6.2 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Frank Penny, a disgraced cop looking for a shot at redemption. When the police chief’s 11-year-old daughter is abducted, Frank goes rogue to try and save her. But to find the girl, Frank will need the help of Ava Brooks, whose live-streaming news channel is broadcasting Frank’s every move. While a city watches, Frank and Ava race against time in this explosive action-thriller.
Starring: Aaron Eckhart, Courtney Eaton, Jessica Lu (I), Dina Meyer, Ben McKenzieThriller | Insignificant |
Action | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1
English SDH, Spanish
Blu-ray Disc
Single disc (1 BD)
Digital copy
Slipcover in original pressing
Region A (C untested)
Movie | 3.5 | |
Video | 4.5 | |
Audio | 5.0 | |
Extras | 3.0 | |
Overall | 4.0 |
Steven C. Miller hasn’t enjoyed the most creatively fertile career, recently managing a string of VOD projects with basically the same title (“Submerged,” “Marauders,” “Arsenal,” “First Kill”), while his last endeavor, 2018’s “Escape Plan 2: Hades,” was recently disowned by its star, Sylvester Stallone. Excitement isn’t really Miller’s specialty, but he does have an interest in violent encounters, finally connecting to a story in “Line of Duty” that demands a little more emphasis when it comes to bodily harm. Miller (not to be confused with colleague Brian A. Miller, who gifted the world “Vice,” “Backtrace,” and “Reprisal”) seems alert with “Line of Duty” (which, amazingly, doesn’t star Bruce Willis or Nicolas Cage), assembling a slightly energizing bruiser that’s heavy on the stunt work and blessedly limited in scope. It’s not a career rejuvenator, but it has a pulse, and that’s good enough to pass.
The AVC encoded image (2.39:1 aspect ratio) presentation supplies a compelling look at the largely open air setting for "Line of Duty." The urban jungle is supported with a bright palette, finding greenery and signage vibrant, while building exteriors also deliver varied hues with paint jobs and brick work. Distinct elements, such as red cars and stylish lighting, also retain potency, and skintones are natural. Detail delivers precision, picking out Penny's evidence of age and sweaty pursuit, and neighborhood tours are dimensional. Interiors also contribute a clear understanding of decorative additions and decay. Costuming is fibrous, from Ava's casual, cottony wear to Penny's heavy uniform, complete with textured gear. Delineation isn't problematic. Banding is detected, with some major flare-ups during a brief underwater escape.
The 5.1 DTS-HD MA sound mix generates a circular understanding of Penny's crisis, doing well with atmospherics, keeping the sounds of the city and room tones active. Surrounds also deliver occasional separation and panning effects, embracing the swoop of helicopters and speeding cars. Dialogue exchanges are precise, managing heated banter between the lead characters and cooler threats from the villain, losing nothing to distortion. Music is sharp and supportive, boosting action sequences without intruding on them. Low-end is active, capturing body blows and smash-happy accidents. Sound effects are clean, providing snappy gunfire and crunchy violence.
"Line of Duty" remains at a full gallop for an extended amount of time, following the cop and the reporter as they gather clues, deal with commandeering various automobiles (an amusing running gag), and visit strange characters as they try to locate Claudia. Shootouts, car chases, and fights are common for an hour, giving Miller something to work with as he jazzes up the viewing experience with exciting stunts. The screenplay eventually takes its foot off the gas in the final act, which noticeably deflates the film, unwisely stopping to take stock of motivations when the endeavor works just fine at top speed. There's Penny's tainted past and Dean's agonized revenge plan, but Drysdale doesn't layer in these psychological understandings, he slaps them on the finale, halting momentum. "Line of Duty" should never stop, as once it does, all its B-movie mediocrity has a chance to be identified, limiting the appeal of an initially breathless, pummeling thriller.
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2008
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