This movie tells the story of a man who goes undercover in a hi-tech prison to find out information to help prosecute those who killed his wife. While there he stumbles onto a plot involving a death-row inmate and his $200 million stash of gold.
Don Michael Paul
A mercenary gets involved in a mission that threatens the lives of his kin. In order to succeed, he must break into one of the most wellguarded prisons in Eastern Europe and free the son of the most notorious drug lord in the world today.
Don E. FauntLeRoy
Roger Guenveur Smith
Archeology Professor Robert Burns is on location leading an important dig in the ancient ruins on the Far Eastern Chinese border. He accidentally discovers that the Chinese Mafia, the Tong, is using his newly discovered ancient Chinese artifacts to hide and smuggle narcotics across the border. Robert immediately tries to flee with his assistant and narrowly manages to escape the pursuing Tong but not without a heavy price. His loyal assistant is killed and he is framed with the evidence at the Chinese border by the Chinese military and U.S. Drug Enforcement Agency. He is locked up in a Chinese prison where he is guilty until proven innocent. His loving wife Maya vows to help get him out of jail. The DEA finally convinces the Chinese military that Robert may be of more help to them outside jail by leading them to the real smugglers. Once he leaves his Chinese prison cell Robert would rather enjoy his freedom back in the U.S. and keep his past behind him, but The Tong catches up to him ...Written by
Philip Steinman <email@example.com>
Uncredited writer Sam Hayes was assigned to touch up the original script without knowing the film was to star Steven Seagal. The producers claimed that Hayes' version, which was set in Mexico, would cost too much to film, and thus, very little of his material remains in the finished movie. See more »
When in the Chinese Barber Shop, the barber pulls the blind down over the door, a few seconds later, he closes it again. See more »
The makers of Out for a Kill either had no clue how to write dialogue for an archaeological team or they had no confidence in their audience. In an early scene, said archeologists are unearthing an artifact and cataloging their finds while narrating every single step okay, it reminded me of a less interesting version of Samuel L. Jackson's character in Long Kiss Goodnight and how he narrates mundane things to the tune Bad to the Bone. The dialogue Seagal and his assistant are forced to recite, needless to say, does not sound like a conversation between an expert and his assistant; it sounds like they're talking directly to people lacking an attention span who can't seem to follow the events clearly displayed on screen. This phenomenon of poor and unnecessary dialogue continues throughout the entire film.
My personal favorite is the Chinese villains whose sole purpose in life is to sit around a table and complain about Seagal's character, especially towards the end when the head of the table started to spouting, "I may have to take care of this, myself." What are you going to do, pal? Complain standing up? Turn your back on Seagal in disgust? These villains were as threatening as message board trolls. I felt like I could deal with these bozos with harsh language and keep them complaining until they die of old age, and they're supposed to pose a threat in an action film? Give me a break.
All the MTV zoom ins and zoom outs in the world couldn't save the scenes around that stupid table, and believe me, they tried . . . oh did they try. Where was the Mel Brooks camera joke when you need it? And the low budget special effects overkill! Numerous CG bullets that are obviously superimposed over a slow motion image. Characters shot against a fake sky. And the reaction shots to the critical plot-dependant explosion. Wow, it not only lacked the subtlety of good modern effects shots, it lacked the charm of old school (outdated/obsolete) effects shots. Maybe they were aiming for that obvious use of set, obvious use of rear screen projection, etc look and feel that gives Hitchcock films their charms, but it never really came through as much more than effects that exceeded their allotted budget.
I remember watching Under Siege, and taking great amusement at Seagal playing a lonely cook "I'm not even a good cook" classic! only to later receive the revelation that he wasn't always a cook. In Out for a Kill, we find out that his character wasn't always an archaeologist. Yeah, yeah, yeah, used to be ex-Seal, special ops guy, legendary convict - somebody who could get the training and experience to be a badass - whatever it was this time around.
In the end, Out for a Kill really presses the literal definition in the phrase "mindless entertainment." No, you don't understand: I mean that relatively speaking (ie, for a Steven Seagal film this is mindless . . . as in Half Past Dead and Exit Wounds was intelligent by comparison.) Okay, now we're on the same page.
In closing, some films you have to turn off your brain to enjoy. For this film, I think you'll have to turn it off, unplug it, then lock it in the basement . . . and I'm kinda fond of my brain where it is, thank you very much.
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