Greetings again from the darkness. By now, we know what to expect from a Jason Statham movie: bone-crunching fist fights, big guns, fast cars, pretty girls, and wise cracks. Hope and expectations were a bit higher for this one since it’s a John J. McLaughlin (Black Swan) screenplay of a Donald E Westlake novel, and it’s directed by Taylor Hackford (Oscar nominated for Ray).
Statham plays Parker, a masterful thief with a straightforward code that he isn’t shy about sharing. His partner/mentor is played by Nick Nolte and Parker finds himself knocking off the Ohio State Fair with a group of guys led by Michael Chiklis. Things don’t go well and Parker finds himself left for dead.
It starts as a heist film and transitions into a revenge flick. Of course, there are some Statham style romantic elements included. Emma Booth plays Nolte’s daughter and Statham’s love interest. Then, we get Jennifer Lopez as a down on her luck Realtor who lives with her mom (Patti Lupone), but somehow manages to figure out that Statham’s character is not as he appears.
Lopez and her hyper over-acting don’t play well with the stoic Statham. She does, however, get to flash her best known ASSet. Nolte’s character gets lost in the shuffle, which is a shame. More scenes with Nolte and Statham could have proved interesting. Also, there is an odd story line with Bobby Cannavale as a Sheriff who has the hots for Lopez. With the exception of a brief interlude, this promising story line just disappears. Lastly, the film’s big Palm Beach heist really pushes the envelope of believability (scuba? Chiklis isn’t exactly James Bond) and taints what sliver of reasonableness that might have existed.
Basically, Statham is the best thing about this Statham movie. The rest is pretty messy and disappointing … especially considering the DNA that this one offers (Hackford, McLaughlin, Nolte).
SEE THIS MOVIE IF: you are a big Jason Statham fan
SKIP THIS MOVIE IF: you prefer your heist and/or revenge movies to have some level of suspense
Greetings again from the darkness. The best Political crime dramas are complex films with multiple intersecting sub-plots, filled with stylish mis-direction and intense wordplay and back-stabbing between good guys and bad. What doesn’t work is “obvious”. Especially obvious to the point where the audience is way ahead of the earnest, but clumsy protagonist. Luckily for director Allen Hughes (working solo without his twin brother Albert for the first time), he has stacked the film with a wonderful cast which makes it somewhat entertaining despite its major flaws.
Mark Wahlberg plays (what else?) a streetwise guy/cop/detective who tries to do the right thing but always seems to end up with the short straw. Russell Crowe is in fine form (though a bit too tan) as the megalomaniac NYC mayor who plays dirty, but knows how to sell his stuff to the people … even as he schemes to do great wrong. Their paths cross twice and neither time turns out so great for Wahlberg.
As for the rest of the cast, Barry Pepper is miscast as Crowe’s mayoral opponent; Jeffrey Wright is intriguing as the Police Commissioner seemingly playing both sides against the middle; Catherine Zeta-Jones is Crowe’s most unhappy and disloyal wife; Kyle Chandler plays Pepper’s campaign manager (and evidently more); and Griffin Dunne is a rich Crowe supporter and knee deep in the evil scheme. Also interesting is Alona Tai as Wahlberg’s wise-cracking and bright-eyed assistant.
While no details will be spilled here, there is a fun exchange during the debate between Crowe and Pepper, and well, the movie is just at its best when Crowe is on screen. Wahlberg’s character is pretty much the same he has played a dozen times prior, but it seems the real issue is with first time screenwriter Brian Tucker. He is just overrun with ideas and because of that, most go undeveloped. A script clean-up from a screen veteran could have turned this one around. Still, if you have seen all the Oscar nominated films and are looking for a watchable January release, you could do worse. Just try not to think too much!
SEE THIS MOVIE IF: you are caught up on the December rush on late 2012 releases OR you want to see another fine Russell Crowe performance
SKIP THIS MOVIE IF:you get frustrated when a “smart” thriller isn’t so smart
Greetings again from the darkness. It’s been almost 10 years since Arnold Schwarzenegger was last top billed in a movie. He’s remained in the headlines most of that time … some good, some not so much. If you are an Arnold fan, it’s nice to see him back on screen. And what do you expect from a Schwarzenegger movie? Big guns, big muscles and big laughs from the one-liners. The first U.S. film from noted Korean director Jee-woon Kim delivers all three … and, unfortunately, little else.
