The Foreigner

Jonathan Cold is a freelance agent who is hired by Alexander Marques to carry a package across Europe to Jerome Van Aiken. When the simple collection turns into a gunfire that ends with the building in flames, Cold suspects something is up but, after a diversion to his father's funeral, continues to try and deliver the package. However as the hours pass, Cold finds that more and more people seem to want either a) the package, b) Cold stone cold dead or c) both of the above. Unsure of who these people are or why they want the package (or even what the package is because, despite everyone in the world betraying him, he is too "professional" to look inside) Cold tries to sort out right from wrong and make it out alive.

Call me a stubborn man but although Out For A Kill was a shambles, I still somehow thought that I would give this joint Oblowitz/Seagal film a shot. Very quickly it becomes apparent that the plot isn't going to stand up for longer than 20 minutes – which is a problem in a 90 minute film. Taking the usual cliché of an agent being chased by all sides, trying to find a solution, this film forgets to actually write it in such a way that it makes sense or even engages. People pop up all over the place, are thrown out of windows and generally interact with bullets or explosions in one way or another but we don't really know who they are or why they are doing it. In one sense this might have worked by producing a general sense of claustrophobia and tension but it doesn't – instead it gives the impression that the writers haven't done much with the story other than drawing up a storyboard where lots of people fall through windows. This lack of effort in the writing is not only at this level but also runs all through the film – for example on man behind shot twice by a shotgun (at 10 foot range), falling out a second storey window but turning up alive minutes later with an injury to his side but generally fine otherwise.

With these problems it will be no surprise to find that the characters are poor. Most of them are just cardboard clichés but Cold is the main problem. Here is someone we are meant to like, who is a professional, however he managed to be completely lacking in morals and is closer to the baddies than I'm sure Seagal would have liked. For example he pays some "normal" guy to deliver his car to Germany, thus drawing the bad guys away from him – problem is, the normal guy was always going to get killed – is this a plan that is meant to make me like him or care if Cold lives or dies? Maybe this was the point but, if it was, it didn't work because Seagal delivers it just the same as ever – loads of mumbles and slightly altering his tone of voice when required to display any emotion. Ryan is a little bit more expressive (and thus fun) but he seems to spend most of his time running away from explosions or reappearing from the dead. The rest of the support is bland, being made up of obscure sports stars turned actors and lots of people trying to look classy without the material to allow them to do it. Suffice to say that, when none of the cast even manage to outshine Seagal then you know things aren't good.

Overall a poor Seagal film that even fans will struggle to get into. The action is poor and is directed with no flow (or edit longer than a second) and it is too hard to get excited about it. This leaves the story, which is a sorry mess of a plot that makes no effort to engage or make sense of; basically it just relies on people falling through glass and those looking for a complex thriller and not just wasting their time – they are deluding themselves. Even Seagal fans (if any remain) will struggle to care about this garbage.

1/2 out of ****

The most painfully boring action movie I've seen since (insert any recent Steven Seagal venture), I'm starting to wonder if satiating my morbid curiosity over the next Seagal disaster is worth wasting time for the hell I endure. To date, I have not genuinely enjoyed any of the man's movies (well, not entirely true, Executive Decision was excellent, but not Seagal's movie, thankfully) and it's almost always because of him. With a few exceptions, I can easily picture different stars in his past roles that would have made these subpar action pictures superior to...well, how they turned out with Mr. Expressionless himself.

Such is the case with The Foreigner, which stars Steven Seagal as Jonathon Cold, a mysterious guy who delivers packages. Gasp, it's like The Transporter, only without the hugely charismatic lead and thrilling action sequences. I'd delve further into The Foreigner's plot, if only I understood what the hell was going on. The basic premise is that Cold's latest package is something everyone wants to get their hands on and they'll kill him for it.

But not a single plot point is the slightest bit comprehensible. Supporting characters appear at random, looking for the package, rarely ever establishing a clear reason why the want or need it. Excruciating monologue upon excruciating monologue is inserted into the script to no avail; I wonder if the actors involved even understood what they were saying or doing. The movie's silly, too, with Seagal's character acting in ways that might seem clever to a five-year old (switch cars with someone else, give bad guy a fake package), which apparently means most of these bad guys aren't much smarter than your average kindergartener.

