In Cape Town, South Aftica, rookie CIA agent Matt Weston is a safe house keeper and is in love with his French girlfriend Ana Moreau who does not know about his double life. When the most wanted rogue and former CIA agent Tobin Frost surrenders to the American Consulate to escape from an attack of dangerous soldiers of fortune, he is brought to the safe house to be interrogated by specialist Daniel Kiefer and his team. However there is a breach in the safe house and mercenaries break in the place expecting to capture Tobin Frost. Matt escapes with Tobin and he contacts the CIA senior management Harlan Whitford, David Barlow and Catherine Linklater that give instruction to Matt to reach another safe house. But Tobin warns Matt that there is an informer in the CIA and he shall not trust in anyone.
Tobin Frost was once a well respected CIA agent, until he turned nine years ago, he who is now wanted for espionage. Largely underground, he voluntarily turns himself in to the US government via their consulate in Cape Town, South Africa. From there, he is transferred to a safe house overseen by neophyte CIA agent Matthew Weston, this posting which is relatively low within the bureaucracy. Weston's job is to protect his house guests at all cost. Out of circumstance, Weston and Frost are forced to go on the run from the house, largely without the help of anyone else within the agency, including those at Langley such as Weston's boss David Barlow, Barlow's peer Catherine Linklater who is in charge of the section interrogating Frost, and their superior Deputy Director Harlan Whitford, that is until they are able to give him further instructions. Weston's task is difficult as they are being pursued by some men who are after Frost for some reason and are willing to kill, and Frost is largely an unwilling companion, who tries to undermine Weston, particularly psychologically, and escape at every opportunity. Weston has no idea why Frost came in, something those at Langley are trying to determine. Weston knows his career is on the line if he fails in the mission, that is if he survives. During the process, Weston is continually thinking about his girlfriend, French national Ana Moreau, to who he lied about his job, and thus whose life may be in danger without her even knowing it or ever knowing why it may have been in danger.
I started watching this movie with a bias in its favor to begin with. I like both, Ryan Reynolds and Denzel Washington so I was expecting it to be good.<br/><br/>Ryan Reynolds plays a CIA (or FBI) agent that is putting in his time babysitting a safe house. Denzel is a rogue agent that appears on the grid after years of being hard to catch.<br/><br/>The movie was as advertised. A good thing you can expect from a Denzel crime/action thriller is that the acting will be good and the action won&#39;t be over the top. There will be enough action to keep you locked in but not so much where you mentally check out and don&#39;t care about the story. This wasn&#39;t the best Denzel movie, but at least it had a good cohesive story and some substance.
The film sets up some very interesting ideas, about these safe houses that are dotted around the world where intelligence agencies protect the vulnerable or conduct their dark deeds.<br/><br/>The characters have some depth and I thought Ryan Reynolds did very well out of his comfort zone. There is a fair amount of tension for the first half of the film and the action is high-octane.<br/><br/>The problem I have is with the endless repetitive nature of the film. Whenever anyone takes a sigh of relief some bad guy comes bursting through the window or the kitchen sink explodes and its another car chase. This became tedious and draining after the first hour.<br/><br/>It seems to becoming a constant of my reviews lately but the film is just too long. It is impossible to keep the tension up so high for so long without me losing interest.
Director Espinosa stages the endless action with a tremendous flair that recalls John Woo's grittier moments, and cinematographer Oliver Wood, who shot Woo's finest Hollywood moment, "Face/Off," gives the whole violent show a downright brackish look that borders on the sublime.
&quot;No church in the wild&quot; by Jay-Z &amp; Kanye West feat. Frank Ocean from the album &quot;Watch the Throne&quot;
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