kevin costner and hailee steinfeld movie

The film and its makers seen enamored of the violence that's never more than a moment or two away. McG takes an almost sadistic delight in the fisticuffs and gunplay. The director, McG ( This Means War, Terminator Salvation, We Are Marshall, Charlie's Angels) –- whose real name is Joseph McGinty Nichol - with his pause-giving résumé, works from a script by Luc Besson (who co-wrote Taken, which this resembles in outline) and Adi Hasak, based on a story by Besson. The one-final-mission thrust –- which is so tired, it should be temporarily banned from screenplays –- gives the film a been-there-done-that weariness early on that it only occasionally rises above.

His current problem is that the medicine he's taking causes hallucinations at critical times that do not exactly make his work any easier, to say the least.

What Renner wants at this stage of his life, as he nears retirement, is more of an active relationship with his estranged wife (Connie Nielsen) and teenage daughter Zoey (Hailee Steinfeld), whom he's more or less protected over the years by keeping his distance.īut that distance has robbed him of a relationship with his child that he obviously wishes he had. He has been assigned to hunt down a ruthless terrorist while looking after his daughter (by himself, because his wife is out of town) for the first time in a decade.

As in, what the hell is this, 'Die Hard' meets 'Amelie'? Only, because 'True Grit' girl Haille Steinfeld is easily winning as theĭaughter, and Costner is delivering his absolute best Gary Cooper stuff, the scene is actually almost affecting.But in exchange for this medical help, he must agree to that overused narrative convenience: ONE LAST MISSION. This is one of those movies that’s ridiculously busy with dumb and not particularly pertinent detail on the one hand, and determined to beat all of its near-decent jokes into the ground on the other (as in what happens after Costner’s daughter sets Icona Pop’s “Iĭon’t Care” as his cell phone ringtone for her), so when it stops dead for a father-daughter bonding scene in front of Sacre Coeur, the effect is a little unsettling at first. This is the main comic device of the movie’ scenario, and it’s a pretty uncomfortable one. The upshot of which, at times, involves Costner’s character torturing various lower-level criminals while, get this, soliciting their advice on parenting. And sure enough, Amber Heard, a mysterious presence in the opening scene, and made up throughout to look as if she just stepped out of a Tex Avery animated short, turns up offering to cure his cancer if he’ll, yes, work for “them” again, this time killing bad guys known as “The Wolf” and “The Albino.” His new assignment happens to coincide with a let’s-get-reacquainted period between father and daughter. “Promise me you’re not working for them anymore.” Sure enough, Costner promises. “Promise me one thing,” estranged wife Connie Nielsen says. Acting on advice to get his affairs in order, Costner’s character, who doesn’t speak a word of French, goes to his flat in Paris, discovers a family of Africans squatting there, tries to go all middle-period Eastwood on them, doesn’t, and then looks up his estranged wife and estranged teenage daughter. thanks you for your service,” his attending physician tells him. Then his character learns that he’s got a virulent form of cancer, and only months to live. In the middle of the sound and fury of an opening battle, Costner is stolid and solid. One in which the explosions are almost as loud as the real-life kind that make people deaf, and the villain looks like he stepped out of a 'Saturday Night Live' parody of a Prada advertisement. From the get-go you know what kind of tripe 'Kill' is: the overdetermined, overblown, overdesigned type-a EuroTrash action movie, if you will.

Kevin costner and hailee steinfeld movie