Arnold plays Sheriff Ray who has semi-retired to a quiet life in an Arizona border town after a career on an ill-fated Los Angeles police drug team. His deputies are played by screen vet and comic relief Luis Guzman, Zach Gilford, and JaimieAlexander. An FBI Agent played by Forest Whitaker contacts the Sheriff and lets him know an escaped drug lord played by Eduardo Noriega is headed through the town on his way to cross the border. Peter Stormare‘s group is in town to clear the path. Things get messy from there.
The tongue-in-cheek parts work best, but the plot and overall script are pretty lacking in substance. This could almost be viewed as a Schwarzenegger tribute film. The self-deprecating humor keeps the film rolling, but some of it just tries too hard … especially the segments with Johnny Knoxville. Some of the action is so over-the-top it draws the desired laughs from the audience, but be prepared for lots of gun play and plenty of Chevy commercial time.
We also get a quick scene from Harry Dean Stanton and Rodrigo Santoro has a small role as a former war hero – turned town drunk who gets his shot at redemption. But make no mistake, this is Arnold’s movie and his chance to show that he still has it. The screen presence is still there, but his skills might play better in a more limited support role. That said, I triple dog dare you to not crack a smile when he is firing guns, in a frantic car chase through the corn fields, and engaged in hand to hand combat on the border bridge. After all … he did say he would be back!
*** NOTE to Directors: when you cast Forest Whitaker, don’t film him running … it’s not a pretty sight
SEE THIS MOVIE IF: you are a fan of Arnold the movie star and look forward to seeing him back on screen
SKIP THIS MOVIE IF: you are expecting a serious movie about a small town sheriff – this one is closer to trashy B cinema than Oscar.
Greetings again from the darkness. Director Juan Antonio Bayona and writer Sergio C Sanchez reunite for a much different film than their taut thriller The Orphanage(2007). What separates this from the long list of disaster films is that it’s exceedingly well made, it’s based on a true story, and it puts a young actor in a role vital to the connection with audience.
The real life Belon family from Spain have for some reason been presented here (by Spanish filmmakers) as the British Bennett’s with Ewan McGregor and Naomi Watts (as Henry and Maria). They are on vacation at a beach resort with their three boys Lucas (Tom Holland), Thomas (Samuel Joslin), and Simon (Oaklee Pendergast). In the beginning the resort plays like paradise. Unfortunately, this is Thailand in 2004 when one of the worst natural disasters of all-time hits … a Tsunami with enormous force and monstrous waves.
Filmed with remarkable intensity, we see Maria and Lucas (separated from the others) struggle mightily to survive and stay together. This 10 minute sequence leaves the audience spent and gasping for air. Rarely do we witness such realistic near-drownings on screen. The film soon breaks into two simultaneous acts: the fight for survival by Maria and Lucas; and the quest to find them by Henry, Thomas and Simon.
The first half of the film is the strongest portion and it deals with the storm and it’s aftermath. The second half is very emotional and focuses on the courage of Lucas and the strength of Maria. It’s one of the most unique combination tales of survival and family love that we’ve seen. The filmmakers wisely choose to let the story follow the family and not throw in cheap parlor tricks like TV newscasts. We all remember those reports, and the actual film does a terrific job of recreating the frightening images. There is also a short, but sweet (almost mystical) scene featuring Geraldine Chaplin (daughter of Charlie) contemplating the stars.
Acting by the leads take this to elite status. Ewan McGregor turns in what is his best performance in quite some time. His phone call home scene is excruciating to watch. Naomi Watts delivers what is likely an Oscar nominated performance, despite being almost unrecognizable while laying in a hospital bed during much of the film. The real star and soul of the film is Tom Holland as the youngest son. His performance recalls those of Hailee Steinfeld in True Gritand Shailene Woodley in The Descendants… two of the best ever child performances.
Be forewarned. This one is a true tearjerker … especially if you are a parent or grandparent. Keeping in mind that it’s the true story of one family’s ordeal makes a few scenes almost impossible to watch clear-eyed. The film ends with a photo of the Belon family … perfect.
