Homem em Fúria

*** Spoilers! *** Tony, és um bom realizador de filmes de ação, mas os vocais (suspeitosamente familiares) de Lisa Gerrard não são suficientes para uma história inteligente sobre a redenção de um homem. Pelo menos no caso de um tema como este, embrulhado numa interpretação excentricamente pop. Falhas completamente na construção dramática da história. Emocionas-me na primeira parte, fazes-me apaixonar pela pequena heroína, e depois queres que eu sinta a catarse por ela no momento da liquidação dos seus assassinos sem uma única lágrima. O teu herói vinga-se não para a salvar, mas pelas mesmas razões pelas quais Van Damme fez acrobacias nos anos oitenta. E assim, a segunda metade do filme torna-se apenas uma monótona gadanha de ação sem qualquer ligação dramática com o enredo anterior. O ponto de partida «supreendente» é apenas o último prego num caixão contraditório. Mas há uma grande vantagem, para além de Denzel Washington e de algumas sequências de clipe em Homem em Fúria - Dakota Fanning. (02/10/2004)

Tony Scott is back in form at last. He didn’t hesitate to incorporate epileptic editing, violence and outstanding actors into a raw story about a girl being kidnapped. With a different cast, this might have collapsed like a house of cards, but when the main protagonist is played by Denzel Washington as a devotee of the “dark side", this clearly leaves no room for any humor. Especially when revenge tastes best when it’s cold blooded, isn’t that right? (10/08/2004)

Scott overdid it, he exhibited too much for my taste. His nervous camera games were too frequent, even annoying, I would say. The simple script was not devoid of logical nonsense, but the ambiguous ending was quite a pleasant surprise. Washington repeats himself as an actor, essentially performing a variation on his Oscar-winning Training Day (you're right, sepp). It was nice to see Walken in a different than his traditionally villain role, and I was pleasantly surprised by the leading girl who gave a very convincing and natural (for a child) performance. Finally, a cool line from a conversation Washington (about to assassinate one of the bastards) has with an old man: "In the church, they say to forgive." – "Forgiveness is between them and God. It's my job to arrange the meeting.” (28/10/2004)

Classic American Rambo revenge morality covered with the skin of a top techno-thriller form. The lemonade motif of the pursuit of justice and the pursuit of the last shudder of love in the soul of the bestial good guy didn't really irritate me, because Denzel Washington, the killer with a human face is good, and Scott even serves the loving relationship with little Pita in a tolerable way. The dumb content is clearly overridden by a selective form, a high-tech camera, perfect editing, and a clip-like incorporation of a musical undertone. Maybe if the story didn’t take itself so deadly seriously and some of the really forgettable dialogues were left out, Man on Fire would have been a very good, low-value film. Especially thanks to the directing and technical implementation, I was quite interested in the story, but I was definitely not satisfied. There's something infantile stupid about it, and Tony Scott can pull any sort of fat rabbits out of his hat, but this fact can't be disguised. A stupid action film in a selective guise with good acting. (17/02/2007)

Although I didn't believe it, Tony Scott is capable of a sensitive and unique approach. In other words, he indulges in flashy playfulness only in action scenes and when bringing together a large sad bear and the cutest child movie star of recent times, he keeps the camera still and lets the atmosphere take effect. Thanks to this, the sensitive moments stand out and the twists are filled with emotions to the breaking point. A perfectly crafted piece of filmmaking, created with love, to which the story naturally lends itself. (02/09/2007)