There are some women, wearing bikinis.
The Jackal flirts with and kisses another man at a bar.
Two men kissing briefly in a club.
At the beginning, there are women in a club wearing dresses with some cleavage.
A man opens his shirt to reveal his chest which has several scars from old gunshot wounds.


Film review:Translated by www.rabudo-ru.com


In 1995, El Pacino and Robert De Niro stood in opposition to each other in a film called “stealing the line of fire”. In 1997, Richard Kiel and Bruce Willis copied the duel between two old guys in the film “sniper professional killer”. They are both good and bad people, and two opponents. Obviously, the film is far from reaching the level of “stealing”, Put aside the reasons of acting skills, what is more important is that the plot and characters are not very plump, which doomed the “sniper” film to become a fake and shoddy copy of the “thief” film.

The plot of sniper professional killer is very simple. Bruce Willis plays a professional killer nicknamed “jackal” and is entrusted by the leader of the Russian Mafia to kill the first lady of the United States. Due to the mysterious whereabouts of the “jackal”, the CIA can only find Mo Kun, an IRA gunman who has had contact with the jackal, to help deal with the Jackal, So the killer and the gunman performed a soul stirring duel together.

Although it was nominally a duel, the Jackal and Mo Kun had only two opposite scenes. The first scene was that the two people met inadvertently. Because Mo Kun didn’t hold a gun, they jumped into the water in a hurry. Therefore, there was almost no deductive element in the encounter scene. Instead, the Jackal didn’t feel surprised when he saw Mo Kun, which developed the story a lot. In other words, The main function of this play is to continue the story, not to meet the opponent effect in the eyes of the audience. The director’s simple handling of this plot inevitably disappoints the audience, which is why this film is far less than “stealing the line of fire”.

The second scene is obviously patterned. The two protagonists must make a final end, so the subway was emptied, and the Jackal kidnapped an innocent woman to confront Mo Kun. According to the conventional practice, Mo Kun should surpass himself and protect women. This reason is actually the main line in the film. Although Mo Kun was a prisoner, he insisted on helping the CIA catch the jackal, which had little to do with whether he thought about the safety of the first lady of the United States. However, due to the jackal, Mo Kun was arrested, his ex girlfriend and his children were gone, and his new partner, the Russian female agent, died. All this gave him a driving force, Is to stop the jackals.

In this way, Mo Kun’s behavior is actually quite single. His motivation is only revenge, and the character in the film looks much pale. Although he helped the CIA a lot in the process of helping solve the case, these plots are not enough to enrich the character, so he becomes very model. Originally, Mo Kun’s motivation is quite single. More importantly, when the director sets this character, its background is also quite debatable. Although a criminal is helping the CIA, he is subject everywhere. Therefore, the character’s initiative becomes pale. The protagonist without initiative will never attract much attention, especially in this kind of commercial film, so, Richard Kiel is more like a decoration in this film.

In comparison, the role of jackal is dynamic. However, it is a pity that the director took a lot of monologue to him, showing how he prepared weapons and how he came to his destination. In the process of communicating with others, the Jackal only showed two characteristics, calm and cold-blooded. This is a conventional killer feature, which does not give jackals other human characteristics. Therefore, although Bruce Willis performs very hard, in fact, he has no charm at all. He is just a flat character.

When the two protagonists of the film appear in a single image and become furnishings in the plot, our requirements for commercial films can only exist in the plot. For this simple story, the so-called plot is nothing more than the accumulation of many plots or details, but in fact, almost all the plots and details of this film are disconnected from the main line.

The main line of the film is to stop the assassination, but whether it is to find Mo Kun’s ex girlfriend or analyze the character of the jackal, there are only three real clashes in the whole play. The first is the wharf, Mo Kun diving, the Jackal escapes, and the second is the Jackal killing three agents. This confrontation is very problematic. As a rational killer, he will never kill someone who doesn’t actually stop him at this time, which is like a deliberate provocation to Mo Kun. Therefore, it is obvious that the director deliberately arranged this play, but this confrontation has no connection with the main line and has not played a role in promoting the plot. Of course, the third paragraph is the end, which is needless to say.

There are only three fighting scenes to stop the assassination. For the rest of the time, almost the CIA and the Jackal are engaged in their own affairs and do not interfere with each other, so the tension of the film is greatly reduced. Similarly, it is difficult to see Mo Kun’s real understanding of the Jackal. The plot of intellectual struggle does not appear. Therefore, this film gives people a strong sense of rupture, and this sense of rupture can only be said to be the low level of the screenwriter, so what we see is a lengthy film, which is not linked, nor does it have any feeling of peak confrontation, nor can we see the personality of the characters in the film.

This is a standard model film. The character model, plot model, and even the character feelings given by the details are also model. Of course, the last part of the film, the duel between protecting the first lady and the subway, is still more visible, but it is basically a routine move in American films without any breakthrough.

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