SEE THIS MOVIE IF: you enjoy a good tear-jerker, especially if based on a true story OR you want to what terrific filmmaking in a disaster movie looks like OR you need proof that it is possible to make Naomi Watts look unattractive.
SKIP THIS MOVIE IF: watching the trailer eclipses your preferred public display of emotion
Greetings again from the darkness. Kathryn Bigelow entered the realm of elite directors when her war thriller The Hurt Lockerexploded onto the Oscar scene a few years ago. Once again she proves why the critics adore her, and the movie going masses stay away. She is an expert filmmaker, a brilliant technician, though not much into the whole entertainment scene.
We always try to label films and this one doesn’t quite fit as thriller or action, or even war genre. It’s really a tense, procedural drama focusing on the behind-the-scenes CIA hunt for Osama bin Laden. In fact, it’s mostly the story of one obsessed CIA agent’s research and un-wavering pursuit of the one most responsible for the tragic events of 9-11-01 (as well as many others).
The film started out as a story of the nearly decade long pursuit and the failure to find him. Everything, including the movie, changed on May 2, 2011 when Navy SEAL Team Six pulled off the daring and historic mission to kill bin Laden. The book “No Easy Day” by Mark Owen (pseudonym for real life SEAL Matt Bissonnette) was released and many of the details became public. Bigelow and her writer Mark Boal (former journalist) went even deeper into research mode and now the film has instigated Congressional hearings in regards to some of the scenes.
Bigelow presents this as old school, hard core males vs the intellectual, instinctive and brazen Maya, played by Jessica Chastain. In the book, she is referred to as “Jen”, but her name matters not. What’s important is her laser-like focus for almost 10 years, despite the numerous attempts by her superiors to ignore her theories.
Much of the film deals with the group meetings and presentations to CIA mid-managers, who either don’t trust her or refuse to put their own careers on the line. Maya remains relentless. She finally gets a audience with CIA Director Leon Panetta (played by James Gandolfini) and introduces herself as “the M*****F****R who found this place, sir”. This comes across as confident, not disrespectful.
Bigelow and Boal refuse the temptation of providing any real backstory or personal life on these characters. We do learn that Maya was recruited right out of high school, so we can assume she wasn’t a typical 18 year old. The only thought of a romantic interlude is quickly shot down by Maya proclaiming (in so many words), she’s not that kind of girl.
Most of the men in the film are presented as near Neanderthals. Jason Clarke is the old school field agent who has mastered the use of torture, water-boarding and humiliation to gain information from detainees. The “60 Minutes” clip of Obama saying that America will no longer utilize torture is one of the few tips to national politics that the film offers up. The only other politics are those played by station chief Kyle Chandler, who is protective of his job, and Mark Strong, who seems relatively helpless without the support of his superiors. All the while Maya keeps pushing and pounding for action.
The Langley desk jockeys vs actual Field work provides a distinctive line in the sand between the two worlds, and emphasizes just how easy it is to make a mistake in judgment. What if we had been wrong on the location of bin Laden? What if the “fortress” had belonged to a drug dealer instead and the SEAL team had invaded a private home within the boundaries of our supposed ally Pakistan? Jessica Chastain is believable and tough in her role, and Jason Clarke dominates the screen in his early scenes. Other fine support work comes courtesy of Edgar Ramirez, Mark Duplass, Harold Perrineau, and Jennifer Ehle. When we finally get to the strategy session for the mission, we meet SEAL’s played by Chris Pratt and Joel Edgerton. The 25 minutes or so dedicated to the helicopter mission are filmed as if we are wearing the same night-vision goggles worn by the brave souls storming the castle. It’s a very impressive sequence.
If you enjoy the details of a procedural drama, then you will find much to like here … knowing the ultimate outcome doesn’t affect the suspense one bit. However, if you seek an entertaining respite from your daily grind, this one will offer no assistance … despite another excellent and minimalistic mood score from Alexadre Desplat.
SEE THIS MOVIE IF: you get a kick out of the details involved in a CIA procedural OR you enjoy expert filmmaking, regardless of entertainment value OR you need further proof that Jessica Chastain is a major star OR you want to see Mark Strong’s best impersonation of Alec Baldwin from Glengarry Glen Ross.
