The Florist

RED BEACON! I won’t be silent about the script.

I was critical of The Florist, but I watched it because I had an attraction in seeing two legendary actors, Dennis Quaid and Jean Reno, together. Besides, the action was staged by person who isn’t trivial about that.

Nevertheless, it was another movie that doesn’t show much common with a titled occupation. It has a little bit of this job while behind this the lead character involved in killing people. Certainly, he slays only bad ones. Dennis Quaid performs another honorable killer. However, it has a reasonable explanation for why he makes so, which lies in his employers and the past. Both these elements create an originality.

Actually, the story was intricate and I was tantalized in disclosure of backgrounds of lead heroes whereas the demonstrated pair of antagonists are complex personalities. I loved the relationship that were developed between three positive characters. I was excited how the two sides were looking for each other. It was pleasing to see the French side of Jean Reno’s character, Charlie–who plays the friend and partner of Quaid’s assassin–through his sophisticated clothes, manners, and culture.

I wasn’t fascinated by the surrealism of the script and the shooting scenes of London Has Fallen, and dislike that I had after watching Olympus Has Fallen solidified it. Therefore, I couldn’t care about unknown Babak Najafi, who was the director of that movie. Such men are usually appointed to do the job. In The Florist, the filmmaker is a good narrator. I disagree only with a decision to combine two sequences with the female personage, but that is merely about taste. Najafi amazes with inventive action scenes, which are living.

I could forgive the budget constraints. That no bullet holes in cars and in a body that gets a fatal shot. The appearing fire is two-cent CGI. The same about the loud sounds of cocked shotgun and a pistol being drawn from its holster. And these coincidences with that unknown characters met and found each other in the same places were hardly believable, but I accepted. The script was original and it was without stereotypes.

Everything changed when happened the thing that I expected and didn’t want even before watching because I already liked Charlie. He had the fate of a secondary character who is an ally to n protagonist. But there much worse occurred. The killing of Reno’s hero was without commonsense. He confronts the villain, knocks out the gun from him and overcomes in the fight with using the knife. He stabs the antagonist but forgets about the pistol, which the fiend picks up and fires. No consequences from many impaled wounds were shown. If I can assume the antagonist’s motives for liquidation Charlie, but I can’t believe after the Frenchman turned on his smartphone and Quaid’s protagonist began to scream the name of his colleague that no one heard it. Later, I also couldn’t take for truth and didn’t see motives that main character was ready to forgive the death of his dear friend by asking the evildoer to step back. Certainly, it leads to the final standout between the two. At that place, the excellent score activates–a thing that didn’t seem it exists and wasn’t unordinary all that time. Its heartbeat notes lied swift with the magnificent monologue of the corrupt law enforcer. However, no one of the trio of scriptwriters that were involved–and whose movies were unseen, didn’t attract, and one of them solely wrote and staged the unacceptable drivel Welcome to the Punch–had a passion to be inventive with the conclusion. It wasn’t mindful for the detective to sneak into unknown territory that his opponent knows, and especially talk there. Logically, it ended poor for him, which was in a banal big explosion that Dennis Quaid won’t look. Anyway, the killing of the secondary character already made to understand how The Florist will end, and everything assumed had a place to be. It was stereotype after stereotype.

I watched the powerful acting of the tremendous Dennis Quaid and Jean Reno (the entire cast was wonderful). I wished the film could become likeable because the script could be so.