A red-meat action movie, whose vitality rests on the jolly sadism of its revenge story, and yet for a while it maintains the illusion of something a little deeper (…) Throughout, Scott’s camera pyrotechnics are not psychologically appropriate, stylistically interesting, economical, original or even pretty. Whenever the movie’s point of view turns omniscient, and we’re seeing events from the director’s vantage point, Man on Fire becomes a blurry, shaky mess. — Mick LaSalle