In the opening scene of his new thriller coming to Netflix, Jason Momoa dives from the top of a baseball stadium into a river far below. No, he’s not playing Aquaman but rather Ray Cooper, a regular old-school guy. Or at least the kind of old-fashioned guy who can kick ass and dispatch trained assassins like he’s been doing it all his life.
After that prologue, the series continues misleadingly as if it were a sensitive drama, with Ray and his teenage daughter, Rachel (Isabela Merced, Dora and the lost city of gold), caring at the bedside of his desperate ailing wife and mother, Amanda (Adria Arjona). Their doctor promises that help is underway in the form of a miracle drug that could cure Amanda’s rare cancer. Unfortunately, their hopes were dashed when the pharmaceutical company almost immediately pulled it off the market.
Long on action, short on prestige.
The distraught Ray doesn’t exactly hide his feelings when he calls into a televised interview with the company’s ill-tempered CEO, Simon Keeley (Justin Bartha), and threatens, “If my wife die, that’s your death sentence.” Not long after, Amanda actually died, and it became clear what kind of revenge thriller Sweet girl be intended.
A subsequent secret meeting between Ray and an investigative journalist ends badly when the journalist is brutally murdered and Ray engages in a vicious brawl with the killer, suffering a stab wound in the process. this program. His subsequent violent encounter with Keeley results in multiple deaths, after which Ray and Rachel take it to the autorickshaw. They are pursued by a pair of FBI agents, including empathetic Sarah (Lex Scott Davis), who establishes a relationship with Rachel after the girl involved calls her.
While the relationship between Ray and Rachel, who has proven to be a tough fighter like her father, is portrayed touchingly, Sweet girl quickly turned into a series of extremely violent hand-to-hand combat scenes. The real stars of the film are the stuntmen and combat coordinators, who render these clashes in a visceral, mostly realistic style, though they ultimately lose impact. through absolute repetition.
Credibility becomes strained to the point of abruptness when Ray exhibits an uncanny ability to fight off villains, including a thrifty assassin (Manuel Garcia-Rulfo, quietly stealing the movie) , who can shoot people without looking at them. It’s all the more intense when small, not-so-impressive Rachel exhibits the same abilities, though her untapped aggression is signaled in an early scene in which she loses control. during a boxing lesson and nearly killed his male opponent. For his credit, Merced has managed to sell his character’s combat skills to a considerable extent, while Momoa is so physically intimidating that you wonder why Ray isn’t a star. WWE stars.
Much harder to sell is the absurd third action plot twisting almost everything we’ve seen before and proving that screenwriters Gregg Hurwitz and Philip Eisner have seen too many M. Night Shyamalan movies. And by Michael Hann HeatIn that regard, the evidence is the scene where Ray and the assassin call for a truce and sit and talk quietly in a diner. Of course, that’s what trained killers and their prey would do.
First-time director Brian Andrew Mendoza handles the non-stop action effectively and makes great use of the vast Pittsburgh locations. The elaborately choreographed action sequences at Fort Pitt Bridge, PNC Park, on the feeder line, and in the downtown area, with hundreds of extras, showcase the city’s eagerness to take action. film co-production. Toronto, be warned.
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