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What an unexpected franchise has been found under a stone the Irish Gerard Butler. In 2013 Washington Has Fallen won the symbolic competition with another one of oval kidnappings, the much more expensive Assault To Power with Channing Tatum, with a show of violent action that unnerved critics, delighted Cannon fans and the action ninety, and incidentally boosted the career of its director, the then somewhat shabby Antoine Fuqua. Then, in 2016, London Has Fallen potentiated the most wacky and brazen aspects of its predecessor by giving Butler and President Aaron Eckhart a scuffle through Europe and adding to Fuqua's blunt planning a pair of fake sequence shots of pure videogames. Now comes the third, Angel Has Fallen, and to some extent in a surprising way, the new director Ric Roman Waugh (from The Messenger) chooses to step back and make the most "intimate" delivery and, in his own way, sober of the series.

Does this mean something bad? The truth is that no: Angel Has Fallen remains so unlikely, noisy and phantom with the previous series, and will continue to be labeled obsolete by those who criticized the precedents. Only the camera of former "stuntman" Waugh opts for physical action, less spectacular but also more dependent on the work of specialists, more Jason Bourne and less James Bond. Many may miss some sense of excess, but the film is quite effective on its own terms. Without the pressure of majority success (we are not facing a macro-production with a desire for summer blockbuster), Angel Has Fallen that small luxury can be granted: the Butler film is still a "low class" summer title, which allows it to be more violent than usual and also more patriotic, old-fashioned and, within its limitations, obscure .

With bodyguard Mike Banning living, perhaps, his last days in the president's safety (bye bye Aaron Eckhart, hello Morgan Freeman), Waugh's film erases Crystal Jungle as a great reference and takes action abroad, with The Runaway or the Bourne saga as the main cinematographic motive. And is that after the inevitable drone attack, Banning is accused of trying to kill the president and undertakes a flight forward to 1) not be riddled by any secondary character, and 2) prove his innocence.

Waugh, without having the extraordinary talent of Fuqua, does get a couple of effective shootings, such as the attack on the convoy shot on American night, and the great chase aboard a truck that happens shortly after, where the tension is not born of spectacular but, precisely, of the darkness, confusion and panic of the environment (citing Michael Mann as a reference may be an exaggeration ... or perhaps not so much). In spite of those final blows of badly fitted humor, with a Nick Nolte that promises but to which it is not given opportunity to shine, we face a film able to live comfortably in its own ideological contradictions.

On the one hand, in this installment the enemy is at home, so it is by far the most paranoid and distrustful of the triptych "Has Fallen", undermining the comic heroism of previous deliveries to some extent; on the other, it advocates trust between individuals and not in institutions, one of the features that we feel so much offended the two previous films... although in the days of the "Trump America" ​​it is adequately cynical (that moment in which a pair of "responsible citizens" threatens the hero with machine guns). The neat number one at the box office obtained by the film in the US guarantees a fourth installment, if the producer and protagonist Gerard Butler wants, so you might not get to say say goodbye to Mike Banning yet.

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