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Three Days to Kill | 2014 | PG-13 | - 6.7.5

An American agent in Paris (Kevin Costner) wants to give up the spy game to be with his estranged wife (Connie Nielson) and daughter (Hailee Steinfeld). However, agreeing to stay with his teenage daughter for the first time in five years while his wife is away, he must still track and capture the world's worst terrorist in exchange for an experimental medical treatment that may cure his otherwise terminal disease. Also with Amber Heard, Richard Sammel and Eriq Ebouaney. Directed by McG. Some scenes are in French with English subtitles. [1:40]

SEX/NUDITY 6 - In an alley, a man and a woman have sex against a wall: her back is on the wall and her bare thighs and legs below her raised skirt wrap around the man as he thrusts (he appears to be fully clothed); they kiss passionately as people walk by and farther down the alley, and an older man kisses a younger woman briefly.
 In a men's restroom three college-aged boys rub against a teenage girl's skirt and arms with their hands as she stands with her back against a closed stall door; she looks scared as they attempt to lift her skirt, which is short and her dress is strapless, revealing a little cleavage.
 A woman stands behind a clothing rack and she walks away from the camera to reveal her bare upper back as she embraces her husband and they kiss briefly; the scene cuts to the next morning (sex is implied) when she sits in bed covered by a sheet except for bare shoulders and arms while her husband is dressed, except for his open shirt that reveals a partially bared upper chest and he kisses her briefly. A teen boy and a teen girl kiss passionately in an empty movie viewing room in a penthouse apartment; they stop kissing and smile at each other as the scene ends.
 A woman on a darkened stage writhes with a large sparkling ball in a blurred shot; we see bikini pants against white skin above full bare thighs, with some bare abdomen and a view of her bare back; she is joined onstage by another woman and they kiss briefly in another blurred shot.
 In a tattoo club, a tattoo artists works on a full back design on a woman (we see her back and buttocks). A woman wears a leather mini skirt that reveals most of her bare thighs along with 6-inch spiked heels as she stands straddled over the chest of a man lying face-up on the floor; he looks up at her face and asks, "Am I in hell?" and she replies sarcastically, "Is that what it looks like to you?" (a view of her genitals is implied). In an elevator car, a woman walks up close to a man who says, "You're not my type" and she replies, "I'm everybody's type," and then, "One way or another, I'll make you feel better" and the scene ends. A female agent wears several black leather outfits, heavy makeup and a long blonde wig: She wears two black leather dresses that are mid-thigh in length and low-cut to show a large amount of cleavage; in one scene, she wears a bustier that reveals bare shoulders, arms and significant cleavage while sitting at a table; in another scene, she wears a long, tight-fitting slip-like dress with thin straps and low-cut neckline revealing cleavage as well as bare shoulders and arms. A close-up appears of a woman's trouser-covered buttocks wiggling as she walks away from the camera. A woman wears a heavy knee-length slip with thin straps (her bare shoulders, arms and cleavage are seen). Two crowded party scenes feature teenage girls and women wearing low-cut dresses that reveal some cleavage, with some of them wearing dresses or skirts that end at mid-thigh and reveal much of their bare thighs. Beside a stage is a golden statue of a female from the waist up, revealing bare breasts.
 An extended family includes a pregnant teen girl with a very swollen belly: In one scene, the girl is fully clothed and in labor, sweating and grimacing; the scene cuts to two men talking and we hear a baby crying off-screen; the camera cuts to a scene of an older woman wrapping a clean baby in a blanket and a man becomes tearful, recalling his own daughter in her childhood.
 A man asks a teen boy, "Do you like to score?" and the boy answers, "Yes!...No!" because the boy thought the man meant soccer and then understood the double entendre. Frenchmen imply that an American man in jeans is gay and from Brokeback Mountain. A man and a woman tell each other, "I love you."


