Expert S.W.A.T. leader Paul Cutler goes to Detroit on a special assignment to train and certify the city's S.W.A.T. team. After a hostage is killed during an assignment, the victim's ... See full summary »
Colombian drug kingpin Jesús Morales secretly pays for the services of a sniper nicknamed "The Devil," capable of killing one-by-one the enemies of anyone who hires him. With no adversaries left alive, Morales grows stronger and gains control of more smuggling routes into the United States. The DEA, alarmed by this threat to the country, sends agent Kate Estrada, who has been following Morales ... See full summary »
Chad Michael Collins,
Mercy Callo is a U.S. Black Ops soldier who finds himself the only survivor of a botched prisoner extraction mission. Forced to fight his way out of a maximum-security Chechen prison, he ... See full summary »
Wounded men arrive at a closed down hospital save E.R. Then men with guns arrive and start killing. Who are killing who and why? The FBI try to figure it out by interrogating the only survivor, a nurse, about her and Philip's role.
Jean-Claude Van Damme,
"S.W.A.T.: Under Siege" should delete its writer's credit and replace it with a line crediting everybody who has written an action film in the past. The plot draws heavily from "Assault on Precinct 13" and "Safe House," with a lot of familiar tropes seen in dozens of genre films. What few mild surprises the plot offers generally happen off-screen, although it is not easy to predict which characters will die, who will kill whom and the order of their demises. The biggest surprise seems borrowed from "Showdown in Little Tokyo" and is surprising only because the film hadn't yet developed the characters – although, to their credit, it is a great improvement on the SILT scene. The bad guys who are really good and the good guys who are really bad could have simply worn T- shirts identifying themselves. The dialogue alternates between pretentious, execrable, familiar and unnecessary. Production values are generally adequate, although marred by over-reliance on distracting jiggly-cam shots.
However, the fight scenes are capably executed. Michael Jai White is highly proficient and other cast members demonstrate considerable skill as well, including Marsden, Zagorsky, Jaeger and Palicki. The fight choreography is competent, although uninspired. The special effects incorporated into the numerous gun battles are handled well.
Advocates of diversity in films should be encouraged by the ethnically diverse cast. However, skeptics will note that most of the Asian, Hispanic and black performers are in background roles and underutilized. The director seems to have attempted to give a couple of them more screen time with prolonged noble demises, but the shots seem more distracting than empowering. White delivers his dialogue with a heavy accent and another character is given an urban 'tude, but as in many films with large casts, the diversity seems more a result of casting decisions than screen writing choices.
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