Twenty years after leaving a dangerous and painful past of crime, Paul takes on a different mission through a peaceful life. Now, Paul has become the head of a garage in the suburb of Mississippi. When his young girl suddenly disappeared, Paul was forced to return to the city, look for his daughter and face more challenges as he decided to restore her bad life again.
An idle Netflix user could certainly do far worse when browsing for mindless actioners. But the overall air of shrugging obligation from those both in front of and behind the camera proves contagious.
This isn't a passion project for anyone involved. It's a by-the-numbers affair that's landing on the right side of the ledger book. It's about mercenaries on both sides of the camera.
Aggressive but hopelessly thin, The Prince hopes to dazzle viewers with famous faces, which act as a rodeo clown while the rest of the picture trots out snoozy underworld and revenge clichés in a most uninspired script.
Macho mayhem as the male version of maternal instinct. While Willis rather delicately negotiates his darker side, in a shaky balance between a slightly humanized professional psychopath seeking closure for a major grievance, and just a really rotten dude.
If filmmakers were put on trial for hackery, a good prosecutor might ask director Miller why The Prince contains no discernible prince but does feature a closing-credit shout-out to "Prince Yoohanhwesa."
