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A frustrated office worker learns that he is the son of a professional assassin and that he shares his father's superhuman killing abilities.
The anxious, clumsy and abused office clerk Wesley Allan Gibson has a hell and boring routine life: his obese boss humiliates him all the time and his girlfriend betrays him with his colleague and best friend during working period. When he meets the sexy Fox, Wesley is informed that his father was a professional killer that belonged to an ancient organization called Fraternity and killed by the skilled and powerful Cross, a hit-man that has betrayed the Fraternity. Wesley learns that his anxiety actually is a manifestation of his latent abilities and he joins the society under the command of Sloan. Trained by Fox, he changes his personality and attitude, being prepared to face the dangerous Cross and find a hidden secret.
I left this film shaking my head in disgust at the worthless, corrupt and ethically-bankrupt sewer that Hollywood has become. I knew I was going to a violent action film, I knew its story was about assassins, and I am neither religious nor squeamish about screen violence when it serves a good story - but I did not agree to have my face rubbed in corpses of little old ladies impaled on meat hooks and used as firing range targets; in geysers of blood, bone, brains and random gore spurting in extreme close-up and slo-mo from the craniums of Morgan Freeman, Angelina Jolie and 48 for 50 minor others, then repeated in reverse.
Hollywood is sick. It is so devoid of able writers that it's reduced to serving up buckets of gratuitous, graphic gore and human atrocities sufficient to nauseate Josef Mengele, so as to fill that gaping void where a coherent story and, more importantly, a civilized code of ethics, ought to be.
In yet another of Hollywood's weird adolescent-type cries for help, this film is yet another packed with gratuitous, Beavis & Butthead-caliber profanity between every fourth or fifth word of dialog. It's that thing where teenagers think that grown-up-type "bad words" will impress all observers into "ooohs" and "aaaahs" and thereby obscure desperately-concealed deficiencies of character. Or maybe these "writers" assume their presumptive audience will be just as juvenile as they. Rather pathetic in any case, now epidemic in Hollyweird. Again, I am specifically *not* a WCTU-type religious fundamentalist - but it doesn't take much mental effort to understand the contempt for humanity and the impotent frustration with life that are implicit to gratuitous profanity. To hear actors of the caliber of Morgan Freeman agreeing to deliver that pathetic tripe is just painful.
On the plus side, there were some excellent action sequences and enjoyable spectacle - the train derailment sequence and the car chases managed to be original, even balletic. None of the action in this film was plausible in context of basic physics, of course, but the film managed to suspend disbelief adequately to compensate.
Unfortunately, along with the wall-to-wall human butchery and pottymouth dialog, the story never rose above lame and sloppy. The intrigue of a "secret order" was quickly abandoned as a mere detail of setting; the "Loom of Fate" apparently ran itself, since no explanation was given as to who or what set it in motion; the actors almost to a one were mere foils for extravagant and, again, atrocious visuals.
I won't even bother to go into the contemptible "Sling Blade" ethic of "Murder is A-OK if you have a good reason." Suffice it to stand as a stark reminder of where Hollywood's proctological worldview has inevitably taken it.
Bottom line: "Wanted" is a film that left me feeling in equal parts annoyance, disappointment, and an overpowering desire to go home and wash.
This movie surprised me...literally. Expecting cheesy action sequences and a lame script, "Wanted" was fresh, funny, gory and meaningful. Destiny fulfilled being the message. My only overall objection were the abundance of f-bombs. Though you hear it in everyday life, it sounds juvenile so MANY times. However, the best thing were the performances hands down. James McAvoy really changed and became an assassin, and who can resist Morgan Freeman as a bad guy? Jolie of course kicks ass, as always, maybe not as good as in "Mr. and Mrs. Smith" though. Overall this movie was a thrill-ride with out-of-this-world special effects. If you're looking for a pick-me-up of a movie, I recommend it. Listen for Freeman's "motherfucker", McAvoy's last line and Jolie's last curved bullet; No pun intended. Enjoy! 7.5/10
Not as dark as its source material, Wanted works exceptionally on its own terms. McAvoy crashes the A-list, Jolie finally gets to be as big a star on screen as she has been in print, and Bekmambetov proves the most exciting action-oriented emigré since John Woo.
Wanted is loosely based on a comic book miniseries of the same name by Scottish graphic novelist Mark Millar, with art by J.G. Jones, published in 2003 and 2004 by Top Cow as part of Millar's creator-owned line known as Millarworld. American screenwriting partners, Michael Brandt and Derek Haas, adapted the comics into the original screenplay, which was revised in part by screenwriters Chris Morgan and Dean Georgaris. Wesley Gibson (James McAvoy) and the Fox (Angelina Jolie) have made the transition to film largely unchanged, the only major differences being their appearance (Wesley being originally modeled on Eminem, and the Fox on Halle Berry). Wesley's boss, girlfriend and best friend are also largely unchanged. However, as the main plotline of the comic books (in which all of the main characters are actually supervillains modeled on DC characters) has been altered, many other characters were re-imagined or cut entirely from the film, examples being: (1) Dr. Solomon Seltzer (a short, bald super-scientist and friend to Wesley's father) becomes Sloan (Morgan Freeman); (2) Mr. Rictus (an evil, ghoul-faced murderer) becomes the assassin Cross (Thomas Kretschmann) and is also referenced in the film as an assassin killed by Cross; and (3) The Killer (famed assassin and Wesley's father, modeled after Tommy Lee Jones) becomes Mr. X (David O'Hara). There are significant changes from the comic book.
- Perhaps the most significant change is the underlying purpose of The Fraternity. In the comic, The Fraternity are a secret group of supervillains with an array of powers and they behave as supervillains would be expected to: committing crimes and killing people. In the movie The Fraternity is a secret guild of assassins who work to maintain order in the world by assassinating evil people. The film portrays them in a far more positive light than the book.
- The book is far more vulgar than the movie and revels in pushing boundaries of taste in terms of violence and sexuality. In the book characters talk much more matter-of-factly about topics such as murder, rape, pedophilia, and bestiality.
- The backstory of the film is entirely different from the book. In the comic a group of supervillains murdered all the superheroes and erased their existence from reality. In the film a group of medieval weavers-turned-assassins founds the Fraternity to maintain order.
- Most of the characters were wholly invented for the film. While Fox and Wesley make the transition largely unchanged Wesley's father is almost completely different from how he was portrayed in the book, Mr X, Sloan, The Russian, and the Gunsmith (Common) are complete inventions. The Repairman (Marc Warren) is an expansion of an unnamed character who appears in a few panels in the book, and The Butcher (Dato Bakhtadze) is created from a scene in the book where Wesley himself is sent to work in a slaughterhouse to help desensitize him.
- The plot is dramatically changed. While the introduction and Wesley's training are very similar the plot of the comic involves intrigue between different factions of super villains while the film deals with the efforts to apprehend one rogue assassin. In addition the film focuses far more on Wesley's quest to avenge his father. While the book version of Wesley is interested in knowing who killed his father it is not a driving aspect of his character.
- Scenes of Wesley's training are greatly expanded in the film.
- The film version of Wesley is considerably nicer and more sympathetic than the comic version.
- The film includes far more moral conflict about the nature of what The Fraternity does than the comic book.
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