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VIOLENCE/GORE 7 - A criminal points a gun at a woman and the scene cuts to him dragging her, with her forehead covered in blood, to an elevator shaft; her head is held over the edge and she convulses as an elevator car descends; the scene ends with the implication that she was decapitated. A man chases a criminal into a subway, suffers a bloody nose, becomes dizzy, and falls to the floor of the platform; the criminal stops and a second criminal limps into the scene and drags the fallen man over to the subway tracks where his bloodied head is hung over the platform as a train approaches; the fallen man strikes the criminal's throat, sending him under the train to die.
 A shootout begins outside a hotel; a rocket launcher strikes a van and another launcher hits another van with a grenade or rocket; both vans explode in flames and smoke while men shoot at on another with handguns; the fight moves into the hotel restaurant and we see waiters fall dead (without blood) and empty glasses break along with large windows; the top floor of the hotel erupts in flames, sending boards and other debris falling to the street; outside, a man shoots through a carport roof and we see another man fall off the roof and onto the roof of an SUV, denting it; two other men fall dead with a little blood showing. At a rooftop party in a hotel, a CIA agent discovers an international criminal and his guards and the criminal calls out, "Kill him!"; a shootout ensues causing many people to duck and run away screaming as guards shoot out windows and the agent wraps one hand in a towel to protect it (it is later bandaged in gauze and later in a slim elastic brace), punches a guard and throws him over a balcony to crash onto the roof of an SUV; shooting continues and the criminal is stuck in a malfunctioning elevator until the agent shoots through the cable and the elevator car crashes (the criminal crawls out with his face covered in scratches and broken glass); a man sees two guards dead and bloody with a pool of blood on the floor and one of them shoots the man, and then another agent shoots and kills him (no additional blood seen).
 A man with a bulletproof vest under his shirt enters a market when another man walks in with an assault rifle and shoots him, knocking him down; customers scream and run out as one man shoots two clerks (killing them) and the first man stabs the other man in the foot with a large meat knife; one man tries to slice the other man's face on an electric slicer and fails, one man kicks the other into a tall shelving unit (breaking wine bottles), one man attacks the other using a broken bottle and three shots fired off screen killing one man (we see blood on his hands). A woman drives recklessly, weaving in traffic and pulls up to a hotel where she hands a passenger a handgun and he takes it reluctantly, and then enters the hotel; three men shoot at him through a closed door and miss and when one of the shooters opens the door he finds a dead man lying there who releases a small cylindrical object into the room; the men shout as if it is a bomb (its not a bomb), another man enters the room and shoots five men, killing them with a small amount of blood on their chest, and pistol-whips a sixth man, who suffers bloody facial marks; another man enters, the two men argue, and the second man shoots the sixth man (he falls off his chair, dead).
 A hotel suite contains half a dozen men lying dead on the floor with a small amount of blood showing on the chest of two men as another man puts his handgun into his pants waistband; a maid enters the suite with a handgun drawn and discovers the dead men. A sales executive enters his office to find a man with a handgun sitting at his desk and two dead men on the couch (some blood is seen on the chest of one of the men); the man in the chair hits one of the men on the couch in the stomach and takes the executive outside, putting him in a car trunk.
 A man chases criminals, suffers a bloody nose, becomes dizzy and falls; one criminal approaches and the prone man shoots him in the leg, producing a loud scream and the scene cuts to a hospital room where a man is in bed and a doctor tells the man that he has three months to live as the scene ends. An older man shoots the gatekeeper at a rave in the foot, felling him in a muffled shout and inside the club sports a huge neon spider web and teens dancing violently in a tight crowd; the man enters the restroom to find his teenage daughter accosted (please see the Sex/Nudity category for more details) and he beats up a teen boy at the doorway and three college-aged men, slamming them into walls and knocking them out with fists and kicks before picking up his daughter and carrying her out.
 A man drives an expensive car, chasing another expensive car that carries international criminals; the first driver and two men in the other car pull handguns and shoot out windows at each other while the two cars bump several times side-to-side and the first man pulls a thug by the arm into his own car; the first driver continues the chase until the other car careens off a bridge, into a street below, crashing on its top and erupting in flames; the first driver rushes down to pull out the other driver, who has only a bloody face, telling the second driver that he is being saved only because he is a father. A man on a bike chases two SUVs and at a traffic stop puts an explosive device on the undercarriage of one SUV, and then throws a smoke bomb through the window of the other SUV; the occupants of the SUVs and the bike man pull handguns and open fire as a small boy on a bus beside them stares in disbelief; the bike man steals one SUV with a male criminal in the backseat and runs over a thug, who falls off screen; a device is activated and it blows up the other SUV in smoke and flames.
 A man duct tapes another man's hands above his head and to a shower faucet; the first man puts the tape on the second man's armpits and while questioning the taped man, the other man pulls tape off one armpit and we see red, raw skin as the victim shouts; later, the victim has a swollen and red eye. A man puts another man in a car trunk, opens the trunk later and attaches electric cables to his ears, threatening electrocution. A man stops driving in traffic, opens the car trunk, punches a man in the trunk several times and closes the trunk. A man breaks a hotel elevator mirror in order to have a small piece of mirror to carry with him. A man kicks another man away in an alley and then breaks a car window where he finds a backpack inside the car and he pulls out a handgun; spectators, one with an axe handle, walk away quickly. A man duct tapes a criminal to a closed toilet seat and questions him, releasing him later. Three men carry briefcase bombs handcuffed to their wrists, but the bombs are never detonated.
 A man coughs occasionally throughout the movie and we hear that he has a brain and blood disease. A man receives injections of a treatment formula a couple of times dispensed through a large hypodermic needle and once we see a drop of blood at the inner elbow injection site; both times we see the needle enter the arm and the man grimaces. A man who receives experimental drug injections is told to keep his heart rate down or the drug will act as a hallucinogen; several times, he becomes dizzy while running and we see blurry images through his eyes.
 A man tells his estranged wife that he is dying and she becomes tearful. A CIA agent tells an operative that a man called The Albino uses dirty bombs (we see later that the criminal is not an albino). A school principal tells a father that his teen daughter hit a classmate in the face and that violence is not acceptable; in a car, the father tells his daughter that he is proud that she stood up for another girl by hitting a bully. A father and daughter argue continually about a bicycle, boys and why he was out of her life for five years.
 In a tattoo club, a tattoo artists works on a full back design on a woman (we see her back and buttocks). A loud scream emanates from behind a door and a man pulls a gun and rushes to see what is wrong; he finds his daughter screaming about a bad hairdo.