SKIP THIS MOVIE IF: it’s still too soon after the actual event OR you can’t stomach the thought of torturing detainees
Greetings again from the darkness. Lee Child has written 17 Jack Reacher books since 1997, and it’s a bit surprising that it took Hollywood this long to latch on to this enigmatic lone wolf drifter who doesn’t so much care about laws as he does right and wrong. Fans of the books were outraged when it was announced Tom Cruise would play the 6’5 hulking Reacher, as much of the character’s appeal stems from his ability to physically dominate a situation while using very few words.
Unfortunately I can’t ease the minds of those fans of the pulpy series, but rather to encourage them to give this a shot. Author Child was probably ecstatic when Mr. Cruise took an interest in the character, despite the obvious conflicts. Very few actors can command screen presence like Cruise, especially in action sequences. That’s where this gets a bit dicey. This is not an action movie. It’s an investigative mystery thriller that includes 3-4 action sequences.
The film has a real 1970’s feel to it along the lines of Billy Jackor Walking Tallmixed with Dirty Harryand numerous westerns with strong, silent types, and of course, the timeless pulpy detective stories. See, Reacher is a former military investigator with a mind that is always a step or two ahead of everyone else. He looks at the obvious evidence and immediately notes a list of doubts where none previously existed. So, he is smarter than you. He can fight better than you. And he is travels much lighter than you.
A seemingly random sniper attack is a bold way to begin a movie given recent real-life events, but the opening sequence is executed with methodical precision and daring so that we can quickly believe in Reacher’s conspiracy theories. In the blink of an eye, Reacher has appeared out of nowhere (his usual address) and is in the middle of the investigation being conducted by the lawyer of the wrongly accused James Barr (Joseph Sikora). The defense lawyer is played by Rosamund Pike, whose character is the daughter of the District Attorney (Richard Jenkins). The police detective is played by David Oyelowo and it’s easy to tell something isn’t completely right within the walls of city hall.
Reacher roams the beautiful city of Pittsburgh asking questions and piecing together the puzzle left behind by creepy villain The Zec (Werner Herzog) and his henchman Charlie (Jai Courtney). We get three Reacher fistfights, a Bullit type car chase in a muscle-bound 1970 Chevelle, and some military sharp-shooting from the depths of a quarry. What we don’t get is the Hollywood tradition of a Cruise sprint. Not once do we see his trademark all-out dash to or from something. In fact, his attempt at moving like a larger man often reminded me of his Stacee Jaxx strut from the recent musical Rock of Ages.
Director Christopher McQuarrie won an Oscar, and my ever-lasting respect, for his The Usual Suspectsscreenplay. This story is infinitely less-complicated, but it does offer some fun moments thanks to the Reacher character. Maybe things would be a little better if a guy like Reacher really existed … totally off the grid and taking down the bad guys that the cops can’t quite catch. Sounds a bit like “Dexter”, only Reacher’s code includes doling out physical pain and then moving on to the next town … with a new set of Goodwill duds and a fresh toothbrush.
Caleb Deschanel (Director of Photography) provides a really sharp look to the film and, thankfully, doesn’t cheat on the action scenes. Herzog (a highly respected director) has a great look for a bad guy, but is painfully under-utilized here. Rosamund Pikemay simply be my least favorite actress working today. Bug eyes and long legs do not an actress make. Even Reacher had little “interest” in her. Robert DuVall makes a colorful appearance as the late-arriving character that breaks open the case, and he seems to relish the reunion with his Days of Thunderco-star. The most interesting character and actor to me was Jai Courtney (pictured, left), who will be seen next as Bruce Willis’ son in A Good Day to Die Hard.
If you haven’t read the Lee Child books, you will probably readily accept Cruise as Reacher. If you are a fan of the franchise, your eyes and brain will have massive conflicts for the first hour, but then acceptance creeps in, and you’ll probably agree that it’s a simple, effective piece of entertainment … far superior to most Nicolas Cage movies these days!
