A frustrated office worker learns that he is the son of a professional assassin and that he shares his father's superhuman killing abilities.
The anxious, clumsy and abused office clerk Wesley Allan Gibson has a hell and boring routine life: his obese boss humiliates him all the time and his girlfriend betrays him with his colleague and best friend during working period. When he meets the sexy Fox, Wesley is informed that his father was a professional killer that belonged to an ancient organization called Fraternity and killed by the skilled and powerful Cross, a hit-man that has betrayed the Fraternity. Wesley learns that his anxiety actually is a manifestation of his latent abilities and he joins the society under the command of Sloan. Trained by Fox, he changes his personality and attitude, being prepared to face the dangerous Cross and find a hidden secret.
Enough is enough. From this moment on, I declare war on Hollywood&#39;s infatuation with slow motion. &#39;The Matrix&#39; revolutionized the technique nearly a decade ago, and in the years since has literally taken the industry hostage. It became an epidemic with &#39;300&#39;, and now there&#39;s &#39;Wanted&#39;. A textbook definition of excess, and a film that&#39;s more annoying than entertaining.<br/><br/>An aggravating attack on the senses, &#39;Wanted&#39; takes an interesting and potentially promising concept and weighs it down with a heavy handedness you can&#39;t prepare for. In fact, Timur Bekmambetov&#39;s style of direction may very well be a direct testament to this generation&#39;s perpetual short attention span. For while there are countless action sequences, adequately mindless and feverishly over-the-top, each one becomes less thrilling and more predictable than the last. &#39;Wanted&#39; follows a simple formula and never strays, but in the end that comes back to hurt it.<br/><br/>But above all else, &#39;Wanted&#39; just isn&#39;t a very likable movie. The amount of skill involved in the project is undeniable, everything is executed with precision and glamor. But I didn&#39;t like the hyperactive camera angles. I didn&#39;t like the aforementioned use of slow motion, which became groan inducing after only a few minutes. I didn&#39;t like the ridiculous dialogue, James McAvoy&#39;s narration most of all. And if I never have to see McAvoy scream in slow motion again, I&#39;ll die happy.<br/><br/>&#39;Wanted&#39; makes numerous stabs at putting together a coherent story, each of them unsuccessful. Some mumbo jumbo about fate, and an array of ludicrous twists that&#39;ll get eyes rolling in the last twenty minutes. It all seems so un-involving and contrived, I would have preferred if &#39;Wanted&#39; hadn&#39;t even pretended that the likes of Angelina Jolie and Morgan Freeman were anything but props. Bad ass props, but dumb props nonetheless. Because when the last bullet is fired, what we&#39;re left with is little more than another empty Hollywood lackluster that&#39;s all style and no substance. Surprise, surprise.<br/><br/>More reviews: rottentomatoes.com/vine/journal_view.php?journalid=219276&amp;view=public
This film really is wish fulfilment of the worst and most degrading kind. This was &quot;created&quot; by the same man who shat the unbelievably bad Night Watch on an unsuspecting world, this is a film that you can genuinely feel making you stupider as you watch it.<br/><br/>Spoiler<br/><br/>James MacAvoy has a rubbish job and an unpleasant best friend who is having an affair with his annoying girlfriend. Fortunately is recruited by a group of uber-assassins descended from weavers. In the 10th century these weavers discovered binary code and a method for &quot;reading&quot; their weaving. I can just imagine how that one went: <br/><br/>Oi, Yorrick!I&#39;ve discovered a way to read the weaving <br/><br/>Really, what does it say? <br/><br/>It&#39;s a name. <br/><br/>Brilliant, clearly we should kill them. Weavers do that right?<br/><br/>Not content with coming up with the worlds dumbest method for finding targets they also enjoy making life difficult for themselves. They&#39;ve discovered a way to bend bullets in mid flight and this allows them to be significantly more crap than regular assassins. There is one particularly spiffing scene where James and Ms Jolie (who spends the whole film looking like a particularly unwell bag of coat-hangers with tattoos that classily scream &quot;crack whore&quot;) assassinate someone in a boardroom from the top of a moving train. Given that one character can shoot people from five miles away with a special flintlock rifle I am wondering why just sitting across the street with a regular hunting rifle was out of the question for these idiots. <br/><br/>Morgan Freeman (new conservatory Mr F?) phones in his worst performance ever as the completely bored leader of the weaver assassins (they also make clothes). He needs James to kill the rogue agent who killed James&#39; father. <br/><br/>The whole thing plays out with with the same sense of relentless invention and excitement you&#39;d get watching dogs mating. <br/><br/>End Spoiler<br/><br/>Frankly if there is one film this year that you should avoid seeing, it should be Wanted. I am however happy to see that director Timur Talentless-Hackovitch is clearly influenced by the early work of that master of w*nk Uwe Boll. With Wanted, however, he has graduated from incomprehensible gibberish (any of the Night-, Day-, Twilight-, Just after Dawn-, Thirteen minutes to Noon-watch films) to unredeemable crap. In a few years time he may have just about learned how to make something that is simply laughably bad.
