Consider a
helicopter chase through a wind farm,
too, and the many lovely visuals that such an enticing premise suggests — then look to the end - product, which is a lot of tight
shots of
helicopters in the middle of the night, parts of giant windmills, a bad soundtrack, and multiple decibel screaming about «incoming» and «they've got a lock on us.»
Despite far
too many
helicopter shots of Manhattan (seemingly left over from the end credits), Stahelski and Leitch direct the hell out of what little story there is — particularly the extraordinary car sequences — but this is one film that could actually use a sequel / sidequel for Kolstad's characters to really let rip.