**NOTE: don’t miss Lee Child as the policeman who releasaes Reacher’s personal items back to him.
SEE THIS MOVIE IF:you are a fan of investigative thrillers that are sprinkled with actions scenes and car chases OR you just want to see and hear a very cool ’70 Chevelle
SKIP THIS MOVIE IF: you are such a devoted fan of Lee Child’s books that you refuse to accept the 5″7 Tom Cruise as the 6’5 Jack Reacher OR like me, you hope the kidnappers had struck much earlier on Rosamund Pike’s character.
Greetings again from the darkness. Every now and then we are reminded of just how stunning movies can be. Periodically a filmmaker proves to us that pushing the envelope of creativity still drives some auteurs. James Cameron brought us Avatar, which demonstrated that 3D technology could be beautiful and breath-taking. As beautiful and new as Cameron’s breakthrough was, it lacked a story worthy of it advancements. Now, we get director Ang Lee’s vision of Yann Martel’s worldwide bestseller, and we are left gasping at what happens when you combine a fantastical story with technological advances and perfection.
Ang Lee has provided us with a varied selection of films including Crouching Tiger, Hidden Dragon; Brokeback Mountain; and Sense and Sensibility. He refuses to be limited by genre and takes a global and philosophical view of filmmaking. He wants us to think and discuss and think some more. His Life of Pifilm purposefully leaves many scenes, events and thoughts open to interpretation. You can see as much or as little of humanity in this story as you like.
The brilliant opening depicts real animals in the real zoo located in Pondicherry, India. The colors, sights and sounds are dazzling and give us an immediate sense of the area and culture. We meet young Pi and his family. Pi is inquisitive and ingenious from an early age. His father imparts such wisdom as “If you believe in everything, you believe in nothing“. This comes as Pi is absorbing multiple religions and considers himself Hindu/Muslim/Christian. At an early age, he seeks answers and meaning. Events transpire and soon enough, Pi and his family take their most valued animals and board a ship to Canada to start a new life. Disaster strikes when a storm capsizes the ship and Pi (Suraj Sharma) is the lone human survivor. He finds himself in a small lifeboat with a hyena, an orangutan, and a huge Bengal tiger. Yes, that sounds like the first line of a bad joke, but here it’s the beginning of a remarkable journey.
The developments need not be discussed here, but rather the focus of the story is the spirit of survival that Pi possesses. His ingenious methods of learning to coexist with the ferocious tiger force us to consider what the human race has done to nature in our attempts to gain control. Pi’s religious spirit and insightful ways, coupled with a very fortuitous and specific survival guide, lead him to maneuver 227 days adrift in the Pacific. In the process, we are treated to some of the most spectacular visuals ever seen on screen. At times the sea, and its sea life and sky, are phosphorescent. The story (screenplay by David Magee, who also wrote the underrated Finding Neverland) is so amazing that we find ourselves not caring how much is real and how much is caused by Pi’s hunger and thirst. Some of the visual effects are tranquil, while others are quite violent. A sequence featuring flying silver fish is something to behold.
The structure of the story is such that an adult Pi (played by Irrfan Khan) is re-telling the tale of survival to a Canadian novelist (Rafe Spall). While this is a traditional story-telling device, it takes nothing away from the anything but traditional story of Pi and Richard Parker (the tiger’s name). We are told “This is a story that will make you believe in God“. Whether it does or it doesn’t, it certainly makes us believe in the magic of movies.
Some will compare to Castaway, while others will think of 127 Hours. My best advice is to let go and give yourself to the story and the film. There is always time afterwards for debate and discussion. Instead, enjoy the moment and be thankful that a movie like this can get made … it will lead the industry to even more creative productions down the road. So, just this once, forget what I have said many times, and go see this one in 3D. Allow it to take you away.
**NOTE: Suraj Sharma, who plays Pi on the lifeboat, is a remarkable first time actor. Irrfan Khan, who plays the adult Pi, is known for his excellent turns in Slumdog Millionaireand The Namesake.
