Sentenciado a morir

This is pretty run of the mill movie, that feels like a typical 90s production. Kevin Bacon is very solid, as he comes from sixth to the first degree with a lot of deserving pun ks. One sequence of organized and determined action towards the end is particularly inspired and/or inspiring, and John Goodman is very good, though his role is, like much of the movie, thin plot-wise. The movie falls rather flat and is quite formulaic with the setup, and you have to part with logic on one place too many along the way in the story. Still, a decent entertainment value that trumps the many annoying, intel ligence insu lting elements.

I've been told over time through industry professionals, sometimes in classes I've taken, quotes from movie stars and writers and directors and so on, that if you have a good script and a mediocre director you can still have a decent film, but if the script is terrible it doesn't matter how great the director is but the project won't be able to fly. I still am not sure if James Wan is a great director - he really has a mixed record for me now that I've seen most of his films (in brief, Saw sucks, Conjuring 1 & 2 are terrific, and Furious 7 is... Furious 7! it has some extreme/dumb things and yet is brainless fun). But he does pull out a lot more directorially out of a script that is at times convincing and dramatic, and other times is hackneyed revenge/sometimes cop drama.

There's one "virtuoso" scene as critics like to call it - which is euphemism for 'impressive' - where Kevin Bacon is being chased by the thugs, first on the street during day time (they don't give a f*** so much they open fire in broad daylight with a lot of people on the street), and then give chase through alleys, inside a kitchen, and leading out to a parking lot. Though at first it's cut fairly conventionally, the way Wan is shooting this is inspired (he used a 'rickshaw' type of device so the camera could lead in front of the actors at a faster speed, plus on golf carts), but when it gets into the parking lot Wan decides to go full Chanwook Park and do it in one shot. And it's done with extreme creativity (both extreme and creative) as Bacon and the other actors are running, actually running, and going through little patches of space to go one level to another until our (anti)hero gets to the top level where his car is at.

That last aspect of how he happened to be where his car is exactly at is convenient story-wise (that it's the parking lot where he works at, he just happened to get back there while running in a frenzy), nevertheless Wan has a strong visual idea and executes it with his crew wonderfully. And throughout much (though not all) of Death Sentence, he is doing his best to make a (to say it generously) hit or miss screenplay fly as something harrowing and intense. The movie gives us a good look at a family - the dialog between this somewhat typical 'happy' family, brothers in-fight a bit, one son gets in trouble at school (where mom happens to be Dean) - and then the bad thing happens, where one of the sons is killed in a "gang initiation" thing that looks like a gas station robbery, and the killer is let go without much fanfare.

The details of how this young thug is practically let go by the court for, uh, "reasons" is a little too tidy and convenient (the gas station happened to be the "only one in America" without surveillance), and maybe that's what I keep coming back to as a problem with the movie: convenience, things that the movie kind of lets go so the story can keep going forward. Other things like that is how the cop character (Detective Wallis, played by Aisha Tyler replacing a "50-ish white guy", which is cool!) doesn't do more when Nick Hume starts to take matters into his own hands, first going after the released killer in the middle of the night, and then when, later on (spoilers) two cops are killed while the main batch of criminals go through them to get into Nick's house in the middle of the night to settle scores. Like, I know you're angry at Nick for making this situation worse and worse by starting s*** with criminals, but now two cops are DEAD, you have more important things to worry about now!

So there's logic inconsistencies. Why recommend it? For me, the gritty approach to the camera-work and the acting from the criminal characters (and John Goodman in a small but pivotal role!) connected and felt strong. I can criticize certain parts of the style, like the choice of music (sometimes it's alright, other times it feels like it was picked by an uninspired/lazy music supervisor with some of these songs), but Wan mostly got how to make this intense by going for 'real' and yet it's still a cinematic approach to the 'real', if that makes sense, like it has a logical approach to how characters move through rooms and buildings and work with guns.

The other aspect is Bacon. He really, really brings it and if you like him generally this is him going full blown fiery/emotional force. But there's a progression to it - he is playing a 'normal' guy, fairly white collar, suburban middle class, and when Nick does this first violent act he's genuinely shocked, in tears, shaking. It's not something that looks and feels like a movie character that brushes things off, and his vulnerability brings us closer to his experience as he digs himself deeper into vigilante/revenge drama (even down to how he does a 'Taxi Driver' shaving-head bit, which is much messier and all the better for it). All the while, this actor brings it and finds the moments where nuance can play into it. He and Wan and a few other things elevate a hackneyed script, which is the exception to the general principle of 'script script script'. In this sake, I dug it. Usually.

In a 1975 interview with Wayne Warga, Charles Bronson stated that he felt miscast as vigilante Paul Kersey in Michael Winner's 'Death Wish,' saying that the role "would have been better for Dustin Hoffman or somebody who could play a weaker kind of man." Author Brian Garfield- who wrote the novel Winner's film was based on- agreed, remarking that Bronson's tough-guy image spoiled the film, as the moment he appeared on screen "you knew he was going to start blowing people away."

