Sorry, this just doesn’t seem like it would be any top killer’s preferred, most reliable technique. But the first job we see is preposterous on the face of it, as he hides underwater at the bottom of a Colombian drug lord’s indoor swimming pool so that, when the guy finally decides to take a dip, Bishop can grab and drown him and hide his own hand, even as armed goons surround the pool. It’s a point of pride with highly paid lone wolf assassin Arthur Bishop to make his killings look like accidents. By contrast, present director Simon West remains just as devoted to working in bold face and capital letters now as he did in his debut with Con Air 14 years ago, albeit to considerably diminished returns.įrom the outset, one senses the strain involved in coming up with more grandiose versions of parallel scenes in the original. But while Carlino’s central conceit, that of a master teaching his craft to the son of one of his victims, is clever and possesses a measure of time-bomb tension, the original suffers from a can’t-be-bothered attitude toward visual expression.
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