SEE THIS MOVIE IF: you are interested in it or not OR you have doubted whether 3D technology can enhance the movie going experience
SKIP THIS MOVIE IF: you don’t care to see the year’s most remarkable combination of story and visual
Greetings again from the darkness. The movie lover in me has been anxiously awaiting this one for months. On the other hand, as a citizen, the recent Presidential campaign antics put me in quite the political funk. Tired of the rhetoric and disenchanted with the current leadership, I was concerned my thoughts might poison the outlook on director Steven Spielberg‘s latest. Fortunately, both Lincoln and Lincoln allowed me to forget those in charge today, and instead witness the look and feel of true leadership and greatness.
Despite the title, this is not simply a biographical sketch of our 16th President. Rather, it’s an essay on back room politics … the key to Washington and democracy. Deal-cutting, horse-trading, arm-twisting are just some of the strategies involved in reaching compromise. When the stakes are history … abolishing slavery … the passion of those unseen actions is intensified. We see a man at the height of his power willing to do what is necessary to reach a goal in which he fervently believes – even though his views are not shared by a great many others. Ratifying the 13th Amendment could have been quite dry in lesser hands, but Spielberg and Daniel Day-Lewis are experts at what they do.
Some of the most fun in the film occurs during the House floor debates between Republicans and Democrats. These scenes serve as a reminder that the two parties are often at philosophical odds and, just as designed, debate and discussion lead to compromise and advancement. At least that’s the general idea and purpose. Next to Daniel Day-Lewis’ performance, err, embodiment of Lincoln, the script is what really jumped out at me. Loosely based on “Team of Rivals: The Political Genius of Abraham Lincoln” by Doris Kearns Goodwin, Tony Kushner’s screenplay serves up dialogue that is sharp, crisp, entertaining, thought-provoking and filled with message. This is a very talky film, not a Civil War film. We only get a couple of brief battlefield scenes, but the conversations never allow us to forget that the brutal war is always on the mind of the politicians and citizens. Some of the theatricality teeters closely to the look and feel of a play, though it is quite effective for the ongoing politicking. I hope Kushner’s work is remembered come Oscar time … especially for the way he worked in the full text for both the Gettysburg Address and the 13th Amendment.
I’ve always held a certain fascination with Abraham Lincoln. Familiarity with with the legends, the icon, the monuments, the statues, even the automatronics at Disney World so many years ago. It is with true awe that I recognize what Daniel Day-Lewis delivers. His presence is so powerful that I found it all but impossible to look at anything else when he was on screen. That will certainly mandate a second viewing, but I have no hesitancy in recommending a film that brings to life what a great man can be … what true leadership can be. This is a man who carries his burdens in his soul. He may have been self-educated, but in addition to Shakespeare and Euclid, Mr. Lincoln understood people. That knowledge allowed him to maintain his high principles through patience and reasoning and even (sometimes) humorous story-telling.
We are never allowed to forget that this is a Spielberg movie. The scenes with Lincoln and Mary Todd (Sally Field) are somewhat distracting to the greater stories, but perhaps that’s the point. These discussions were distractions to him as well. In fact, Spielberg is quite kind to Mary Todd Lincoln. Other tales have not been. Either way, Ms. Field is effective, though I wish for the sake of the film, she had less screen time.
The supporting cast is a who’s who of character actors. Most won’t be named here but Tommy Lee Jones is a key player as Rep. Thaddeus Stevens, a radical abolitionist; David Strathairn as Sec of State William Steward has Lincoln’s trust; Joseph Gordon-Levitt plays Lincoln’s son; and Jackie Earle Haley plays the Confederate VP Alexander Stevens. There is also a tribunal of political lobbyists or fixers that add quite the element of dirty-politics: James Spader, John Hawkes and Tim Blake Nelson. Appomattox is handled with class – a quick scene showing a prideful General Robert E Lee departing, and we get a couple of scenes with General Ulysses S Grant (Jared Harris).
Lastly, the score from the great John Williams excels and compliments the mood and pace of the story … he is careful to never overwhelm. Williams is probably in line for his 48th Oscar nomination (second only to Walt Disney). Though I wish it had ended with the scene depicted at left, this is a film about political process and the people who made that process work – even at a time when everyone thought the choice had to be made between ending the war and abolishing slavery. Choose one, you can’t have both. Abraham Lincoln proved that sometimes the right man is in the right place at the right time. Unfortunately, those times come around very rarely.
