What about Bob?

Rating: Null/10 (22 November 2014)

Perhaps one of the most slickly done mainstream action movies out there, in a dying genre, that I recommend it on those genre-related merits alone, though it could've been done way, wayyyy better.
The first hour spends time setting the main characters up, and that's the best part about this flick. Sadly, content-wise (that IS important to note here) its all downhill from that point on, and becomes a by-the-numbers vigilante's vendetta flick. Denzel's on call and the loneliness of his character is beautifully realized here, but that character is called upon to perform so many acts that are beyond the realm of suspension-of-disbelief, that few viewers have compared this one to Steven Seagal flicks (more on that later).
What this movie has got going for it, in spades, is sheer style and chutzpah (a word grossly misused for effect in a recent overrated local flick). Each action set-piece is preceded by McCall- cam, borrowing, intentionally or not, from Guy Ritchie's rendering of Sherlock Holmes-cam, and that novelty factor, for most, wore out its welcome after the first time, though the technical effort expended whenever it is used is exemplary.
The cinematography, and the soundtrack, is some of the best to grace the screen this year, and in the case of the latter, there is one track that fits a particular action set-piece so well, that its presence, along with its companion action sequence, almost redeemed the lazy Bollywood hi- jinks resorted to by the makers for most of its running time: Slo-mo focus on the lead, really???? We get it, but...really?
There is also a point after which its not just the lead's invincibility that gets hammered into us, but also the inanity and the predictability of it all, that is only redeemed by the style on display.
Antoine Fuqua, with this, has returned to 'The Replacement Killers' territory, which, though slick and technically proficient for its time, was equally plagued with every action cliché that acts as a checklist item for most of its ilk, though thankfully falling just short of corny 'Transporter' or 'Fast and Furious' territory. For that much effort, I'd gladly handle multiple viewings of movies like this rather than 'Transporter' or 'Fast and Furious'.
His take-no-prisoners style also mirrors his approach in 'Olympus has fallen'. Coincidentally, Butler was also considered for the McCall role.
I wish the movie had continued to include a key character, who precipitates everything that happens in this flick, throughout, rather than dispense with him/her, and then only bring him/her back at the end. I was like, 'Huh? Did I miss something?'
Haley Bennett (Music & Lyrics) has a change of scene here, and acquits herself well.
The spare, quick, brutal and realistic (for the most part) mano-a-mano fight sequences seem to be used Aikido moves for the most part, and this, more than anything else, perhaps has prompted a few viewers to make comparisons to Steven Seagull flicks after having watched this one. I wouldn't cover them all, but am sure that the final set-piece between Seagal and Tommy Lee Jones in 'Under Siege' was a definite inspiration of sorts to the action choreographer/director, and it is undeniably effective, and is a welcome technique.
I'd watch this again, just to enjoy the set-piece I spoke of, and the cinematography + soundtrack, but still feel that the movie could've been better than what it turned out to be. I think there's the inevitable sequel coming, esp. since the box office for this has been decent, and hope they fix what needs fixing for that one at least.