THE SKIN I LIVE IN (La piel que habito, sp)

November 5, 2011

 Greetings again from the darkness. I will readily admit to being a huge Pedro Almodovar fan. His films regularly place on my “Best Of” list every two years. I so admire his creativity, tough women characters, visual acumen and multi-dimensional stories. With Almodovar, we can bank on some type of dalliance with death, a brush with sexual deviance, non-linear time lines, plots that twist and turn incessantly, a color palette to make Frida Kahlo envious and psychological darkness that forces us to look inward. All of these elements are present here … yet somehow it doesn’t quite click.

 Antonio Banderas plays Dr. Robert Ledgard, a plastic surgeon revered for his work in face transplants. What the medical profession doesn’t know is that Dr. Ledgard takes the mad scientist label to whole new dimension. And he does it with the coolness reserved for the other side of the pillow. I will not go into details of the story other than to say Banderas’ character would make Dr. Frankenstein turn away in disgust.

Dr. Ledgard lives in a beautiful mansion with his protective housekeeper played by Almodovar veteran Marissa Paredes. He also has a live-in patient named Vera, played wonderfully by Elena Anaya. You will recognize Ms. Anaya if you took my advice and tracked down Mesrine parts 1 and 2. Support work is also provided by Jim Cornet as Vicente. I wish I could tell you more of the characters, but can’t without giving away too much.

 Dr. Legard and Vera are two of the most fascinating characters ever written by Almodovar, and the film is a twisted road to discomfort all wrapped up in a silky smooth picture frame. From a filmmaking perspective, I couldn’t rate it much higher. From an entertainment perspective, it would be near the bottom of the most interesting or desirable Almodovar films. Am I disappointed? Sure, a little. But not enough to override my excitement for the next film by Almodovar!

SEE THIS MOVIE IF: like me, you must see every Almodovar film OR you want to see Antonio Banderas in his most intense role in quite some time.

SKIP THIS MOVIE IF: you have yet to enter the film realm of Almodovar … this is not the best for an introduction

watch the trailer:

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Posted by David Ferguson

IN TIME

October 31, 2011

 Greetings again from the darkness. Now this is a terrific premise for a sci-fi story. You have surely heard the phrase: “Time is Money”. Well in this world, Time is not just money, it is Life itself. Time is everything … and it’s displayed for all to see via a glowing neon green counter on each person’s forearm.

The film has an odd look for a futuristic sci-fi film. Vehicles look like modernized versions of 1970’s classics, but fashion and other technology seem basically unchanged. Society is divided more severely than today, but the commentary is clear … there are haves and have-nots, whether the currency is money or time.

 All people live until age 25 at which time they stop aging and the clock starts. They are given ONE year and are free to earn, gamble or spend their time … heck, some even gamble. When your clock hits thirteen Zeroes, you drop dead immediately. So, the working class is isolated in time zones, running from place to place and taking extra shifts at the plant just to pay the rent. The rich live in Connecticut (some things never change) and try to find ways to leisurely spend their days that will never end.

 Justin Timberlake plays Will Salas, one of the poor ones. In a scene that will have you scratching your head, Olivia Wilde plays his mom (remember, you stop aging at 25). Will has a chance meeting with Henry Hamilton (Matt Bomer) who has lived more than 100 years and still has more than a century left. After a deep, philosophical conversation, Will ends up with Henry’s time and becomes a murder suspect.

Will runs off to Connecticut and is pursued by the Timekeeper Police led by a creepy Cillian Murphy. Will ends up in the lavish home of Philippe Weiss (Vincent Katheiser from Mad Men) and falls for his daughter Sylvia (Amanda Seyfried). Will and Sylvia end up on the lam and turn into the ultimate Time Bandits … Robin Hood who steals time from the rich and distributes to the poor.

 While the premise is promising, some of the best stuff is left untouched. Henry Hamilton would have been a fascinating character to get a little more backstory on. Cillian Murphy’s character is obviously talented and a bit burned out. It’s a bit disconcerting to see most of the people in a movie look all about the same age, but that’s a very cool product of this society. As is the “big board” of time that looks eerily similar to the Stock Market boards we see that track movement every moment of the day. Time is precious and is of course watched over.  Also, I never figured out how the whole arm-based time counter began, so more history would have been welcome.

Writer/director Andrew Niccol also brought us Gattaca and Lord of War. I would have liked this one to go a bit deeper, but it’s fun to watch Timberlake and Seyfried playing Bonnie and Clyde. Thinking about this from a monetary standpoint is pretty interesting, but it also reminds us that there’s never enough time!

SEE THIS MOVIE IF: you are always up for a sci-fi film that doubles as an editorial on the class system OR you want further proof that Justin Timberlake is on his way to being a legit movie star.

SKIP THIS MOVIE IF: you are a real sci-fi lover and plot holes send you into a days-long funk OR you are apt to sprain an ankle just watching Olivia Wilde and Amanda Seyfried sprint in high heels throughout the film

watch the trailer:

 

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Posted by David Ferguson

TAKE SHELTER

October 25, 2011

 Greetings again from the darkness. What a beautiful piece of filmmaking that up-and-coming writer/director Jeff Nichols (Shotgun Stories) delivers. Not only will the story grab you and hold tightly, but Michael Shannon‘s performance will stun your senses. All of that from a film with very few special effects and a story based in a quiet, rural Ohio town? Yes.

