The Doorman

“It’s a bloody Rembrandt!” said a professor of the art on one of seen pictures. In the room with him presented two own kids and what left from terrorists, which will be killed. Authors of imposingly called The Doorman didn’t extreme in ruining of family, make any harm to children and a cat, who doesn’t like terrorists. Nobody will against in killing of few oldmen (and one of them is evil person.) except me.

First credit of two scriptwriters wrote a basic story and second full-length credit of two scriptwriters adapted into a screenplay. Nobody didn’t care to make reasonable actions of characters. Did they have time on elaborating and polishing? I think absence of experience was influential detail in development and The Doorman doesn’t aim on explanations of why lead villain uses a popular website searcher for finding information on a main character, who runs out when has a moment to take terrorists under muzzle and moreover of nonsenses.
Twenty minutes of watching scrapes in soap opera about sudden relatives making a plot in sitcom without jokes. It mixes with Die Hard type films on arriving of van with group of terrorists as Pacific Courier truck entered in Nakatomi Plaza. I no one time was seeing a retaking from the classic in The Doorman. There were rotations in Christmas changed on Easter and instead of Ode to Joy was Ride of the Valkyries. Inventiveness in small exclusions.

Rare action scenes are betweens of still scraping soap drama of ongoing unfunny comedy. Camera changings in martial arts dances don’t ask logic. Director couldn’t stage them except the last minutes. Flawless failure was in shooting. Bullets were reaching door’s right down angle, but unwounded terrorist suddenly fell down – one twist surprised me and wasn’t planned as I think.

Ruby Rose’s character is a retired soldier with compulsory post-traumatic syndrome of past event influenced on job changing. Exploding cars appear in her dreams and reality. She matches for the role, but I don’t see a military background in her performance. Rose doesn’t live of this personage. Louis Mandylor doesn’t demonstrate a necessity. Aksel Hennie, who, I suspect, wants to play in American films, doesn’t slack. Jean Reno on whom I have a same suspicion on American chance, is brilliant of whole cast in acting. Awesome with French accent. He must have said, “It’s a bloody Rembrandt!”