Brutal, sexy, built to thrill and minus a scintilla of redeeming social value, the movie – based on a series of comic books by Mark Millar and J.G. Jones – explodes like summer fireworks.
Wanted is loosely based on a comic book miniseries of the same name by Scottish graphic novelist Mark Millar, with art by J.G. Jones, published in 2003 and 2004 by Top Cow as part of Millar&#39;s creator-owned line known as Millarworld. American screenwriting partners, Michael Brandt and Derek Haas, adapted the comics into the original screenplay, which was revised in part by screenwriters Chris Morgan and Dean Georgaris. Wesley Gibson (<a href="/name/nm0564215/">James McAvoy</a>) and the Fox (<a href="/name/nm0001401/">Angelina Jolie</a>) have made the transition to film largely unchanged, the only major differences being their appearance (Wesley being originally modeled on <a href="/name/nm0004896/">Eminem</a>, and the Fox on <a href="/name/nm0000932/">Halle Berry</a>). Wesley&#39;s boss, girlfriend and best friend are also largely unchanged. However, as the main plotline of the comic books (in which all of the main characters are actually supervillains modeled on DC characters) has been altered, many other characters were re-imagined or cut entirely from the film, examples being: (1) Dr. Solomon Seltzer (a short, bald super-scientist and friend to Wesley&#39;s father) becomes Sloan (<a href="/name/nm0000151/">Morgan Freeman</a>); (2) Mr. Rictus (an evil, ghoul-faced murderer) becomes the assassin Cross (<a href="/name/nm0470981/">Thomas Kretschmann</a>) and is also referenced in the film as an assassin killed by Cross; and (3) The Killer (famed assassin and Wesley&#39;s father, modeled after <a href="/name/nm0000169/">Tommy Lee Jones</a>) becomes Mr. X (<a href="/name/nm0641244/">David O&#39;Hara</a>). There are significant changes from the comic book.<br/><br/><ul><li>Perhaps the most significant change is the underlying purpose of The Fraternity. In the comic, The Fraternity are a secret group of supervillains with an array of powers and they behave as supervillains would be expected to: committing crimes and killing people. In the movie The Fraternity is a secret guild of assassins who work to maintain order in the world by assassinating evil people. The film portrays them in a far more positive light than the book.</li></ul><br/><br/><ul><li>The book is far more vulgar than the movie and revels in pushing boundaries of taste in terms of violence and sexuality. In the book characters talk much more matter-of-factly about topics such as murder, rape, pedophilia, and bestiality.</li></ul><br/><br/><ul><li>The backstory of the film is entirely different from the book. In the comic a group of supervillains murdered all the superheroes and erased their existence from reality. In the film a group of medieval weavers-turned-assassins founds the Fraternity to maintain order.</li></ul><br/><br/><ul><li>Most of the characters were wholly invented for the film. While Fox and Wesley make the transition largely unchanged Wesley&#39;s father is almost completely different from how he was portrayed in the book, Mr X, Sloan, The Russian, and the Gunsmith (<a href="/name/nm0996669/">Common</a>) are complete inventions. The Repairman (<a href="/name/nm0912938/">Marc Warren</a>) is an expansion of an unnamed character who appears in a few panels in the book, and The Butcher (<a href="/name/nm0049079/">Dato Bakhtadze</a>) is created from a scene in the book where Wesley himself is sent to work in a slaughterhouse to help desensitize him.</li></ul><br/><br/><ul><li>The plot is dramatically changed. While the introduction and Wesley&#39;s training are very similar the plot of the comic involves intrigue between different factions of super villains while the film deals with the efforts to apprehend one rogue assassin. In addition the film focuses far more on Wesley&#39;s quest to avenge his father. While the book version of Wesley is interested in knowing who killed his father it is not a driving aspect of his character.</li></ul><br/><br/><ul><li>Scenes of Wesley&#39;s training are greatly expanded in the film.</li></ul><br/><br/><ul><li>The film version of Wesley is considerably nicer and more sympathetic than the comic version.</li></ul><br/><br/><ul><li>The film includes far more moral conflict about the nature of what The Fraternity does than the comic book.</li></ul> Derek Haas and Michael Brandt have already been hired to write by Universal, but the sequel has been in development hell for the since 2010 or so. The song is called &quot;The Little Things&quot;, and is sung by the film&#39;s composer, Danny Elfman. No, but there are a couple of interesting shots that give clues about the development of the plot. One of them is when Wesley leaves his apartment early in the film, he tries to straighten a sign on a pole warning about rats. That sign is posted over another one reading &quot;Your fathers&#39;s&quot;. Following the scene, the camera focuses on the apartment where it&#39;s later revealed that this is where his real father lived, thus, composing the message: &quot;Your father&#39;s apartment&quot;. The scenes with the Russian also give clues, since he seems to be the only true friend among the weavers. He ultimately gives Wesley the key to achieve his father&#39;s objective by showing him about the combination of peanut butter and plastic explosives, and saying &quot;imagine if you had a thousand&quot;.
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