Out Of Death Review: The Film Is The Death Of Bruce Willis’ Career

This is Bruce Willis’ 21st straight-to-video project in a row. It is embarrassing and humiliating to see the master of the Diehard franchise die such a hard death.

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Out Of Death Review: The Film Is The Death Of Bruce Willis’ Career
stars

There once was a superstar named Bruce Willis. Watching him plummet to the depths of such irredeemable puerility is to remember how the mighty Rajesh Khanna had once fallen from grace moving from Anand to Riyaasat at the time of his death.

Let's just say a silent prayer for Willis. After seeing him entering and exiting in Midnight In The Switchgrass a few weeks ago (which by the way, was comparatively better) I am appalled to see him swish in and out of Out Of Death, a cops-and-killers chase saga which is neither engrossing nor involving. Just a plain pain in the neck and lower down.

Willis plays a retired police officer Jack Harris who has shifted into the forest with his niece (Kelly Grayson). He spends his time wandering aimlessly through the forest, just like the script, when suddenly he witnesses a crime scene where cops are on the verge of killing Shannon (Jaime King) who, we should know, is the plot’s protagonist. So she can’t die.




Willis does his rescue act (clumsily, I might add) then disappears for long patches in the plot as though Nature calls… so much forest beckoning him. As in his previous fiasco Midnight In The Switchgrass, Willis keeps coming and going at will, probably having realised long before us, that this film is a dud.

It could have been an exciting chase between the armed criminal cops and the gutsy hiker protagonist helped by the Willis character. Most of the time Jaime King’s Shannon is on her own, running, dodging, hiding, struggling to free herself from a death sentence. We the audience totally understand her predicament. This film pins you down to the table like a cockroach in a science lab not even allowing you to writhe in peace.

At times the plot cuts to the chase - in more ways than one - only to fizzle out into a deadend. The actors (and that includes the female gender) go through the motions with as much enthusiasm as one would for a molar surgery. Tyler Jan Olson’s seedy corrupt cop act has flashes of fire, rapidly extinguished by a storytelling that is sluggish and somnolent.

This is Bruce Willis’ 21st straight-to-video project in a row. It is embarrassing and humiliating to see the master of the Diehard franchise die such a hard death.




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