movie review a man apart

A Man Apart

“A Man Apart” sets chunks of nonsense floating down in a river of action. The elements are all here–the growling macho dialogue, the gunplay, the drugs, the cops, the revenge–but what do they add up to? Some sequences make no sense at all, except as kinetic energy.

The movie stars Vin Diesel and Larenz Tate as drug cops named Vetter and Hicks. They’re partners in the DEA, attempting to slam shut the Colombia-Mexico-California cocaine corridor. When they capture a cartel kingpin named Memo Lucero ( Geno Silva ), the cartel has its revenge by attacking Vetter’s home and killing his beloved wife, Stacy ( Jacqueline Obradors ).

I have not given anything away by revealing her death; the movie’s trailer shows her dying. Besides, she has to die. That’s why she’s in the movie. My colleague Richard Roeper has a new book titled Ten Sure Signs a Movie Character Is Doomed . One of the surest signs is when a wife or girlfriend appears in a cop-buddy action picture, in gentle scenes showing them dining by candlelight, backlit by the sunset on the beach, dancing in the dawn, etc. Action movies are not about dialogue or relationships, and women characters are a major Dialogue and Relationship Hazard. The function of the woman is therefore inevitably to die, inspiring Revenge. This time, as they say, it’s personal.

Diesel inhabits “A Man Apart” easily and continues to establish himself as a big action star. Tate gets good mileage from the thankless sidekick role. Silva, as the drug kingpin, gives us glimpses of a character who was probably more fully developed in the earlier drafts: There is very little of Memo, but what there is suggests much more.

The plot is routine. Cops capture kingpin. Kingpin is replaced by shadowy successor named El Diablo. Successor sends hit men to shoot at Vetter and wife. Vetter loses his cool during a drug bust when a guy disses dead wife. As a result, three cops are killed. The chief takes away Vetter’s badge. Then the rogue ex-cop goes on a personal mission of revenge against El Diablo, with ex-partner obligingly helping. We have seen this plot before. But Diesel has an undeniable screen charisma. And the movie is good-looking, thanks to cinematographer Jack N. Green , who gives scenes a texture the writing lacks. So everything is in place, and then we find ourselves confused about the basic purpose of whole sequences.

Example: Early in the movie, the DEA raids a club where Memo is partying. “You expect us to go into a building full of drunken cartel gunmen unarmed?” asks Vetter, who conceals a gun. So does everyone else, I guess, since the subsequent gun battle is loud and long and includes automatic weapons. While I was trying to find the logic of the “unarmed” comment, Memo flees from the club through an underground tunnel and emerges on the street to grab a getaway cab.

OK. Later in the film, Vetter and Hicks return to the same club, enter through the getaway hatch, wade through waist-high water in the tunnels, emerge in the original room, and find a man sitting all by himself, who they think is El Diablo. “You think … I am El Diablo?” the man asks, all but cackling. As an action sequence unfolds and the guys retrace their steps through the flooded tunnel, etc., I’m asking what the purpose of this scene was. To provide mindless action, obviously. But was it also a strategy to use the same set twice, as an economy move? The closing scene is even more illogical. I will give away no details except to say that, from the moment you see Vetter in the funny sun hat, smoking the cigarette and walking in the dusty village street, the entire scene depends on Backward Choreography: The omnipotent filmmakers know what is going to happen at the end of the scene and rewind it to the beginning. (Even so, the specific logistics of the payoff shot are muddled.) Faithful readers will know I am often willing to forgive enormous gaps of logic in a movie that otherwise amuses me. But here the Vin Diesel character often seems involved in actions that are entirely without logical purpose. The movie’s director is F. Gary Gray, whose “ Set It Off ” (1996) and “ The Negotiator ” (1998) were notable for strong characters and stories. This time, the screenplay tries to paper over too many story elements that needed a lot more thought. This movie has been filmed and released, but it has not been finished.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

• Jacqueline Obradors as Stacy Vetter
• Timothy Olyphant as Jack Slayton
• Larenz Tate as Demetrius Hicks
• Geno Silva as Memo Lucero
• Vin Diesel as Sean Vetter
• Steve Eastin as Ty Frost
• Christian Gudegast
• Paul Scheuring

Directed by

• F. Gary Gray

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FILM IN REVIEW

FILM IN REVIEW; 'A Man Apart'

By Dave Kehr

• April 4, 2003

Directed by F. Gary Gray

R, 109 minutes

In ''A Man Apart,'' a bread-and-butter action film directed by F. Gary Gray (''The Negotiator''), Vin Diesel returns to the pseudo-proletarian persona that this child of Greenwich Village has developed in a string of recent hits, including last summer's brain-rattling spy thriller ''XXX.''

