Standoff

A Little, Low-Budget, and Suspenseful Scenario that is a lot Better than You would expect. It has Style and is Scripted for a Battle of Wits between Laurence Fishburne and Thomas Jane.

Fishburne is a Nasty Piece of Work and is appropriately Chilling as a Hit-Man that is Despicable, Cold, and Calculating. Jane Surprises with His Best Acting after a string of Awful Movies and for once He made a Career Decision that is Not Embarrassing.

Ella Ballentine is just Superb showing a Depth of Character Beyond Her Years and the Camera Loves Her. So will You as this Nail-Biter unfolds. The Writer-Director shows some Movie Making Chops and makes this Confined Setting Interesting.

A Movie that Delivers the most of what it has to offer. Brought Home by the Captivating Performances of the Three Leads with a Villain Worth Hating. It's Touching in Spots and Brutally Engaging in others.

Overall, Underrated and the Film goes Beyond its Constraints and Everyone involved can be Proud of the Results. Not a Shoot-em-Up by any stretch. It relies on Character and Dialog most of time, but is not without some of the Visceral needed to make this work, and it Works Just Fine.

If you are planning to see a western movie, you can skip "The hateful eight" (which in my opinion was crap) and see this instead. This movie is a modern time western in many ways including clothing, scenery and theme.

The direction of photography is very good. Artistic sometimes yet efficient. The music pad adds to the atmosphere without being in the way. The pace of the film is the appropriate. Not to hasty and certainly not boring.

But the major asset of the movie is the performance from the 2 leads. Laurence Fishburne takes his role seriously and portraying the villain with finesse. Thomas Jane looks good too and his performance is solid.

The plot it resembles that of a western. It is a little bit on the naive side but it works. The movie has emotions and suspense. Obviously I won't spoil you the ending but it might needed an extra (obvious?) scene that you might miss.

Overall: You don't need a budget made of millions to make a good movie. Good camera work. Good performances and directing and you have what it takes.

Just beyond the opening scenes, Standoff quickly rises above its cheapness as an enjoyable and gripping suspense thriller. Then we're treated to an old breed of filmmaking that hasn't been this well-done since the likes of Misery! I love both headlining actors dearly but they've unfairly fallen off the radar in recent years. I still buy into their efforts on occasion despite bitter reviews, though, because budget does not always make for a great movie. In this case, it hits the spot.

So an ex-military man turned mafia hit-man hunts the sole witness of a multiple murder - a young girl with a camera - to a lonely farmhouse inhabited by a grieving alcoholic. Literally this is the premise and the scene is set for a siege and an edgy war of wits as one tries to convince the other to let him have the girl and walk away.

Sometimes that's all you need; no winding plot twists to keep people guessing. Sometimes it's just about the suspense and the viscera, but Standoff benefits from a great script and the skills of the director who also wrote it.

It has an old-school feel to it, and when we get down to it, even the look of the film harks back to a day of shamelessly simple effectiveness.

Fishburne is on top form as the villain, bringing the ghetto mentality of former villainous roles from the likes of King of New York and Assault on Precinct 13. He's sharper than ever, bursting with character and both smouldering and cold-blooded.

Thomas Jane also throws in his strongest performance in a long time and his man on the edge versus the man on a deadline is both genius acting and writing at once. They don't make characters like this anymore. Back in the '70s or '80s the role could have belonged to Lee Marvin, James Coburn or Roy Scheider.

I'm surprised and saddened that Standoff isn't getting recognition. It deserves a round of applause!

"Well, well, well. That man knows his guns. So do I."

As I said in my review about the film "Weaponized" : "I have a weak spot for low-budget, straight to DVD, B-movies" and occasionally I discover "a piddling, unknown and unloved movie, which surpasses some blockbusters in terms of content and design". "Standoff" is such a movie. An unpretentious film with a straight forward script. The makers don't waste too much time and introduce practically immediately a deadly, accurate assassin (Laurence Fishburne), who turns a modest funeral into a bloody massacre without batting an eye. His appearance reminded me a little of "The Terminator". But this time with a jet-black balaclava.

The only thing this professional, routinized killer didn't take into account, is Bird (Ella Ballentine). A skinny, shy girl with a camera around her neck serving as protection against and a window at the unjust world, who unwittingly takes a snapshot of the face of the killer. What follows is a chase because the murderer wants to clean up this last witness at all cost. An isolated farmhouse owned by Carter (Thomas Jane), an ex-soldier full of self-pity and remorse trying to forget his grief using booze, is the endpoint. Remorse because of an unfortunate accident that happened to his son. As a result his wife also left him. Bird showing up there might probably be interpreted by Carter as an opportunity to show a sense of responsibility for once.

And before you know it, those two ex-military are in the grip of a standoff. Sade, the assassin with enough firepower, installs himself on the ground floor, while Carter and Bird entrench themselves upstairs, only armed with a "20-gauge shotgun" and only one shell. And so the psychological warfare between the two rivals can start with Bird at stake. There's no lengthy intro or a detailed explanation. Even the multiple assassination at the beginning isn't explained or elucidated. This is in fact of secondary importance. The story develops rapidly at the beginning. Within 10 minutes you are fully aware what situation both men are in. There's the possibility that from there on it could become boring, monotonous and slow. However, the opposite is true.

Sade tries in a verbal manner (and also in other ways) to persuade Carter to turn in Bird, while Carter guards the staircase. The subsequent dialogs between these two are on the one hand provocative and offensive. But on the other hand they are also psychologically thought through. Fishburne is clearly in his element as the unscrupulous villain. It was a pleasure to see him again in a leading role (it's at least more impressive than his roles in "The Signal" and "The Colony"). Jane surprised me and this shows that it wasn't his fault that his acting in "Vice" was worthless, but indeed, that film was quite appalling. Not to say utter crap. Here Jane plays a perfectly balanced role as a tormented heap of misery, full of despair and weariness of life, who transforms into a responsible savior. And finally an honorable mention for Ella Ballentine who did great.

Even though this "home invasion" film wasn't very original and the storyline was quite simple, it still managed to captivate me. And even though the end was kind of predictable, I still wondered how it would eventually end up anyway. An additional advantage was the short playing time which in turn led to a proper pace. All in all, a fascinating film. Yet another proof that films that take place exclusively in one particular location, can also be entertaining. At least I didn't need to fight against sleep, as those two guys.

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I went into this totally expecting a very middle of the road flick... But i was surprised no end by how invested you become in this movie! The characters might only be very loosely thrown at us,and yet you cant hep feeling attached to them. The wounded vet... The heartless hitman.... And of course the innocent victim... And yet this flick finds a heart to it that i cant explain!!!