There are times when you can tell quite a bit of thought went into naming a movie i.e. Inception, Super 8, and 50/50. They're titles that perfectly describe the film you're about to see, but have a bit more meaning after seeing them. While other movies jump straight to the point with their titles, which certainly isn't always a bad thing; look at Drive, Moon, and The Crow. All three movies are better known for the acclaim they've received (from both fans and critics) rather than the amount of money they made at the box office. The title of a movie can go a long way, but in certain circumstances it can sum up an entire movie in a handful of words. Man on a Ledge is a prime example of delivering exactly what you're expecting.
Nick Cassidy (Sam Worthington) is an ex-con who is trying to convince the world that he's an innocent man, but that's a bit difficult when you break out of prison after serving two years on a thirty year sentence. Instead of talking to a lawyer or taking the advice of his former police comrades, Nick steps out onto the ledge of a building. He wants the world to believe he is innocent or else he's going to paint the asphalt with his insides. Little do they know that Nick's suicide attraction is nothing more than a distraction. Across the street, Nick's brother Joey (Jamie Bell) and his girlfriend Angie (Genesis Rodriguez) are breaking in to steal the $40 million dollar diamond Nick was convicted of stealing. But time is running out and Nick can only stall for so long as Joey and Angie run into some unexpected surprises that weren't a part of the plan.
Man on a Ledge just becomes more and more awkward as it drags on. It's as if the movie can't decide what type of story it wants to tell. We follow Nick around for a bit in the present day seeing how the first part of the day panned out before he stepped out onto that ledge, but then we jump back three years to understand why he went to prison. The nonlinear sense of storytelling is fine, but it feels a bit out of place when it's used so early on in a film without ever really returning to that format again. Then the pacing becomes a huge issue. Man on a Ledge is very go-go-go the entire movie and it never really gives you enough time to properly process everything or let you really care about these characters. You're aware of the situation, the heist going on next door, the apparent corruption in the police force, and the fact that time is running out right from the start, but it just doesn't really matter. There's no character development as everybody feels so paper thin. Even Sam Worthington can't keep his American accent going the entire movie as his Australian accent seems much more apparent in the second half. It just comes off as a complete mess.
The other problem this crime thriller has is the fact you never really know who to pull for. You've got three people trying to pull off a heist claiming it's to prove one of them is innocent of a crime they went to prison for while an unsolved investigation concerning the police force comes up during Nick's suicide attempt to let them know that somebody on the force has been working for David Englander (played by Ed Harris and who was the main reason Nick went to prison) the entire time. Without much depth to the characters, you never really want to see either side succeed. Through all of Nick's pleading with negotiator Lydia Mercer (Elizabeth Banks), the wire he's wearing in his ear becomes blatantly obvious. So her shock and surprise to its reveal later on seems more sarcastic than anything. To make matters worse, things stay this way nearly the entire time until the closing moments where every question you have is answered in the last five minutes. Man on a Ledge has some of the worst pacing to ever make it to the screen.
The only real redeemable factor of the movie is Ed Harris, but it's more of his character being so bad and cheesy that he's good. The scene where his character is introduced where he's given a watch by a colleague is hilarious for all of the wrong reasons.
Man on a Ledge is a combination of many movies you've seen before and it feels that way. It's a mishmash of ideas taken from movies like Die Hard, 16 Blocks, and Hostage. Oh wait; maybe it just borrows ideas from Bruce Willis movies. With its ridiculous pacing and even more incongruous ending, Man on a Ledge will invoke you with the urge to use some of that nonlinear storytelling to go back to the beginning of the movie and push Nick off that building yourself to help prevent you from seeing such buffoonery.
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