Mr. Diesel has the hulking physique and threatening demeanor of the nightclub bouncer he once was, but he has the soul of a stage-struck kid. The relatively actionless ''A Man Apart'' -- which opens today nationwide -- offers him plenty of opportunities to emote, which he does with all the coltish enthusiasm of Katharine Hepburn's character in ''Morning Glory.''

It is probably beyond the skill of any performer to make working for the Drug Enforcement Administration look like a hip, cool, socially engaged thing to do, but that is Mr. Diesel's assignment here. He's Sean Vetter, a former Los Angeles gang member who has found religion as an operative for the drug agency. With his partner and boyhood pal, Demetrius Hicks (Larenz Tate), Sean has spent seven years trying to bring down the Mexican drug lord Memo Lucero (Geno Silva), only to find, once Lucero has been safely locked away in a stylish maximum-security prison, that another ruthless mastermind, known only as Diablo (the picture's original title), has risen to take Lucero's place.

The clock is ticking on Sean's pretty wife (played by Jacqueline Obradors of ''N.Y.P.D. Blue'') from the moment they are seen romping like puppies in their tastefully furnished beach house. She's a walking revenge motive, and sure enough, we are barely into the film's third reel before she is brutally murdered by Diablo's henchman, a Beverly Hills hairdresser mincingly played by Timothy Olyphant. This is the opportunity Mr. Diesel has been waiting for to screw his face into a variety of contortions that were probably meant to express grief, anger and steely resolve but come off more like surly petulance.

So desperate is Sean for vengeance that he teams up with the imprisoned Lucero, whose wife and child have also been killed by the mysterious Diablo. A series of gun battles follow, none staged with quite enough verve or imagination to break through the pervasive torpor.

''A Man Apart'' is rated R (Under 17 requires accompanying parent or adult guardian). It includes moments of bloody violence, much strong language, scenes of drug use and brief nudity. DAVE KEHR

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A Man Apart Reviews

Films like A Man Apart pretend to deal with social issues. That is their cover story. But in fact, they themselves are the Hollywood equivalent of the coke trade. They corrupt the entertainment industry.

Full Review | Jan 10, 2018

If I hadn't seen Traffic, this would still stink, but I wouldn't know how badly. Diesel runs on fumes in this one.

Full Review | Original Score: D | Jan 3, 2018

Pretentious, incompetent, dumb explosion movie.

Full Review | Original Score: 1/5 | Dec 21, 2010

You know what you're getting: it's a Vin Vin situation.

Full Review | Oct 18, 2008

The script for this action vehicle is like something you'd find under the cushions of Steven Seagal's couch, but Diesel, to his credit, digs into his role as if it were Hamlet.

Full Review | Feb 27, 2007

Go see The French Connection instead.

Full Review | Original Score: 2/5 | Dec 30, 2006

This is disappointingly routine stuff from Gray, but the movie does boast one disaster area of a shoot-out and a nifty denouement.

Full Review | Jun 24, 2006

Full Review | Original Score: 3/5 | Jul 5, 2005

It's as if this is a rough cut and [Vin] Diesel didn't show up for the reshoots.

Full Review | Original Score: 1/4 | Jan 5, 2004

Vin Diesel has to make a choice whether he's going to be an actor or a cookie cutter action star.

Full Review | Original Score: 1/5 | Jan 4, 2004

A Man Apart is grim, lifeless and, worst of all, as boring as Steven Seagal talking about Buddhism.

Full Review | Original Score: 1/5 | Sep 6, 2003

O roteiro cheio de furos e a fraca atuao de Vin Diesel so apenas alguns dos defeitos deste filme montono e repleto de clichs.

Full Review | Original Score: 1/5 | Aug 22, 2003

This is a revenge thriller that for long stretches forgets about the revenge and, more importantly, the thrills.

Full Review | Original Score: 1.5/4 | Jun 26, 2003

Oh, the mediocrity.

Full Review | Original Score: 2/5 | Jun 17, 2003

A Man Apart crumbles too easily and all that remains is emptiness.

Full Review | May 30, 2003

It's really, really awful old rubbish.

Full Review | May 20, 2003

This film brings nothing new to the table, but rather just regurgitates every formulaic driven cop-against-the evil drug empire clich that has come before.

