‘The Prince’ (id, Brian A. Miller, 2014) is a film that will surely stop by our billboard unnoticed, imagine drawing closer to the former than the latter. We just have to borrow the figure of Bruce Willis, here an important supporting role in trying to change its image in the underrated action movie, to see that the character that Jason Patric gives life falls squarely within the model of action hero introduced in those years of actors such as Willis.
In those years, certain key players in this subgenre, always unjustly undervalued, were led by even more imperative names. Surnames like McTiernan, Cameron or Donner gave personality products which, in the hands of others, would have fallen into oblivion. Brian A. Miller is a complete stranger with a filmography also unknown to the public.
Jason Patric, spunky one of those who having participated in several notable films, never got the fame that others got with less effort, portrays Paul, gives life to Paul, a man who lives quietly of his work in a machine shop, his property. A day of peace, calling his daughter via cell, he discovers that it is missing, probably kidnapped, and we found out that Paul is a former agent of the government, or dangerous type with which it is better not mess that have a past full of terrible deaths. And now they have messed with his daughter.
It looks and forget
Bruce Willis with a knob of those who give him seems more serious or pint of bastard plays the villain of the show. Connected with the protagonist under a bad life and an error of him when he wanted to assassinate him, will not rest until he filled his desire for revenge. A nemesis for our protagonist whose big value is to take the face of an actor to the one which many we admire for his unforgettable John McClane; and nothing else. Willis is not exactly well with his character, badly drawn and really horrible phrases. Everything sounds like a collection of check and point.
But worse is the look of a tousled John Cusack – who has seen and who sees it in films, as a professional killer throwing a hand to Paul in carrying out his suicide mission. A couple of sound bites, some old friends, alcohol, and a desire to absent, interpretively speaking. Another check justified only with the presence. And in the case of Cusack is doubly sad; I don’t remember an actor as charismatic and falling as well to the public, to fall so low, professionally speaking, recently appearing in many films, all very forgettable.
We must thank the Miller not fall into the current fashion of frantic narrative like crazy, with thousands of cameras capturing every angle and lots of frames per second in assembly. That and the attractive character of Paul may be at certain times – stressing that one in a pub which is narrated as a legend a very bloody story of his past, a kind of Kayser Soze on the side of “good”, although the blankness of Patric in many instances does not help – help to support a film that does not bored, but forget in less time than it takes to see it.