But the smog that descended on December 5th of 1952 was different it was a type that held the city hostage for five long days. "In winter 1952, London automobiles and thousands of coal-burning hearths belched particulate matter into the air. John Christie and Ethel Christie (via Alamy) He brings credibility to movies that can use some, and that will be invaluable in his forthcoming " Live Free or Die Hard." The mechanics of the final showdown are unexpected and yet show an undeniable logic, and are sold by the acting skills of Willis and Pollak.Beryl Evans with daughter Geraldine Evans (via The Sunday Mirror) I would love to examine his medical charts during these transitions.īut I am not much concerned about such logical flaws, because the main line of the movie is emotional, driven by the Willis character, who is able to project more intensity with less overacting than most of his rivals. For example, the Kevin Pollack character functions long enough to establish his role and importance, then is conveniently unconscious when not needed, then is on the brink of death when Willis desperately wants to revive him, then miraculously recovers and is able to act with admirable timing at a crucial moment. Some elements exist entirely for the convenience of the plot. Left unanswered is why the three hostage-takers aren't concerned that the kid is missing for long periods of time. This development takes full advantage of the Air Duct Rule, which teaches us that all air ducts are large enough to crawl through, and lead directly to vantage points above crucial events in the action. Little Tommy is able to grab his sister's cell phone and move secretly throughout the house, using his secret knowledge of air ducts and obscure construction details. Some other adornments, however, seem unlikely. This is ingenious, and adds an intriguing complexity to what could have been a one-level story. So we have a hostage crisis within a hostage crisis, and Willis is trying to free two sets of hostages, only one known to his fellow lawmen. They want Willis to obtain a DVD in the Smith house, which (we gather) contains crucial information about illegal financial dealings. Moderate spoiler warning: What motivates him is that unknown kidnappers have captured Willis' own wife and child, and are holding them hostage. Then, inexplicably, he returns and demands to take command again. Willis plays the police chief who leads the first response team, but after a bad hostage experience in Los Angeles, he has retired to Ventura County to avoid just such adventures, and hands over authority to the sheriff's department. Trapped inside the house when police respond to an alarm, they take hostages: Smith, the rich man ( Kevin Pollak), his teenage daughter Jennifer ( Michelle Horn) and his young son Tommy ( Jimmy Bennett). Kevin is the kid brother along for the ride, appalled by the lawbreaking Mars leads his brother into. These characters are Mars ( Ben Foster), a mean customer with a record, and two brothers: Dennis and Kevin Kelly ( Jonathan Tucker and Marshall Allman). As the film opens, three gormless teenagers in a pickup truck follow a rich girl being driven "in her daddy's Escalade" to a mountaintop mansion with fearsome security safeguards. There's also an interesting use of the movie's three original villains, who are joined later by evildoers from an entirely different sphere. Bruce Willis, who feels like a resident of action thrillers, not a visitor, dials down here into a man of fierce focus and private motives for the second half of the movie, no one except for (some of) the bad guys knows what really motivates him. That matches the mood, which is hard-boiled and gloomy. The opening titles of "Hostage" are shot in saturated blacks and reds with a raw graphic feel, and the movie's color photography tilts toward dark high-contrast.
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