Full Review | Original Score: 2.5/5 | Apr 30, 2003

Despite an interesting take on the role of a tough guy, [A Man Apart] is a boring and visually annoying rouge cop story.

Full Review | Apr 24, 2003

[Director] Gray's straight-faced approach to his revenge fantasy is as unsettling as his material is absurd.

The film would be totally unwatchable without the very real charisma of Diesel.

Full Review | Original Score: 1/4 | Apr 22, 2003

• Cast & crew
• User reviews

Metacritic reviews

A man apart.

• 70 Variety Robert Koehler Variety Robert Koehler Diesel makes a violent bid to align himself with the Clint Eastwood-Charles Bronson-Steve McQueen tradition, but he lacks the charisma, emotional strength and humor to do so.
• 63 Philadelphia Inquirer Steven Rea Philadelphia Inquirer Steven Rea Yes, there's a hastily added new ending - an ending that doesn't make sense when you think about it. Not that it's worth the effort
• 63 ReelViews James Berardinelli ReelViews James Berardinelli Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.
• 50 Washington Post Desson Thomson Washington Post Desson Thomson While you're enduring the usual formulaic yada yada -- at least there are yuks to enjoy.
• 50 The Globe and Mail (Toronto) Liam Lacey The Globe and Mail (Toronto) Liam Lacey A paint-by-numbers vigilante movie with the usual rogue cop, murdered wife and trail of vengeance.
• 50 Boston Globe Wesley Morris Boston Globe Wesley Morris Directed by F. Gary Gray and written by Christian Gudegast and Paul T. Scheuring, the movie isn't even worthy of former NFL linebacker turned straight-to-video action figure Brian Bosworth.
• 50 USA Today Mike Clark USA Today Mike Clark It's all fast and furious up to its draggy finale, and yes, it could spark a sequel. Prepare yourself for coming dread in 18 months: "A Man Together."
• 40 Austin Chronicle Marc Savlov Austin Chronicle Marc Savlov The film falls just shy of both Diesel and Gray's mark.
• 40 TV Guide Magazine Maitland McDonagh TV Guide Magazine Maitland McDonagh The film works best when it's sticking to the guns and poses conventions of macho crime pictures. When it reaches for emotional resonance, the results range from unconvincing to ludicrous.
• 38 New York Post Megan Lehmann New York Post Megan Lehmann Violent and unoriginal actioner.
• See all 32 reviews on Metacritic.com
• See all external reviews for A Man Apart

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Review: a man apart.

Note to cocky drug enforcement officers: Don’t try to be a superman.

Note to cocky drug enforcement officers: Don’t try to be a superman. Sean Vetter (Vin Diesel) nabs a big-time Mexican drug czar after seven years on the hunt and sees his world fall apart when his girlfriend is killed in what looks like an act of retaliation. Before getting down to bizness, Sean must endure a hospital-bed breakdown sequence and an obligatory moment of woe-is-me observation on his beachside property. Sean can’t squeeze imprisoned drug overlord Memo (Geno Silva) for information—that is, not until the Mexican baddie loses his familia to an ironic car explosion. A Man Apart wants to be numinous (how else do you explain why the film’s title changed from its original video game moniker El Diablo ?) but the material is unadulterated make-out session: Diesel provides let’s-get-it-on narration; angry Latinas pack heat (not least of which in their oft-massaged posteriors); Larenz Tate keeps rambling on about wanting “to get his fuck on”; and scantily-clad white girls walk around in their jammies (soundtrack courtesy of Aaliyah). Timothy Olyphant’s Hollywood Jack asks at one point: “There’s a human being called Overdose?” Yes there is and, surprisingly, the film itself isn’t as lethal as you might expect. Acclaimed music video director F. Gary Gray inexplicably observes the sleaze with utter disinterest, but A Man Apart is still too witless to be taken as existential crisis. Amid the film’s incessant gunfire, Diesel pauses frequently to contemplate the carnage as if he were lost in an urban version of A Thin Red Line .

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Ed Gonzalez

Ed Gonzalez is the co-founder of Slant Magazine . A member of the New York Film Critics Circle, his writing has appeared in The Village Voice , The Los Angeles Times , and other publications.

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Review: Basic

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A Man Apart (2003)

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Love changes a man. Revenge tears him apart.

