The last rookie cop made one foolish mistake after another, completely unaware that the criminals were already watching his every move...

**Standoff** (2016) is a tense, low-budget thriller directed and written by Adam Alleca. It stars Thomas Jane as a grieving war veteran and Laurence Fishburne as a professional hitman, with young actress Ella Ballentine as the girl caught between them. The film runs about 80–85 minutes and plays out almost entirely in and around one isolated farmhouse. The story opens with 12-year-old Isabelle, nicknamed Bird, being dropped off at a rural cemetery by her guardian Roger. She is there to visit her parents’ graves. Bird carries an old camera and begins photographing the surroundings. She wanders closer to another burial taking place nearby and accidentally captures a hitman, later identified as Sade (Fishburne), executing several people, including a priest and others attending the funeral. When Roger comes looking for her and asks if anyone has seen “a little girl in a red dress,” Sade kills him as well. Bird, realizing she has photographed the killer’s face, flees through the woods. She reaches a rundown farmhouse belonging to Carter Greene (Thomas Jane), a reclusive former soldier still devastated by the death of his young son. Carter has been drinking heavily and contemplating suicide. When Bird pounds on his door begging for help, he lets her in. Sade arrives moments later and shoots Carter in the leg from a distance. Carter returns fire with a single-barrel shotgun, wounding Sade in the shoulder. Both men are now injured and low on ammunition. Carter and Bird retreat upstairs while Sade takes control of the ground floor. A classic standoff begins. What follows is a prolonged psychological and physical duel. Sade tries to talk Carter into sending the girl down, using threats, taunts about Carter’s failures as a father and husband, and offers of a deal. Carter, armed with only one remaining shotgun shell, uses whatever he can find in the house—broken light bulbs scattered on the stairs, furniture as barriers—to keep Sade from advancing. Bird hides the incriminating film from her camera in the toilet tank so Sade cannot easily destroy the evidence. Carter’s estranged wife Mara eventually arrives after Sade tricks her into coming by claiming concern for her husband. The situation grows more chaotic. Lights flicker and go out. In the darkness, Mara headbutts Sade, creating an opening. Carter closes the distance and stabs him repeatedly with a knife. Sade manages to shoot Carter again before collapsing. Bird picks up the shotgun and points it at the dying hitman. When she pulls the trigger, the last shell is a dud. Sade, realizing he is finished and no longer needs to protect his identity, lets her live. Mara calls for help. Carter survives his wounds. The three of them—Carter, Mara, and Bird—are left together as sirens approach. The film is essentially a two-hander (or three-hander once Mara arrives) that relies on atmosphere, limited locations, and the contrast between Jane’s broken, reluctant protector and Fishburne’s cold, articulate killer. It explores themes of grief, redemption, and the cost of witnessing violence. Reviews were mixed; critics noted its B-movie efficiency and the two lead performances while pointing out that the plot is straightforward and some of the dialogue is overly theatrical. It found a modest audience on streaming as a taut, contained thriller rather than a big-action picture.

From this distance .12 gauge will send him directly to hell 🤣

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That girl is a dumbass her fault

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