SEE THIS MOVIE IF: you too want to be mesmerized by Daniel Day-Lewis as Lincoln OR you like your history lessons to be entertaining and easy on the eyes
SKIP THIS MOVIE IF: you prefer your history to come straight from the textbooks with little more than a few photographs for prosperity OR you don’t like Sally Field. You really don’t like her.
Greetings again from the darkness. Celebrating 50 years on film for Ian Fleming‘s creation, we get the 23rd official James Bond movie. Many critics are hailing it as the best Bond film yet, though having seen all in the series, it is difficult to understand a proper form of comparison. The Sean Connery run varies significantly from the Roger Moore period, and though Pierce Brosnan brought a touch of seriousness back to the role, it wasn’t until Daniel Craig that the character and series took on an ultra-intense structure. Clear influences are seen in Christopher Nolan’s Batman trilogy, as well as the “Bourne” series.
This latest entry has some distinct advantages. Most importantly, Sam Mendes in the director’s chair brings a love and understanding of the Bond template, and the skills to deliver both top notch action sequences as well as realistic human drama. His background includes such fine films as American Beautyand Road To Perdition(also with Daniel Craig). Mendes brought on famed Director of Photography Roger Deakins (9 Oscar nominations) who delivers a look and feel superior to any previous Bond film. Also, the villain plays a key role in determining the strength of all Bond films. Here, Javier Bardem offers up a megalomaniac bent on revenge, and his unusual approach immediately vaults his Silva into one of the top 5 all time Bond villains.
Of course, none of that matters without a strong Bond, and it is quite clear that Daniel Craig has made the role his own. This particular script from series vets Neal Purvis, Robert Wade, and John Logan demands some real acting as Bond faces his mortality as well as his childhood roots. These issues combined with the physical demands of the action and the ability to toss in a few zingers, make Mr. Craig a nice fit for the tailored suits … and the classic Aston Martin.
It wouldn’t be Bond without the Bond “women”, and while there isn’t much familiarity of Berenice Marlohe, her Severine is interesting enough to capture our attention … even with Komodo Dragons hovering nearby. We also get Naomie Harris as Field Agent Eve, and the argument can be made that she is weakest link in the film. Surprisingly, the Bond woman central to this story is M, played once again by the great Judi Dench. Much of the story revolves around her and there is quite a bit of ageism involved. Experience does matter … unless you are speaking of the new Q, played with fascinating geekery by Ben Whishaw (Cloud Atlas). The museum scene with Q and Bond is one for the ages.
The usual global jet-setting is on full display with Istanbul, London, Macau, Shanghai and the Scottish Highlands. The traditional opening action sequence finds Bond racing across Turkish rooftops on a motorcycle, while wearing a beautifully tailored suit. These are the same rooftops on display in Taken 2, but it’s much more fun here. Then, as if motorcycles on the roof and through the Grand Bazaar of Turkey aren’t enough, we find Bond fighting atop a fast moving train … well, until M makes a business decision that quickly changes the arc of the story. By the way, the guy Bond is chasing on rooftops and fighting on the train is played by Ola Rapace, husband of Noomi from the original Girl with the Dragon Tattootrilogy (Daniel Craig starred in the English remake).
When Bond finally meets Silva (Bardem), it is on the deserted Hashima Island. We quickly learn that Silva is no ordinary criminal and definitely not one to just sit and chat. His quest for revenge adds a personal touch. His personality and demeanor and background add elements previously missing from Bond films. It’s no surprise that the film’s best sequence involves Bond and Silva together and the tradition of the villain explaining what’s ruffled his feathers.
The climax of the film occurs on the hardscape of Scotland and forces Bond to come to terms with his past. There are also plenty of parental issues thanks to M and the caretaker played by Albert Finney. The personal forces at work in the script are more developed than in other Bond films, but we definitely don’t get cheated on explosions, gun play and hand-to-hand combat.
As always, music plays a vital role. Adele sings the opening title track and it plays over an unusual opening credits graphical sequence – somewhat bleaker than we are accustomed to, but no less dramatic. Also, Thomas Newman’s score is excellent and incorporates Monty Norman’s iconic Bond theme (though not often enough for my tastes).