When Vetter's wife is killed in a botched hit organized by Diablo, he seeks revenge against those responsible. But in the process, Vetter and Hicks have to fight their way up the chain to get to Diablo but it's easier said than done when all Vetter can focus on is revenge.

F. Gary Gray

Christian Gudegast

Paul T. Scheuring

Top Billed Cast

Sean Vetter

Larenz Tate

Demetrius Hicks

Timothy Olyphant

Hollywood Jack

Memo Lucero

Jacqueline Obradors

Stacy Vetter

Steve Eastin

Juan Fernández

Mateo Santos

Marco Rodríguez

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Status Released

Original Language English

Budget $36,000,000.00

Revenue $44,350,926.00

• loss of loved one
• arbitrary law
• drug cartel

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A Man Apart

A Man Apart , despite what the name might imply, is not a movie about loneliness or going your own way when society has failed. Man Apart is a buddy flick that’s come down with a bad case of Don Johnson slicky-cop-itis and tries to cover it up with thickly wadded goatees and Vin Diesel’s dependable voice of true grit.

In fact, Diesel isn’t apart from anything except his wife, who is killed right off in the trailer but lingers on for a good fifteen minutes in the film. Her murdered-for-revenge slaying pushes Diesel’s character Sean (but lets be honest everyone is going to see the new Diesel flick, not the new movie about a cop named Sean) over the line in his quest to seek retribution for his loss. But as luck would have it, he’s no ordinary cop; he’s an ex-gangbanger who, along with his boyhood gangbangin partner became officers to use their down and dirty connections to fight drugs on the streets. This enables him to find justice “Diesel style”, without wasting time with all those troublesome cop accoutrements like handcuffs.

Unfortunately, though A Man Apart has worked out a way to get right down to the dirty underside of action, Director F. Gary Gray has absolutely no idea how to film it. Granted, he did have the sense to avoid the MTV Shaky Cam, which spreads its curse on so many modern “heavy” action films. But Gray went for something much worse. To add some sort of tension, to what is an otherwise predictable film, he jumps into a series of quick cuts and extreme close-ups whenever there’s any interesting fist pounding going on. The result is utter confusion. It is never clear whose hand is punching whose, nor who is shooting what in what way and from where. Granted, this does indeed add a level of cheap, third-rate suspense to the film, since at no point is it clear exactly who is winning, but this type of suspense could also be called “annoyance” and really should be avoided, particularly in the action-drama genre.

The thing is, Man Apart desperately wants to be gritty. But you can’t be gritty if you gloss right over the more edgy and darkly motivated moments of the film. When Diesel beats a suspect to death and blows his operation, his reliable partner Demetrius (Larenz Tate) jumps right in to cover for him by making it look like a mistake. What should have been a relationship changing moment is passed over, dismissed with the glib catchphrase, “You messy dog, you messy.” Understandably, sometimes you have to move on, but you can’t be gritty without stopping to roll around a bit in the dirt.

Honestly, there isn’t much that’s all that noteworthy about Diesel’s character, other than the dingy goatee mentioned earlier, which he dons only as a symptom of his pent up revenge-crazed rage. Watch for the times when he shaves it off… that’s when he’s happy. Diesel is a good actor, but the real standout performance here is that of Tate, who plays his boyhood friend and partner. He makes it easy to buy into an unbelievable premise, by virtue of the fact that his character is the only one with a reasonably believable reality. Diesel has been set up with a posh beachfront bungalow, but Demetrius, supposedly of similar rank and pay lives ghetto style, in what is practically a tenement. He’s grounded somewhere in the real world while Sean is long lost in the fantasyland of the Don Johnson rich-boy cop.

A Man Apart isn’t truly a bad film, just a little lost. Torn between being kitschy cool and reality biting edginess, it never quite hits its mark in either cop drama realm. I think they were shooting for something along the lines of Training Day , which won Denzel an Oscar, but which did this group no good when they were looking for smart films to emulate. While the plot ultimately makes absolutely no sense, we’re lucky in that the word play and chemistry between Diesel and his crew makes this endeavor at least interesting. Even at his worst, Diesel has more screen presence than actors with ten times his movie experience; and that’s just barely enough to keep this piece of celluloid from the doldrums of all out drudgery.

Yes, that's the end of the review. But I just can't let this film's ending pass without at least commenting on some of the more painful specifics of it. So, if you don't mind spoilers, highlight the blank space below to read my thoughts on the film's "cliffhanger". If not, pretend the blank space below doesn't exist.