Whether or not one agrees with the claims that a more timorous actor would be better suited for the part of Paul Kersey (Eli Roth certainly didn't, considering he cast Bruce Willis in the role for his 2018 remake) it must be admitted that the character Bronson plays is unlike Garfield's unprepossessing, reluctant vigilante.

Similarly, the whole film contrasts sharply with its source material, upsetting Garfield greatly. He felt appalled that audiences were encouraged by the film's violence and vigilantism, despite decrying both topics in his book. He felt that Winner "made a hero out of him. I thought I'd shown that he'd become a very sick man." He was compelled to write a sequel, 'Death Sentence,' that would act as a clear indictment of violence in all its forms, which was not the basis for 'Death Wish II', or any of the other Bronson-led films in the franchise.

In 2007, this was adapted for screen by James Wan. Very, very loosely based on Garfield's novel, 'Death Sentence' centres on Nick Hume, an insurance company executive. He lives the perfect life, happily married with two sons. One day, Nick witnesses his older son being shot dead during an apparent robbery. Determined to find justice, he hunts down the men responsible, though his actions threaten to destroy what little family he has left.

It is an entertaining action thriller, that doesn't break any new ground, though is engaging and has some thematic depth. Although not exactly a paragon of anti-vigilantism, Wan's film is closer in tone- and in themes- to Garfield's novels than Winner's. Unlike Bronson's Paul Kersey, who becomes a symbol of vigilante justice, Nick Hume's journey is portrayed with a raw emotional intensity, highlighting the personal cost of his actions.

Furthermore, the film raises questions about the cycle of violence and whether true justice can ever be achieved through revenge. It touches on the idea of violence as a dehumanising force, stripping people of compassion and perpetuating suffering. Through its exploration of these themes- although concerned with different events and following a differently named character- the film is a faithful adaptation of Garfield's novel.

However, while these ideas are initially explored in an interesting way, Wan doesn't make them the forefront of the narrative. Moreover, the further it goes on, the more straightforward the film becomes. It loses its complexity- as well as its nuanced approach to the idea of vigilantism. By the last act, the interesting themes and notions are all but abandoned, and the film- for all intents and purposes- is exactly like Winner's, just lacking Charles Bronson.

Conversely, Wan and director of photography John R. Leonetti's stark cinematography contributes significantly to the grittiness of the narrative, as does their adoption of a muted colour palette. Their usage of close-ups and tracking shots effectively creates tension, while their utilisation of lighting and shadows is atmospheric. They capture both drama and action with equal aplomb- a lengthy chase scene going from a street, through alleyways and onto the roof of a car park being most notable.

The film's action and violence are realistic and expertly choreographed, although some moments- especially in the last act- feel a bit comic-booky. Despite that, it remains a pulse-pounding, often frenetic affair, well-edited by Michael N. Knue. Additionally, Charlie Clouser's score compounds the film's emotional impact, as well as its tension, and the production design is generally commendable.

The ever-versatile Kevin Bacon stars as Nick Hume, and is terrific, astutely portraying his struggles and evolution over the course of the film. Whether grieving the loss of his son, grappling with acts of violence or contemplating multiple murders, Bacon is totally credible, making Hume a compelling character. Even in its weakest moments, he shines. Carrying the film squarely on his shoulders, Bacon never sets a foot wrong.

Opposite him, Garrett Hedlund does strong work as the contemptible villain Billy Darley, playing him with a winning blend of menace and sleaze. John Goodman does typically fine work as the seedy Bones Darley, an arms dealer and Billy's father. Additionally, Aisha Tyler brings a steady resolve to the underwritten part of Detective Wallis, while Kelly Preston is great, though underutilised, in the all-too-small role of Helen, Nick's wife.

In short, although perhaps not as consistently anti-violence as Brian Garfield would have liked, James Wan's 'Death Sentence' is still a solid piece of work. Boasting fine cinematography and well-choreographed action, as well as strong performances, it is quite entertaining. Despite some underwritten supporting characters, and a comparatively straightforward and weak third act, there is plenty of life in 'Death Sentence'.

No logic but lots of action, violence, gunfights and gore in this one. There is very little meat on the story-bone and in times where, thanks to TV, everyone is an expert on police procedures the lack of logic is almost appalling. But throw the CSI-knowledge over board and you're in for a crazy and entertaining ride. Nicely shoot with some great camera movement Wan is shooting stuff to pieces almost like Hong Kong directors did in the early '90s. No marksmen here, but who cares, this is pure pleasure for the eyes. Kevin Bacon delivers nicely and adds a whole new facet to the dad-on-a-rampage character. There's even a little "Taxi Driver" in him – and not only because of his gun and hairstyle.

If this is your poison go give Death Sentence a try.

Loved the premise and characters, i found the shootouts and chases well done, Kevin Bacon totally gives off the perfect performance as Max Payne but as a different character, but the only criticism is the amount of gang members, i wanted just more so we can see what Nick's got in store for the rest of the gang fully. With the amount of stuff James Wan can do nicely that is also a revenge film hell even the actual Max Payne movie could not ever do or give what this movie gave me, yet with smartness Nick Humes got, he should be part as one of the greatest characters in revenge films totally a great adaptation for the author.