This latest Bond film is a fine bounce back after the disappointing Quantum of Solace, and it may be the best made of all films. The idea of cyber-terrorism is very timely and a reminder that not all bad guys are trying to take over the world. Some just need revenge. Determining if it is the “best” Bond ever will be your call.
Just for old times’ sake:
SEE THIS MOVIE IF: you want to judge for yourself if it’s the best Bond ever OR you want to see a blonde Javier Bardem as a creep, frightening villain.
SKIP THIS MOVIE IF: you have never bought into the James Bond mystique OR you can’t take a blonde Bond and a blonde Bond villain
Greetings again from the darkness. Four years ago Taken was a huge, surprise hit filled with heart-pumping action and a thrilling plot. The sequel boasts a budget more than three times the size of the original, the same key cast members (especially Liam Neeson), the same screenwriter (Luc Besson), and a similar type story. So why doesn’t it work this time? The answer is inferior direction, a lack of surprises, and too many absurd moments to count.
Liam Neeson returns as former CIA-stud Bryan Mills, father to Kim (Maggie Grace) whom he previously rescued from Albanian sex-traffickers in Paris. Famke Janssen also returns as Leonore, Kim’s mother and Bryan’s ex. Somehow, Leonore and Kim think it’s a great idea to surprise Bryan with a visit while he is on a security job in Istanbul. Yes, right next door to Albania (note sex traffickers). Since the film opens with a mass funeral depicting the burial of all the guys Bryan killed in the first movie, and Rade Serbedzija vows revenge, it comes as little surprise when Bryan and Leonore are “taken”.
What is surprising is that the filmmakers attempt to turn Maggie Grace into an action hero. Yes, gangly Maggie Grace who we saw hiding under the bed in the first film. This time, unable to pass the driving test to obtain her license, she transforms into master stunt driver and Olympic rooftop sprinter … while deploying grenades with Swiss perfect timing. I should also mention that in real life Maggie Grace is 29 years old. She was supposedly 17 in the first movie and 18-19 here. Yes, one of my movie pet peeves.
In a film like this, we can always hope the action sequences cover-up the ludicrous script (see most Jason Statham movies). Unfortunately, we are abused with chopped up, hyper-kinetic camera work that we often can’t tell who is punching who are whose gun is firing. These action shots make the fight scenes in Batman Beginsor the Bourne movies appear slo-motion. It’s a waste of Liam Neeson and a potential stellar bad guy in Mr. Serdebzija (The Saint). The final irritant is Janssen’s role as Leonore. She is reduced to sobbing and passing out (sometimes while wearing a hood). Just another waste. The director of this mess is Olivier Megaton, who also directed Columbiana and Transporter 3.
There are two types of sequels: those that build on the best points of the first and those that simply cash in. Clearly, this one falls into the cashing-in column. Don’t expect any long-lived quotes from this sequel. It has no particular set of skills.
SEE THIS MOVIE IF: you are addicted to action films, no matter the quality OR you enjoy macho man Liam Neeson when he is in full assault mode
SKIP THIS MOVIE IF: you are expecting a smart, crisp action thriller in the same vein as the original OR you prefer to avoid the goofyness of Maggie Grace, action star
Greetings again from the darkness. By now, we know what to expect from a Jason Statham movie: bone-crunching fist fights, big guns, fast cars, pretty girls, and wise cracks. Hope and expectations were a bit higher for this one since it’s a John J. McLaughlin (Black Swan) screenplay of a Donald E Westlake novel, and it’s directed by Taylor Hackford (Oscar nominated for Ray).
Lopez and her hyper over-acting don’t play well with the stoic Statham. She does, however, get to flash her best known ASSet. Nolte’s character gets lost in the shuffle, which is a shame. More scenes with Nolte and Statham could have proved interesting. Also, there is an odd story line with Bobby Cannavale as a Sheriff who has the hots for Lopez. With the exception of a brief interlude, this promising story line just disappears. Lastly, the film’s big Palm Beach heist really pushes the envelope of believability (scuba? Chiklis isn’t exactly James Bond) and taints what sliver of reasonableness that might have existed.
Posted by David Ferguson 
Movie Reviews from the Dark 