Maybe most people won’t even notice, but the final premise makes no sense. Why does Diablo do what he does? What sort of plan is successful only when you’ve demolished your empire? Why does Diablo slaughter his own family?? We can guess, but its never explored. The only real clue is Diablo’s love of whores. From this, are we to assume that Diablo kills his family to free up more time for whores? Stripper lovin is a pretty thin piece of bread on which to spread an entire plot. The entire movie sets things up for a massive cliffhanger, only to drop viewers into a pit of shallow Vin Diesel attitude and empty results.

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A man apart.

• Common Sense Says
• Parents Say 0 Reviews
• Kids Say 1 Review

Common Sense Media Review

By Nell Minow , based on child development research. How do we rate?

Pretentious, incompetent, dumb explosion movie.

Parents Need to Know

Parents need to know that this movie is very, very violent, with a lot of firepower and many characters killed, including a woman and child. Policemen violate the civil rights of suspects, including beating them. Characters drink, smoke, and deal in drugs. They use very strong language, and a child's use of a…

Why Age 17+?

Drinking, smoking, drug dealing.

Very strong language.

Intense violence and peril, a lot of shooting, many deaths, grisly injuries.

Strippers, lap dance.

Any Positive Content?

Drinking, drugs & smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Violence & Scariness

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Parents need to know that this movie is very, very violent, with a lot of firepower and many characters killed, including a woman and child. Policemen violate the civil rights of suspects, including beating them. Characters drink, smoke, and deal in drugs. They use very strong language, and a child's use of a swear word is supposed to be humorous. When a character tries to insult Sean by suggesting he is gay for turning down a lap dance, Sean gets infuriated. Black and white characters are deeply loyal to each other. Most of the drug dealers and criminals are black or Latino. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

When DEA agents Sean Vetter (Vin Diesel) and Demetrius Hicks (Larenz Tate) bust a major drug lord, 'Memo' Lucero (Geno Silva), a more dangerous kingpin comes to power -- Diablo (Timothy Olyphant). On the orders of Diablo, Vetter is attacked, and his wife is killed. Vettner is desperate for revenge and will do anything – even teaming up with Lucero.

Is It Any Good?

A MAN APART is a dumb-guy-with-nothing-to-lose explosion movie, which is forgiveable, but it is a pretentious, manipulative, incompetent, and dumb explosion movie, which is not. The usual conventions are in place -- the strip club scene, the "you need some time off, give me your badge" scene, the humorous interlude with the small-time drug dealer, the partner who first says he won't go along on a boneheadly rogue mission but then shows up at the crucial moment, and of course the many, many, many moments of hitting, shooting, and blowing things up. But none of the scenes have any life, originality, or conviction. And there is this irritating effort at making it all seem more meaningful, with voiceovers that just sound silly, even with Diesel's gravelly voice.

Talk to Your Kids About ...

Families can talk about the dilemma posed to Demetrius. He must do what he thinks is right or what Sean wants him to do. Sean says at one point that "that's not my fault if somebody gets out of line." Families can discuss his failure to accept responsibility for his actions (and the police department's casual attitude toward his many violations of law and procedure).

Movie Details

• In theaters : April 4, 2003
• On DVD or streaming : September 2, 2003
• Cast : Larenz Tate , Timothy Olyphant , Vin Diesel
• Director : F. Gary Gray
• Inclusion Information : Black directors, Black actors, Multiracial actors
• Studio : New Line
• Genre : Action/Adventure
• Run time : 109 minutes
• MPAA rating : R
• MPAA explanation : strong graphic violence, language, drug content and sexuality
• Last updated : July 10, 2024

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A Man Apart (2003)

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Vin Diesel stars as Agent Sean Vetter, a DEA operative fighting the drug wars along the US/Mexican border. After a major player from the Baja Cartel is imprisoned, a new mysterious figure known as Diablo wrests control over the entire operation. But when Vetter's wife is murdered in a botched hit, he and his partner (Larenz Tate) must join forces with the jailed Cartel boss to hunt down the dangerous and elusive new player. Directed by F. Gary Gray (The Negotiator, Set It Off), A Man Apart is written by Christian Gudegast and Paul Scheuring.

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A Man Apart Review

04 Apr 2003

110 minutes

A Man Apart

Although it wrapped in March 2001, Vin Diesel's undercover narcotics cop movie only now sees light of day. First came a lawsuit from the makers of videogame Diablo, who nixed first choice title El Diablo (the name of the Mexican drug cartel boss Diesel is tracking down). More troubling in terms of the finished item, though, are rumours of a reshot ending, as what we've got here is most definitely tacked on in a desperate attempt to rescue a plot that lost its sense of logic long ago.

