"80 Minutes" is "DOA" for the post-Tarantino generation. Thomas Jahn proves to be a better director than writer (something which, judging by his IMDb page, he seems to have realized himself; after 2011, he only directs): the film maintains a speedy forward movement, and it has some good car stunts. But the dialogue is often amateurish, and the ending practically cancels out the entire movie! I've seen this type of ending done before, successfully, ("The Game" comes to mind),but here it just makes "80 Minutes" a waste of, well, a few more than 80 minutes. Also, the stupendously sexy Natalia Avelon is wasted in a rather minor part. *1/2 out of 4.

"80 Minutes" tells the story of Alex (Gabriel Mann) a guy who owes money to some bad guys and they want the money back as fast as possible. How they gonna make Alex give them the money if he doesn't have any? They inject a powerful poison through his veins giving to Alex life enough for 80 minutes to get the money and receive an antidote.

From here you might think that the plot is going to be very predictable with a man running away the whole movie trying to get the money, trying to save his life in possible ways. And you're right! You may have seen that before in "Crank" and in the underrated thriller "DOA" (1988). There isn't so many differences between all these films except a few things that can make a great movie or a bad movie being what it is.

In the case of "80 Minutes" the script comes with annoying and dumb situations, e.g. the character in the Jaguar who appears to make Alex's life something more pathetical after an traffic accident where this guy's Jaguar end up being smashed. And this guy starts to chase Alex just because of that and of course he doesn't know what's happening with the hero. He's only there to annoy the viewer and make the clock goes faster to Alex. There's also in the script some dumbfounding bad lines that are simply thrown on the screen for repetitive and funny purposes. I can't remember the scene exactly but there was moments after someone got killed during a scene and the characters kept saying "You shot him, man" or "He's dead, man!" so many times that I laughed a bit. That drags you out of the film, and you don't care about anyone there, the tension disappeared.

The film was directed and edited by Thomas Jahn. In the first function he goes okay. On the second one he is awful. Excessive cuts, shaky camera, no planning at all. Everything is confusing and I thought to myself while I was watching it that I could and can do a better job with using Windows Media Player, seriously.

But you may wonder why I'm giving 6 stars to this. It is a quite watchable film, with some good moments and the daring of the writer for using the same ending of David Fincher's "The Game". In the case of Fincher's film was very interesting to see, it worked very well. In the case of "80 Minutes" I felt betrayed, hated it and loved it at the same time. That doesn't mean it works. Many people will simply hate it because it was just too simple and absurd and it denies everything that just happened, kind of a silly ending.

And the 6 goes for because I've seen worst things than this film (but I've seen better things too). But it's better to watch a weak film than to have worst situations in life. That's just my opinion. 6/10

"80 Minutes" seems at first as if it will be a low-budget version of "Crank," but with an unexpected and fairly effective plot twist at the climax, it morphs into a low-budget version of an entirely different film, which I will not allude to, so as to avoid spoiling the surprise, other than saying it was an excellent film with first-rate talent. While 80M is limited by its budget, it manages to retain the moral and emotional B-story of the other film.

80M isn't a great film, but it offers several satisfying plot twists, humor, witty banter and a lot of heart from its central characters. Production values are barely sufficient to convey the story. The three central characters deliver interesting performances, but many of the supporting characters lack depth. It's not without its faults, but it has its moments.