I’m lucky enough to have visited the main film making studios and been treated to a glimpse of their prized FSG (film script generating) computer which allows you to input the theme or title of your movie, in this case MAN ON A LEDGE, before automatically generating a story usually containing cops/soldiers and crime/terrorism, which is also in some way connected to your chosen central theme (overcoming adversity, love, etc). The script is subsequently printed directly onto toilet paper so that those results deemed too ridiculous for viewing can simply be used by staff to remove unwanted chugnutts .
Unfortunately mix-ups in the washroom do occur and before you know it a faulty script gets made into a movie albeit with an apology tacked on at the end of the film. These accidents have occurred many times in the past and Man On A Ledge is just another example of this efficient but flawed system.
With that in mind, Nick Cassady (Sam Worthington) is framed for the theft of a $40 million diamond belonging to real estate mogul David Englander (Ed Harris) and sent to prison before escaping and devising a plan to prove his innocence by standing on the ledge of the Roosevelt Hotel in New York. A plethora of stereotyped off-the-shelf characters are then drafted in to show the NYPD as modern day Keystone Cops, the New York public as bloodthirsty tricoteuses straight from the French Revolution, and The Press as bubonic rampant inhuman vermin that they are.
Sam Worthington then stands around on a ledge talking to police negotiator Lydia Mercer (Elizabeth Banks), while we are also introduced to a host of other archetype characters including his a Celtic gamecock brother Joey (Jamie Bell) and a spicy Latin hottie who carry out an implausible heist armed only with a skate board and fire extinguisher.
This movie might have appealed to a Cro-Magnon audience but unfortunately had such huge holes in it you could have driven a herd of woolly mammoth straight through it.
A Film-Bot which slipped through quality control