‘Man On A Ledge’: The Reviews Are In!

If your impressions about a new movement thriller “Man on a Ledge” are formed on a film’s very-literal title, you’re really expected scold in presumption to know a decent volume about a film before entering a theater. “Ledge” is a story of ex-cop and refugee Nick Cassidy (Sam Worthington), whose clearly apparent suicidal devise to detonate off a building is solemnly suggested to be something many more.

Thus far, a vicious accepting for a film is really opposite from initial assembly reactions. The Rotten Tomatoes Tomatometer has “Ledge” during a 22 percent uninformed rating from critics, contra a 65 percent uninformed assembly rating.

Read on to see what has a dual observation bodies so divided as we differentiate by a “Man on a Ledge” reviews:

The Premise
“It’s an impediment image, Sam Worthington out on that 40th-story ledge. He’s a sincerely tough-looking guy, after all, and we know him best as a tooth-gritting blockbuster favourite of ‘Avatar’ and ‘Clash of a Titans,’ so it’s head-spinning to see a man’s brawny figure as a pinch hovering so precariously tighten to New York’s gigantic sky. The camera swirls around Worthington’s ashamed former patrolman Nick Cassidy, inching out past that skinny support of architecture, afterwards behind in. What if he trips, or jumps? For a while, anything seems possible, and it’s both refreshing and terrifying. Then a nap comes off, and it’s transparent that executive Asger Leth and screenwriter Pablo Fenjves have ambitions extremely reduction grand than their protagonist’s perch. Cassidy’s corner diversion — with all a studio-unfriendly dignified ambiguities it entails — is usually a con, a print op for a crowds, and Nick’s apparent enterprise to exit a element universe is a front. What he truly, sexually wants to do is take some jewelry.” — Andrew Lapin, NPR

The Impact of Practical Effect
“I, on a other hand, was retaining anything in reach, palms dripping, meditative we competence not have survived a effects had they been 3-D. Though there were other prolongation sites, critical time was spent indeed sharpened on that 14-inch corner jacket a 21st building of a Roosevelt Hotel to emanate a sympathetic prodigy of being there. Which worked frighteningly well, during slightest for a giddy among us. Oh, that a tangible tellurian dynamics of a maturation story could have been as dramatic, as on a corner as that ledge.” — Betsy Sharkey, Los Angeles Times

The Direction
“Mr. Leth, a son of eminent Danish documentarian Jorgen Leth, has destined usually one other film, ‘Ghosts of Cité Soleil,’ a rarely stylized doc that suggested a essence emotional to breathe giveaway of nonfiction. He has an instinct for weaving stout account fabric out of intersecting tract lines. … Amid a hoopla, Mr. Leth takes sobering comment of media-circuses and host mentalities: The people down next holding cellphone pictures, a ones yelling ‘Jump!’; a cruel inlet of cops for whom it’s all routine. There’s a occasional nonsensical beauty note: Kyra Sedgwick, personification a starved and apparently Anglo radio contributor named Suzie Morales, rolls a ‘R’ in her surname as she signs off, usually in box someone missed a indicate (we’ve all listened it). In another scene, Mr. Leth takes such heedfulness to support a comely Ms. Rodriguez down to her underwear that audiences, who might good be leering, will also be shouting during how apparent it is.” — John Anderson, Wall Street Journal

The Final Word, Pro/Con Style
“Director Asger Leth, creation his U.S. feature-film entrance with ‘Man on a Ledge,’ keeps a gait sprightly and never allows a tinge to wandering into self-seriousness, that is essential for a film whose grounds is so devoutly ridiculous. The script, from Pablo F. Fenjves, provides adequate feints and twists to keep us engaged. Jamie Bell and Genesis Rodriguez aren’t a many plausible of couples, though there’s a oddball attract to their comic slight as pledge thieves charged with helping Nick’s scheme. (Leth can’t conflict inserting an wholly remaining — though nonetheless severely appreciated — stage of a criminally beautiful Rodriguez stripping down to a swimsuit in a center of a heist.) Worthington creates for a amiable populist protagonist, even if his Australian accent betrays him on thriving occasions, and Harris’ disturbingly svelte support lends an combined threat to his divergent plutocrat villain.” — Thomas Leupp, Hollywood.com

“Like final year’s movement comedy ‘Tower Heist,’ ‘Man on a Ledge’ becomes something of a tale of a 99 percent, with Cassidy primarily an intent of disagreeable seductiveness for a massed crowds below, afterwards apropos a blue-collar folk hero. That gives a film during slightest a frisson of contemporary relevance, though a filmmakers blow that advantage with tract and characterization that need not usually a cessation of dishonesty though a cessation of eye-rolling reflexes and a whinging incentive to detonate into scathing laughter.” — Ann Hornaday, Washington Post

Check out all we’ve got on “Man on a Ledge.”

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