Diesel does his best to add some acting muscle to his physique, and proves that he can be just as convincing with emotional pain as with the psycho bursts of violence that follow when his character's wife bites the bullet. But in amongst the cop bonding and 'You're too close to the case' clichés, he's fighting a losing battle.

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Movie Review: “A Man Apart”

Naturally, Sean wants revenge as he takes aim at bringing down Diablo. Sean and his partner came from the streets and they use all their resources to track him down. There’s some great action and the story takes some interesting turns as they begin to uncover Diablo’s true identity.

The character development is strong in this film, and Vin Diesel and the rest of the cast deliver solid acting performances. Director F. Gary Gray tries to deliver more than a mindless action flick but unfortunately, the script has a couple of holes, so the twists in the story aren’t as effective as he intended.

The most pleasant surprise of the film was seeing Bullz-Eye’s own Rachel Sterling make an appearance as an exotic dancer. That alone is worth the price of admission.

3/5 Stars Starring: Vin Diesel, Larenz Tate, Timothy Olyphant Director: F. Gary Gray

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A Man Apart (2003)

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A Man Apart Movie

Who's Involved:

Vin Diesel, Timothy Olyphant, F. Gary Gray, Larenz Tate, Jeff Kober, Emilio Rivera, Steve Eastin, Jacqueline Obradors, Geno Silva, Juan Fernadez, George Sharperson, Marco Rodriguez, Mike Moroff

Release Date:

Friday, April 4, 2003

Plot: What's the story about?

Vin Diesel stars as Agent Sean Vetter, a DEA operative fighting the drug wars along the US/Mexican border. After a major player from the Baja Cartel is imprisoned, a new mysterious figure known as Diablo wrests control over the entire operation. But when Vetter's wife is murdered in a botched hit, he and his partner (Larenz Tate) must join forces with the jailed Cartel boss to hunt down the dangerous and elusive new player.

4.17 / 5 stars ( 6 users)

Poll: Will you see A Man Apart?

Who stars in A Man Apart: Cast List

Fast X: Part 2, Fast X  

Larenz Tate

Ray, Biker Boyz  

Timothy Olyphant

Terminator Zero: The Animated Series, Once Upon a Time in Hollywood  

Jacqueline Obradors

Steve Eastin

Gasoline Alley, Things Fall Apart  

Juan Fernadez

Break, Leave No Trace  

Mike Moroff

Emilio Rivera

3 From Hell, Flamin’ Hot  

Marco Rodriguez

George Sharperson

Who's making A Man Apart: Crew List

A look at the A Man Apart behind-the-scenes crew and production team. The film's director F. Gary Gray last directed Lift and Men in Black: International .

F. Gary Gray

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• 2004 - December : The film was set to Completed  status.

A Man Apart Release Date: When was the film released?

A Man Apart was a release in 2003 on Friday, April 4, 2003 . There were 7 other movies released on the same date, including Cowboy Bebop: The Movie , Levity and The Man Without a Past .

A Man Apart DVD & Blu-ray Release Date: When was the film released?

A Man Apart was released on DVD & Blu-ray on Tuesday, September 2 , 2003 .

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A MAN APART

(Pa, B, C, Ho, LLL, VVV, SS, NN, AA, DD, MM) Mixed pagan worldview with some moral, Christian, homosexual, and immoral elements; about 119 obscenities, including many "f" words, and six strong profanities; very strong violence, including several shootouts, gruesome images of slaughtered men, murder, man beats another man to death, explosion kills mother and her young son; husband and wife caress and nude women dance suggestively with men and each other; upper and rear female nudity, and upper male nudity; alcohol use and drunken revelry; smoking and illegal drug smuggling; and, strong theme of revenge rebuked lightly, villain deceives hero, and policeman covers up for his buddy when buddy goes criminally out of control, endangering the lives of other officers, some of whom die.

GENRE: Police Thriller

More Detail:

Vin Diesel has a compelling screen persona, but his last two movies, XXX and THE FAST AND THE FURIOUS, have been disappointing since he burst on the screen in 2000 as an entertaining action hero in the underrated science fiction movie PITCH BLACK. A MAN APART, Diesel’s new action movie, has a fair amount of heart, but it also fails to pass the ultimate test for an action film: would you like to see it again?

