The Steven Seagal vehicle is a listless search for a serial killer that trades heavily on coincidence and pop mysticism and ultimately seems more parody than conventional genre fare. His new assignment is to find a serial murderer dubbed the Family Man — so-called for his penchant for wiping out households and arranging the corpses in a macabre, crucifixion tableau. But before he has a chance to pick up the trail, Cole and partner Jim Campbell Keenen Ivory Wayans are summoned to quell a gun-wielding student holding his classmates hostage. The sequences proves to be more than just an excuse for a stunt.
Corrupt government agents, mercenaries and transplanted members of the Russian Mafia collide and trip over one another in an awkward ballet. Cole immediately senses the ruse and pieces together a secondary sinister plot involving the Russkies, the CIA and illegal arms trading. It might have arrived at some semblance of credibility had Seagal been partnered with Leslie Nielsen. Seagal is one action performer whose ease in front of the camera has improved at a glacial rate. His new dilemma is an expanding girth that appears to have slowed both his verbal delivery and physical speed.
Director John Gray has made a slick piece of goods. Production : A Warner Bros.
Produced by Steven Seagal, Julius R. Executive producer, Michael Rachmil. Directed by John Gray. Screenplay, Kevin Brodbin. Reviewed at Warner Bros. Naked Greed. Archie in the Crosshairs. Nobody's Perfect.
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