After Exit Wounds, The Foreigner became (mostly) a return to typical Seagal. Like his previous early works, the title could be used to describe Seagal's character (i.e. Steven Seagal is...Out for Justice, Marked for Death, Above the Law, Hard to Kill), the fight scenes are almost as short as those in The Patriot, and the lead villain is pathetically easy to defeat in hand-to-hand combat. In an attempt to give the movie style, director Michael Oblowitz applies slow motion to the shootouts, sometimes also speeding up the footage. How exactly he thinks this could do anything for the movie (especially for action scenes as short as these) is baffling.

As usual, Seagal is wooden as ever, proving himself the worst actor ever to have been considered a star. He's also getting chubbier, usually hiding his weight gain with abnormally large coats. If someone else, say Jason Statham, had this role instead, the movie's quality would easily jump up a *, as plot incomprehensibility could still be made somewhat bearable with a charismatic lead (which Statham amply provides).

I read somewhere The Foreigner is originally slated for a theatrical release, but after Half Past Dead bombed, the studio dumped this into the video market almost immediately. So the movie should be very availabe at your nearest rental store, but I suggest you ignore it, even if you are a Seagal fan, and check The Transporter out instead, just to see why Jason Statham will be cinema's next big action star and how a movie about a guy who delivers packages can be made with style.

When you watch a Seagal movie, you expect good action. You expect fighting, not just a lot of shooting like in this flick. And: you expect a rather simple story. OK, I can live with a more complex story even though it's a Seagal movie. But this one, this is, I don't know what to say. It's very, very confusing indeed. At the end of the movie, I had major problems figuring out what had happened. And I know I'm not the only one. The story lacks so much information and is so full of plot holes that it's nearly impossible to keep track of what's happening in the movie. There are many people in the movie, people change sides all the time, and it switches locations too often. Terrible. I just don't understand why it looks like Seagal is making a sort of sequel to this one.

The movie fascinated me because of the plot, but once it got underway my fascination took a different direction. I think for the only time in my life I laughed at people getting shot. Segall's Dutch accomplice shoots everyone! He himself is shot four different times. The hotel clerk won't give out a room number? Ask her to call and see which number she dials. Then, instead of unobtrusively going to that room, shoot her!

The farce is complete when Segall faces down an opponent holding a gun 20 yards away. He flings a flight recorder CD with a little C4 stuck on like gum at his assailant. We see the disk igniting in mid-air in slow motion. Does the other guy shoot? No, he just stares at a CD coming to blow him away. The CD has the extra fun effect of propelling him backwards and upwards through a conveniently placed 2nd story picture window.

I must admit; I enjoyed this so much that I immediately went out to get another Segall movie to see if it is as ridiculous. I can't explain why this is entertaining, but it is! IT IS!!

This is one of those films that makes me wonder about the integrity of a lot of film reviewers. In this very same forum, you will find a guy who talks about all of the Steven Seagal films he has seen that he didn't like. Then why watch his movies? It's as if every action film is supposed to live up to the Godfather movies or something. I just don't get it. This film was a pleasure to see. A very polished and professional production. The movie has some interesting plot twists that no doubt can get the lazy of mind in a twist, waiting for the pieces to come together. But like all good directors, Michael Oblowitz makes you wait to the END of the film to find out the answers. As opposed to the BEGINNING of the film like some of the savant reviewers seem to think it should be. In my opinion Steven Seagal is one of the few action movie people who actually made significant improvement in acting skills as their careers developed. You want to see exceptional acting? Watch Steven in the scene from Glimmer Man, when as Jack Cole he tells his wife that he is going to have to tell his kids that their mother is dead. If you can watch that scene and honestly say that you think he can't act, then maybe you should stick to the Oscars. And even then, just about every actor that has won an Oscar has had their share of stinkers. Seagal makes great action films. Certainly better than most of the Chuck Norris films, most of the Stalone films, and most of the Schwarzenegger films (his comedy is good but Arnolds action acting on his best day isn't as good as Seagals).