No More Negotiations.
Howard’s thriller drama respects the genre like never before. His focus to create a crisp tense environment is clearly visible and pays off more than enough. This is a more grounded version of such commercial films, it thrives more upon the drama than it does on antics. It also has a script that demands good performance from its cast, it gives them enough room and range to factor in equally. And even though there are few dodgy lumps and questions that can be raised here and there, in order to really enjoy Howard’s thrill, it demands few plot points to be scoffed off immediately.
One of the best bits of the film is mapping out the territories of their characters, no matter how obvious or cheesy it may sound like, this is all a big bluff coming from Howard, and they way he puppeteers these characters on screen is his masterful skill. To be fair Howard has a balanced script, that dares explore on either side of the drama, one that challenges the antagonist politically and one that challenges the protagonist emotionally, separating them with clean sharp vocab lies Howard and his execution. Gibson as the devil himself, or so he claims to be, has a very potent but risky play to play.
And with Russo supporting him decently, this parenting part of the drama is in safe hands. Sinise, the antagonist, has a juicy role to play, brimmed with revelations and main antics of the script in his hand, he makes sure that the irritation communicates thoroughly if not the fear. Ransom is a mature if not smart tale of ego clashing head to head on screen, the result is stupendous that brings out a potential contender on both the side of the party, satisfying every last requirements of a weekend night.