Television writer Kyle Killen is transitioning from video games to novels with his latest project, Netflix’s “Man on Fire”. When I first learned about the TV adaptation, I assumed they would take a prequel approach and focus on a young Crazy, but Killen makes his version a bit more modernized. His version is not merely a retelling of familiar themes; it represents a reset that emphasizes character development over chaos. However, it’s important to note that Killen is not working in isolation.
A.J. Quinnell’s 1980 novel has already seen two adaptations: the 1987 version starring Scott Glenn and the 2004 film that cemented Denzel Washington as the definitive John Creasy. That legacy hangs over this series, and to its credit, it doesn’t try to run from it.
This time, Yahya Abdul-Mateen II steps into Creasy’s boots and plays him less like a myth and more like a man barely holding the line. Once a high-functioning Special Forces mercenary, Creasy is now battling PTSD that feels immediate and lived-in. It shows up in the pauses, the guarded conversations, the way he carries himself like someone who has seen too much and trusts too little. Abdul-Mateen II leans into that internal conflict, and it gives the series a stronger emotional backbone than expected.
Across seven episodes, the show gives Creasy room to breathe, for better and worse. Episodes one and two, directed by Steven Caple Jr., set a grounded tone, easing viewers into Creasy’s fractured world. Vicente Amorim expands the scope in episodes three and four, while Clare Kilner tightens the emotional screws in episodes five and six. By the time Michael Cuesta takes over for the finale, the series finds its rhythm, delivering an ending that balances character and chaos.
The supporting cast adds texture without taking focus away. Bobby Cannavale brings a grounded realism that will hit home for any veteran, especially in how the series taps into the unspoken bond and reliance of a true battle buddy. Alice Braga provides a steady counterbalance, keeping the story anchored when things threaten to spiral out of control.
If there’s a drawback, it’s pacing. Some subplots linger longer than necessary, and trimming them might have sharpened the overall tension. Still, when the series locks in, it delivers. The action feels earned, not excessive, and every moment of violence carries weight.
What sticks with you isn’t just the fire—it’s what’s left after it burns.
Grade: B+
All episodes of “Man on Fire” arrive on Netflix today.
Director Potsy Ponciroli shifts gears for his third feature in “Motor City,” produced by IFC Films. Chad St. John penned the film’s screenplay, which was actually on the 2009 Black List and spent several years in development hell before finally getting underway.
San Francisco in film is often depicted through sweeping views of the Golden Gate Bridge or romanticized, foggy hills. However, “Splash City” from Lionsgate brings the focus down to street level. Co-directed by Alex Ferrufino and Gilbert Anthony Milam Jr. (better known as rapper and entrepreneur Berner), this R-rated crime drama moves away from postcard aesthetics to present a sharp, urgent portrayal of survival on the streets.
Writer-director Lee Cronin made an impressive feature film debut in 2019 with “The Hole in the Ground” and followed it up with a fresh and gruesome installment in the “Evil Dead” franchise, “Evil Dead Rise”. However, due to adult responsibilities, I missed his third film in theaters. The mixed reviews and rumors of a troubled production have me concerned.
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