This time out, Diesel plays Sean Vetter, the lead narcotics officer on a DEA team run by the federal government. The movie opens with Diesel and his team busting the biggest narcotics ring in Mexico, led by a man named Memo, played by Geno Silva. Despite their success, a new narcotics ring, run by an unknown thug calling himself Diablo, tries to take over Memo’s huge operation, leaving behind a trail of vicious murders. When a hitman from Diablo kills Sean’s wife, but misses Sean, things get personal. Sean goes on a vigilante rampage of revenge, threatening both his career and his life.

A MAN APART is engrossing in parts (and so is Diesel’s performance), but it’s not anything audiences haven’t seen before at the movies. In fact, the movie at times plays like a big budget production of one of Steven Seagal’s lesser movies.

Furthermore, though Sean eventually learns the true meaning of justice, A MAN APART crosses moral boundaries in several areas. First, it is only in the next to last scene that Sean abandons his personal march toward revenge and decides to support justice. Second, the police raid on Memo’s gang takes place at a drunken sex party, where half-naked women parade before the camera. Third, the movie is laced throughout with a heavy barrage of very strong foul language, more than 120 obscenities and profanities. Fourth, there are some very strong scenes of violence, including a few gruesome shots of dead corpses and a scene where the hero goes violently berserk. Thus, A MAN APART will not appeal to anyone with discernment.

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‘Wolfs’ Venice Film Festival Review: It’s the George Clooney/Brad Pitt Show … And Little Else

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• George Clooney

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Pick any scene featuring George Clooney and Brad Pitt in Steven Soderbergh’s Oceans trilogy, and the power of two stars colliding may prove blinding. These two icons since the ‘90s possess such ease with themselves in front of a camera that their comfort naturally transfers to a contemporary. It’s not that Clooney and Pitt can finish each other’s sentences. It’s that one doesn’t even have to finish the other’s thought ; they just know because they’re locked in on the same frequency.

Jon Watts’ Apple TV+ original film Wolfs , the duo’s first reteaming since the beloved heist series, attempts to cash in on their effortless rapport. This action-comedy shamelessly casts their personas and does not even try to hide it. As dueling “cleaners” for high-profile individuals looking to avoid detection of criminal behavior, their characters don’t even have full names .

A District Attorney candidate, Margaret (Amy Ryan), looks to contract Clooney’s services when a young man (Austin Abrams) suffers an accident in her penthouse room. A few minutes after he shows up, Pitt enters to help contain the damage in the hotel for the owner Pam (voice of Frances McDormand). The credits refer to them, respectively, as “Margaret’s Man” and “Pam’s Man.” But names aren’t necessary in this transactional world – both among the characters in the film and the audience watching it. They might as well refer to each other as “George” and “Brad” because those are the associations the film trades on.

The two rivals have a history to which the script vaguely alludes. Watts parses out small morsels about their competition within the industry, which could be either banal banter to fill space or potential spinoff-generating loglines. But he could honestly just cut the banter and lean into their established history: the Oceans series and their associated press tours.

Wolfs has something of a plot, too, as it follows a single night on the job where this team of rivals must be both competitors and collaborators to preserve the reputations of their bosses. The two men dodge bullets and barbs alike in a whirlwind tour through New York’s criminal underbelly as complications arise from their seemingly simple fix. It’s slickly shot by cinematographer Larkin Seiple (best known for his work on Best Picture-winning Everything Everywhere All at Once ) but generically conceived by Watts. Any hopes of him returning to the clever genre play of his delightful directorial debut Cop Car appears squelched by his time directing three Spider-Man films within the Marvel machine.

But, in all honesty, the real sustaining tension proves seeing how long the film can coast on just being “George Clooney and Brad Pitt: The Reunion.” Watts gets far more mileage than expected out of a concept that could just as easily function in the context of a Saturday Night Live sketch (where applause greeting the two stars would take up half the duration of the scene). But he doesn’t understand what Soderbergh did: stardom is but an artificial sweetener. This sugar rush of watching two familiar faces interacting can only sustain a work so long in the absence of style or substance.

Wolfs provides good fun for a while, especially given the dearth of vintage George Clooney leading man roles of late. (Please, someone lure him out of the director’s chair!) Watts knows how to play the hits and lean into their well-established screen figures. Clooney gets to do his debonair, silver-tongued schtick while Pitt rattles off his soft-spoken, sardonic observations with aplomb.

