Movie Details
Man on a Ledge (2012)
Director-: : Asger Leth
Cast-Sam Worthington,Elizabeth Banks,Jamie Bell
Movie type- Thriller/Crime
Release date-27 January
IMDB Rating-6.6
Languages- English
Duration-1 Hour 42 Minutes
Trailer
Synopsis
Americans love stories of unequal struggles between the lowly and the great, corrupt to the core eminences who treat the world as their own playground. They have this approach, as it were, written in their historical genetic code; After all, it was overseas where impersonal corporations and mass culture were born, depriving individuals of the right to free choice. Paradoxically, it is cinema, a medium born for purely entertainment reasons, that gives Americans – and all viewers around the world who in some way identify with such dilemmas – the greatest satisfaction from experiencing justice administered effectively and efficiently. Asger Leth’s Man on a Ledge , starring one of today’s cinematic gladiators of humanism, Sam Worthington, is the next entry in this never-ending series. However, with each such occasion, the question arises whether we are dealing with a valuable production?
Suffice it to say that the main villain, presented as a true criminal genius and a man who can get out of any difficult situation, does something so incredibly stupid that it would be a great euphemism to call this act an oversight, a mistake or a stress-related slip-up. This is one of the worst screenwriting solutions of recent years, which – I am sure – will find its place in the distribution of our Hezekars, malicious awards for bad cinema. At the same time, it is an impressive icing on the cake that viewers must share fairly in the final acts of Man on a Ledge : composed of incredible plot twists, unrealistic behavior of all characters, logical inaccuracies and poorly conceived plot solutions. This brings us to the symptoms of the disease that plagues Letha’s film.
First of all, this is one of the scenarios typical of action cinema (not only of the 21st century) – an intelligently conducted plot at some point reaches a point from which there is no credible exit, so you have to start thinking in order not to lose what you have already achieved. . Secondly, Asger Leth was hired by producers responsible mainly for financing films focused on entertainment based on the simplest emotions ( RED , Hell’s Revenge , Twilight series , Step Up , Transformers ). The style established over years of producing box office hits, which emphasizes attractiveness over credibility and excludes serious reflection in favor of flattering the tastes of the mass audience, will never allow the director to introduce any original changes to it. Man on the Ledge suffers from this , as does cinema itself as a medium that has repeatedly proven that it is able to combine entertainment with greater ambitions. And as is often the case in such cases, the answer cannot be clear.
Man on Ledge uses well-worn clichés, dressing them in the form of an action and attraction film tinged with safe irony, but he does not hide it for a moment. This makes the film watch well and quickly, and the thread of the idealistic fight for Truth and Rightness resonates on the screen in a very positive way. It’s just a pity that the rest of the story, both in terms of creativity and plot solidity, does not reach the level of the captivating openness and naivety of this thread. While the action takes place on the titular edge, Leth manages to maintain an interesting pace and appropriate suspense related to whether Cassidy, a policeman wrongly sentenced to prison, will manage to prove his innocence. Unfortunately, the attractive concept of “a man on the edge”, thanks to which the creators are able to charm the viewer with humor and subsequent plot twists, is not able to carry the entire film. Leth and screenwriter Pablo F. Fenjeves were well aware of this, so from a certain point the story takes on completely different colors and completely loses its expression and any credibility.
Man on a Ledge is somewhat saved by a large number of well-timed verbal jokes and situational humor, but even taking into account the fact that you can’t get bored during the screening, in the end Leth’s film should be considered a light disappointment. Because it neither tries to go beyond the safe framework of formulaic action cinema, nor does it stand out in any way within such an accepted framework, taking its place alongside hundreds of other productions of this type. The next film fight between David and Goliath remains unresolved, because even if justice ultimately triumphs on screen (did anyone expect a different solution?), it does so in a style that, unfortunately, deserves only silence. We have to wait for the next daredevil and hope that he will finally learn to learn from the mistakes of his predecessors. Or that the producers will let him
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