with the world exaggerated within which those events are to contestualizzarsi. The action have always focused on the strengths of its actors, from the face to an ordinary man, Bruce Willis in Die Hard (John McLane is an ordinary man) to the fatigue of the sixty-year-old Liam Neeson in Taken, while here we have an actor four times nominated for an Oscar that does silly things in a movie that, more goes on, the more it loses meaning. And, incredibly, it also becomes more boring.

It's hard to believe that a film focused on the most deadly assassin in the world, with a timer embedded in the wrist may be pedantic, but that is precisely what happens in The Last 24 Hours. Films of this kind must be so exciting, so funny, hard working, energetic and carefree to automatically trigger the suspension of disbelief of who is watching them, while Smrz seems to want to constantly keep on the alert, with plots, sub-plots and, above all, sub-texts (from alcoholism to depression, from mourning to the value of friendship) that are completely useless. On the contrary, harmful. Because, if the film makes you ask questions, then start to ask you questions all the inconsistencies in the narrative that you encounter along the way. And there are, of course.

Ethan Hawke more than to fight against his enemies seems to struggle against the film itself, in an attempt to keep him alive. Sometimes he succeeds, as well. Many others, unfortunately, no.

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