It’s exactly in line with expectations, for better but mostly worse. There are some gags about the two men’s age – pulling out readers, needing to pop an Advil, cracking backs, yawning – yet little in the way of reflecting what all that time watching them means. Unlike Top Gun Maverick , which took Tom Cruise’s advancing age as a subject, Wolfs just wants to make it 2001 again with these two giants. That’s fine when the film can subsist solely by feeding off their energy, although it’s not enough to survive a third act that forces unnecessary crime genre twists and turns.

Sony Pictures will release Wolfs in theaters for a one-week engagement on September 20 before Apple TV+ premieres it for streaming on September 27.

Marshall Shaffer is a New York-based freelance film journalist. In addition to Decider, his work has also appeared on Slashfilm, Slant, The Playlist and many other outlets. Some day soon, everyone will realize how right he is about Spring Breakers.

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‘wolfs’ review: brad pitt and george clooney reunite for a cunning caper that never takes itself too seriously — sometimes to a fault.

Jon Watts ('Spider-Man: Homecoming') wrote and directed this New York-set action comedy, which will roll out on Apple TV+ after premiering in Venice.

By Jordan Mintzer

Jordan Mintzer

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Can movie stars stay cool forever?

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Ethan hawke compares acting to "the joys of doing drugs," talks about being "slightly disappointed that i'm not a wizard or a jedi", brad pitt and george clooney whip venice film festival into a frenzy with 'wolfs' world premiere.

Either way it’s unfortunate, because Wolfs is a work that deserves big-screen attention — instead of being viewed in bed on a MacBook that’s resting on top of your crotch. Written and directed by Jon Watts , who, after a lengthy stint in the Marvel Universe, returns to the caper mode of his 2015 breakthrough Cop Car , the movie has twists galore and showcases a slick, deadpan style you hardly see in Hollywood anymore. Both fun and thin at the same time, it’s not about much in the end except the idea of reuniting Pitt and Clooney to see if they still have their magic, which they mostly do.

Both play “cleaners” or “fixers” — think Jean Reno in La Femme Nikita or Harvey Keitel, the first and most famous Wolf, in Pulp Fiction — who get hired for a job that winds up stretching out for one long, snowy and action-packed New York night. That job entails helping a district attorney ( Amy Ryan ) get rid of a dead body in her luxury hotel room, but it quickly spirals into much more. The body, in fact, is not dead at all, and belongs to a gabby, nervous wreck of a kid (Austin Abrams), who happens to be carrying four kilos of heroine in his book bag.

Watts teases out the tension and humor between them in every scene, getting plenty of mileage off their slightest gestures or facial expressions, especially during a few sequences where there’s hardly any dialogue at all. Like in Cop Car , or his excellent TV series, The Old Man , the director has a knack for staging visual comedy and action with only a few shots and cuts — the opposite of what most overshot action movies do.

At its best moments, Wolfs takes that style to extreme lengths, in what’s basically a two-hander set on lots of empty Manhattan streets, or inside Clooney’s comfy BMW. A few other characters are brought in, including the aforementioned “kid,” a doctor (Poorna Jagannathan) working out of a restaurant in Chinatown, and an Albanian mob boss (Zlatko Burić) whose daughter’s wedding the two crash in one over-the-top scene.

But like Pitt and Clooney, none of these characters feels like real people. They’re occupants of a movie world closer to the ’90s-era meta-fictions of Tarantino than anything real or contemporary. Which means that whether they live or die, shoot one another or hug it up, finish as besties or arch enemies, doesn’t seem to matter all that much.

As for the question at the top of this review, at one point the kid, who’s as nerdy a New Yorker as they come, tells Pitt and Clooney how cool they are. And it’s true they do some very cool things, like when Clooney bags a body in the hotel room in one quick swoop, brings it casually downstairs on a luggage rack and kicks it into the trunk of his Beemer. Even when, later on, he and Pitt have to simultaneously take out their old man reading glasses, they seem cool as cucumbers.

But does everyone still think that? If you were to ask a bunch of random teenagers or people in their 20s today, it’s possible they don’t even know who the actors are or what films they’ve done. And it’s also quite possible they don’t watch many films at all anymore, if they ever did.

And so if Wolfs is about anything, perhaps it’s about testing whether Hollywood stars exert the same power and fascination they did when movies seemed to matter much more to the general public. The results of that test are yet to be known, and Wolfs leaves us with a final image of Pitt and Clooney suspended together in action, as if to say: If they no longer have us, at least they have each other.

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