Marketic It's no definitive masterpiece but it's damn close.

YouHeart I gave it a 7.5 out of 10

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

ryan-397-431851 Most of the movie wasn't terrible, but the end was terrible. It made no sense at all. It literally went from me liking it overall to really wishing I turned it off before the last 5 minutes.

kosmasp You could try to see this movie through another piece of glasses and be completely without expectations and allow yourself to be milder than the "critics". Overall it doesn't change the fact that this is over glamorised (and just fancy shot) and does not have anything to say. Nicolas Cage is like a box of chocolate ... or just a mixed bag of beans (mixture being assembled with the ones you like and the ones you absolutely loathe).This movie has a few nice action set pieces, they alone might warrant a 5/10, but I won't do that in this case, because the "story" holding this together and especially the "performance" by Cage do not warrant that. The directors have done some good work and better movies, as is true with Cage. This I wouldn't recommend even if Cage might have used this to "train" for "Ghost Rider" ...

Uriah43 This is a film that has 3 or 4 interwoven story lines. All of them focus around "Joe" (Nicholas Cage) who is a professional assassin. The first scenario centers on his assignment to kill four different people in Bangkok. The second involves a romantic relationship with a young Thai woman named "Fon" (Charlie Yeung), who happens to be deaf. The third feature has him training a Thai man named "Kong" (Shahkrit Yamnarm), on how to kill. There is also another subplot in which Kong gets involved with a pretty nightclub girl named "Aom" (Panward Hemmanee). So basically what we have are several different subplots being acted out around the same time which requires the audience to shift focus from one to another. Normally, this would be okay if the directors (Oxide Pang Chun and Danny Pang) devoted more time to bolstering each segment with meaning or character development. Instead, it appears that the film just rushes into one story and then switches to another without fully exploring the potential of any of them. For example, I'm not really convinced that the romantic interaction between Joe and Fon benefited from her being deaf. Yes, it helped one specific scene in which Joe shoots two armed thieves while Fon's back is turned. But it also takes away huge possibilities due to their essential lack of dialogue. Another example involves the relationship between Kong and Aom. Except for a few brief moments (coming and going) there is no real connection being established between the two. Not only that, but the directors don't really use Aom to her full potential. Be that as it may, because of these various diversions, the movie doesn't really get into a good rhythm until after the first 45 minutes or so. After that, however, it begins to get pretty interesting--until the shootout near the end--which was as predictable as it was absurd. I also didn't care for the way the movie ended. It almost seemed like the directors were too interested in being "unique" or "artistic" rather than caring whether this picture satisfied the audience. In short, they had good acting and a very exotic location. All this film needed was a little imagination or some good direction to rise from an average movie to one that could have been much better. It didn't get either.

Floated2 Bangkok Dangerous stars Nicolas Cage as Joe, a typical movie hit-man in a typical "one last job" story. Joe can feel himself starting to get soft and knows that it's time to get out of the game. But he goes to Bangkok for one last client, a powerful gangster who wants Joe to commit four murders. Part of Joe's routine is to get a local on his side to help with hit-man-related errands. Enter the pickpocket Kong (Shahkrit Yamnarm), who becomes more than just an employee for Joe. As anyone who has ever seen a movie like this before knows immediately, Joe will eventually trust Kong enough to teach him his techniques with ridiculously clichéd lessons like "You don't pull the trigger, you squeeze it." And by breaking the well-established rule that hit men aren't allowed to have friends, Joe will put them all in jeopardy. Along the way, Kong and Joe both fall in love with women along the way, the former with a dancer and the latter with a deaf-mute pharmacist who seems to be there simply to prove that she can develop more of an interesting character with no lines than Cage can with an entire script nowadays. Fast-forward to a dinner scene between the mumbling Joe and the mute object of his affection is one of the most painful scenes I've seen. The whole relationship sub-plot felt incredibly forced and showed a lack of chemistry between the two of them.Joe is not only the kind of part that the Cage of the 1990s could knock out in his sleep; it actually looks like that might be his acting technique for this particular role. And that's the big problem. I think he was miscast and I couldn't quite get his motive on this role. Bangkok Dangerous is so deadly dull that it's really not even worth writing or reading about, much less taking the time to see. The main plot of the film, the fourth hit gone wrong, doesn't really kick in until the final reel. The set-up is so slowly paced that even the critical part of my brain that could sort of recognize that the final sequence had some well-staged action was too tired to care. Cage has gone from fascinating actor to action star to cinematic valium. This film reminded me of straight-to-DVD actions films we see nowadays starring Steven Seagal, Wesley Snipes or Cuba Gooding Jr.