Guns Up 4K 2025 Ultra HD 2160p

Story Movie

For many years, Ray managed to be both a hitman and a model family man. But as soon as he decided to quit crime, certain changes took place in the mafia clans. Now Ray's head is being hunted. It's time to reveal the truth to his wife, although, as it turns out, she also kept a couple of secrets from her husband.

Review 4K Movie

We all remember director Edward Drake, of course, for his very active participation in Bruce Willis' film projects. Nine out of the dozen films he made featured “The Nut.” And even though these were far from the best films in the Hollywood star's filmography, it was his presence in the credits that helped promote the director's work.

Now Willis is out of the picture, which has added even more intrigue to Drake's next project. How successful will it be? How will Edward cope without a big-name star? And was the previous promotion enough to promote his next project and, more importantly, to grow on his own? These are the questions I asked myself as I followed the progress of Guns Up. But after watching the film, I was left with mixed feelings.

All the best and most interesting parts of the film are basically contained in the trailer. Therefore, your impressions after watching it may ultimately prove to be quite misleading. Most of the time, all we see on screen is everyday routine. A caring father leading a double life, a few very modest bar fights, internal reshuffles in a mafia clan—and all this is accompanied by a profusion of bland dialogue and the characters' empty, incoherent wandering back and forth. To be honest, it was boring.

The situation only begins to actively move forward in the last 38 minutes of the plot, quickly turning into a kind of ironic thriller with an endless series of fights, stabbings, mountains of corpses, and pompous speeches with a hint of irony. So, the gangster action movie with a hint of drama instantly turns into something completely different, more lowbrow and entertaining... On the one hand, this noticeably moved the film forward in terms of action, but on the other, it completely and irrevocably nullified the drama of the characters, their deep and personal expression, which was just beginning to emerge. So the story of the murdered butcher's daughter, unexpectedly brought up at the very end, is completely unmoving and seems artificial—especially against the backdrop of the general “bloody fun” that dominated the plot just a frame ago. However, the proposed solutions did turn out to be somewhat unconventional.

As a result, the film may appeal to connoisseurs of such films, or those who just want to relax and mindlessly watch what is happening on the screen, surrendering to the moment without delving too deeply into the plot, figuring out all its intricacies and logic (which are simply not there). In essence, the film brings together hackneyed stereotypes from gangster and police movies, but it would have been better if it had at least tried to emulate good films. That would have been better, but it doesn't. It might work if you're a teenager and simply don't know many of these films. Still, there are a few good funny moments in the plot. It's fine if you watch it somewhere on streaming platforms like Netflix or Prime Video, because otherwise it's hardly worth the money spent on it. It certainly isn't worth $21 on DVD. It's funny how one of the people who saw it in the theater admitted that he was the only viewer in the room — and that was on a Saturday evening screening.

In terms of technical techniques, I was constantly annoyed by the director's excessive use of slow motion, even in moments where it was completely out of place. It was as if Edward Drake was giving the viewer a chance to enjoy yet another bloody scene on screen.

The actors' performances are not particularly impressive in terms of drama. And this is not even their fault, but rather the fault of the script, with its abundance of dull, empty dialogue. It is unlikely that the characters had the opportunity to reveal themselves while conducting formulaic, meaningless dialogues—such static scenes literally filled most of the film—at the bar, at the pier, at home with their families... (until the last 38 minutes of the plot, which are significant). But then the actors were given the opportunity to really let loose. It feels like Edward Drake didn't restrict them, and this only benefited the film. Because at least in this, you can see some of the charm of Guns Up. Only because of this will I remain neutral.