該劇由來《迷失》制片人組J.J. Abrams和Bryan Burk打造。 紐約地鐵上，幾個混混無端釁一個衣襤褸的流漢，卻不被他狠狠拾了一頓眾人全部帶回警局警官卡特塔拉吉·P·漢森 Taraji P. Henson 飾）對這個神秘的浪漢充滿趣，正當(dāng)查處一絲索，不想浪漢竟然人保釋。來流浪漢一個曾經(jīng)受過中央報局特殊練的特工瑟（詹姆·卡維澤 James Caviezel 飾），而釋他的則擁有無限財富的富芬奇（邁爾·愛默 Michael Emerson 飾）。芬奇曾為府研發(fā)了種可識別犯犯罪意的程序，被政府認(rèn)大材小用關(guān)閉了一分程序。現(xiàn)在芬奇望借助里的能力和一套程序行“法外法”，維正義、制犯罪......
"Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues.Gherman’s film is, in a sense, a response to his father’s war film 20 Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.
