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eing in the bourgeoisie, it is comfortable for me to dismiss this film, comfortable to dismiss the working-class issues that John Q boldly addresses. This film wears these issues on its sleeve and is brash to the point where reality seems bent.
Remember Waterworld? Other than a few laughs, memory should recall something regarding total blockbuster failure. Enter Rollerball. Using excess color and noise, director John McTiernan throws terrible acting, heavy metal music, and an unhealthy dose of political confusion into the proverbial blender.
Assuming that most people probably have not read Alexander Dumas' The Count of Monte Cristo since high school--if at all--they still won't be at any loss going into this most recent adaptation. The film is much more in tune with visually obsessed American culture than any sense of duty towards its source. Much like the novel, this is a film about revenge--except with violence, sword-fights and a happy ending that goes beyond just taking liberties with the novel.
