Walker (Daniel Stisen) is one of the greatest hitmen in the world, but when a survivor manages to escape, he knows that he’s been compromised. When he is sent to a reassignment center he must learn how to work with others if he is to survive. The Siege brings Walker’s journey of survival to life–showcasing the electric actions of him and his new counterparts as death comes aggressively looking for them.
In an action-packed film riddled with death, one might not think that comedy has a place–yet Writer Nicole Bartlett and Director Brad Watson find ways to incorporate it into the film regardless. There are certainly times when the comedy feels out of place, but the comedy also allows viewers to understand that The Siege doesn’t take itself too seriously, and that it knows that its flaws and imperfections are part of its charm. The Siege, from the opening moments really, is a cheesy journey, one that won’t be able to appeal to everyone–but the fact that the film itself understands this, and that the team tasked with bringing it to life understands its shortcomings allows it to flourish and for viewers to look past those struggles and better appreciate it.
Again, I think this team knows that The Siege is a tad cheesy, and they don’t try to hide that. Rather, they embrace what they have and use it to their advantage. That sort of self awareness adds depth to a film that could have seemingly been one dimensional–focused entirely on action and the like. The Siege finds its footing early as a result of this, and it continues to grow throughout its entirety.
The makeup department does a wonderful job–keeping pace with the high-octane nature of the film and finding ways to supplement it as well. This department doesn’t just keep up, but it works to make the film better, more believable even. The Siege contains elements that remind me of the The Fast and the Furious franchise, elements that make viewers shutter and struggle to appreciate films of that nature. Viewers need something here that will allow them access, that reminds them that The Siege is somewhat grounded and relatable. I think the makeup and the fashion in which this story is told as a result of what the makeup department is able to accomplish is what allows this to happen. The story remains linear and semi-grounded as a result of what Hair and Make Up Supervisor Rebecca Wheeler and her team are able to create. She and her team are ultimately the lifeblood of The Siege, and that’s an impressive feat.
The Siege, in a lot of ways, plays out like every other action-packed film of this nature. It attempts to pull viewers into a world of high-octane stunts that play with reality, occasionally blurring the line between reality and science fiction. I expected this; I expected The Siege to play out this way–but I didn’t expect it to be so self aware, so understanding of what it can and can’t do. The Siege is a fun film for fans of the genre–but what makes it an enjoyable film for all is what Wheeler and her team are able to develop throughout, strengthening the narrative and giving each instance new meaning.
Directed by Brad Watson.
Written by Nicole Bartlett.
Starring Daniel Stinsen, Lauren Okadigbo, Tennis Cheung, Byron Gibson, Michael Geary, etc.
⭐⭐⭐⭐⭐⭐½/10
Komentarze