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LANGUAGE 5 - About 3 F-words (a subtitle contains an F-word and a song's lyrics contain an F-word derivative and an F-word), 7 scatological terms, 1 anatomical term, 5 mild obscenities, name-calling (crazy, Grandpa), stereotypical references to Serbians, the French, Italians, Americans, gays, spies, terrorists, families, teenagers, athletes, 4 religious exclamations (e.g. Oh my God, Oh God, Jesus Christ).


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SUBSTANCE USE - A man unsuccessfully attempts to light a crack pipe, a man purchases four bottles of cough syrup in a pharmacy and drinks a bottle of it in a hotel elevator, a man receives injections of a treatment formula dispensed through a large hypodermic needle, and a man receives a box containing a large hypodermic needle filled with a solution and the scene ends. A man is told to drink a shot of vodka to slow his heart rate and he drinks half a bottle of vodka one night before it is effective, a man chugs part of a bottle of vodka at a party, a man and a woman drink wine at home and we see her pour additional wine, many teen boys and girls drink mixed drinks and shots while dancing at a rave, men and women drink cocktails and champagne and shots of liquor at a rooftop party, and a woman sits beside a bottle of champagne in a bucket and drinks champagne in one scene. A woman lights and smokes cigarettes in four scenes.


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DISCUSSION TOPICS - Terrorism, politics, terminal illness, impending death, new drug treatments, raves, crime, consequences, relationships, families, justice, conflict and reconciliation.

MESSAGE - Fighting terrorism effectively makes society a safe place for families. Family is most important in life.

CAVEATS

Be aware that while we do our best to avoid spoilers it is impossible to disguise all details and some may reveal crucial plot elements.

We've gone through several editorial changes since we started covering films in 1992 and older reviews are not as complete & accurate as recent ones; we plan to revisit and correct older reviews as resources and time permits.

Our ratings and reviews are based on the theatrically-released versions of films; on video there are often Unrated, Special, Director's Cut or Extended versions, (usually accurately labelled but sometimes mislabeled) released that contain additional content, which we did not review.


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