MAN ON A LEDGE (USA 2012) ***
Directed by Asger Leth

The action thriller MAN ON A LEDGE uses the premise that anyone would believe anything a man on a ledge would have to say as the man would have nothing else to lose but his life.

This MAN ON A LEDGE is an ex-con or ex-cop (as he is in reality both) by the name of Nick Cassidy (Sam Worthington) who wishes to clear his name of a theft of a giant gem for which he had been convicted.  Into the scene arrives over-worked but super-efficient police psychologist, Mercer (Elizabeth Mercer) to talk Nick down.  But Nick convinces her of his innocence.  Things are not nearly as clear as it seems as the second half of the film unfolds.  Nick has got his younger bro (Jamie Bell) and his girl (Genesis Rodriguez) to break in to steal the real diamond from Englander (Ed Harris) to prove that it was a frame up.  The action picks up from there to the last reel, resulting in quite the exciting movie, if one can forgive a little flaw called credibility.

The building is the famous Roosevelt Hotel in NYC.  The camera work is impressive, with shots round the sides of the building, close-ups and all.  The chases along the NYC streets are well executed as are the fight and suspense scenes.

In addition, the filmmakers have assembled quite the impressive cast from Worthington to Banks including Harris, Edward Burns, Anthony Mackie with Bell and Rodriguez who make the sexiest couple to be seen this year on film for sure.

But the film does not flow as smoothly.  Director Leth offers the audience little in plot during the first half.  Nick is seen escaping from prison, but one hardly knows the reason he is there or whether he is guilty or innocent.  But bang, everything comes all out during the second half, fast and furious.  Not only plot points but new characters are introduced rapidly.  One good question is why Nick picks the time when he is on the ledge to execute the diamond theft and not before.

The result is a good enough entertaining time waster if one does not expect too much and allows a bit of incredibility in the last half of the film.