Shannon (Boardwalk Empire, Revolutionary Road) plays Curtis, a quiet, hard-working husband and father. His friend and co-worker Dewart is played by Shea Whigham (also Boardwalk Empire). Early on, Dewart tells Curtis (with a touch of envy) that he has a good life, and that’s about the best thing you can say about a man. It’s about this time that all heck breaks loose for Curtis. He has vivid apocalyptic dreams and visions that a world-changing storm is coming.

 Being the strong man and protective head of the family that he is, Curtis tries to keep this quiet. However, his behavior grows more strange as he builds out a storm shelter in the backyard, gets rid of the family dog, and messes things up at work. These things wouldn’t stand out for most people, but Curtis is the “normal” guy – the one who is consistent and predictable. At least he once was.

 Curtis’ wife Samantha (Jessica Chastain) and hearing impaired daughter Hannah (Tova Stewart) are supportive and try to give him space, but the family demands are such that a husband and wife confrontation is not long in the making. Turns out Curtis has a family history that drives him to dig a little deeper and even seek help.

After much emotional wrangling, there is a scene at a community dinner where Curtis and Dewart have it out. Shannon’s rant is one of the more powerful scenes you will ever see on film, and may have just clinched him an Oscar nomination.

 This is a thought-provoking and emotional film that doesn’t beat you over the head. Things unfold at a natural pace, in fact, it may be too slow for some viewers. The score is haunting and never once over-bearing as we battled through these stages with Curtis.

The ending may prove controversial, but I just smiled a very satisfied smile in appreciation of one beautiful film. There could be comparisons to Peter Weir’s The Last Wave, or even the Coen Brothers’ A Serious Man (sans humor), but to me, this one stands on its own as a story of love, support and strength.

SEE THIS MOVIE IF: you want to see an Oscar worthy film with an Oscar worthy performance

SKIP THIS MOVIE IF: you have your own apocalyptic visions and don’t need to borrow anyone else’s!

watch the trailer:

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Posted by David Ferguson

THE THREE MUSKATEERS (2011)

October 25, 2011

 Greetings again from the darkness. The trailer told me all I need to know, but my life-long interest in all things related to the Alexandre Dumas novel had me ignoring my movie gut instincts and heading out to catch this latest version of the Muskateer saga. Since then, I have been telling myself “I told you so“.

Logan Lerman (Percy Jackson & the Olympians) plays the young, brash D’Artagnian, son of a former Muskateer. Lerman may develop into a fine actor someday, but right now he is as bland on screen as Orlando Bloom, who happens to play rival Duke of Buckingham. Athos, Aramis and Porthos are played, respectively, by Matthew Macfadyen (Pride & Prejudice), Luke Evans (Tamara Drewe) and Ray Stevenson (Volstagg in Thor). No need for me to go into character detail as none make any real impression thanks to a lackluster script.

 The boys are a bit out of sorts after being tricked by double-agent Milady, played by Milla Jovovich, who apparently is really working for the conniving Cardinal played by Christoph Waltz. Mads Mikkelsen plays Rochefort, the evil army leader and master swordsman, but somehow even with Waltz and Mikkelsen, this film is just lacking in bad guy substance.  How does that possibly happen?

Director Paul W.S. Anderson is known best for his Resident Evil film series and his love of special effects is on full display here. There were scenes that reminded me of Will Smith’s Wild Wild West, and others that looked like Robert Downey, Jr’s Sherlock Holmes. If you love the Dumas novel, you just cringed after reading that sentence. The key to the Muskateers is swashbuckling and sharp, sarcastic wit surrounding wild and athletic sword play, all performed for an honorable mission.  There is just not much wit to enjoy and that’s compounded by a dearth of swords clinking.

 In addition to a more colorful script, some suggestions for improvement include casting Charlie Sheen (he is a Muskateer alum) as the Duke of Buckingham, easing up on the buffoonery associated with King Louis XIII, and more evil-doing from Waltz and Mikkelson.  It’s not the first movie in which I have disappointed, and it certainly won’t be the last. It’s just frustrating because … I told me so!

SEE THIS MOVIE IF: you are a fan of the Muskateers and, like me, have a genetic need to see every film version of the Dumas story.

SKIP THIS MOVIE IF: the idea of a lead actor matching the Bloom blandness is just more than you can possibly take.

watch the trailer:

 

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Posted by David Ferguson

MARGIN CALL

October 22, 2011

 Greetings again from the darkness. It is absolutely understandable if you have reached your limit for dissecting and analyzing the 2008 financial crisis. However, if you can’t get enough, or are still trying to find someone to blame for looting half your retirement plan, this film offers a different perspective and one that proves more identifiable and personal. Wall Street is the new favorite bad guy in Hollywood these days and here we get faces for the targets.

Hopefully you saw Inside Job, a fine documentary that provided an overview of the collapse. HBO’s Too Big To Fail gave us a glimpse inside the Fed’s decision making process during the crisis. This movie narrows the focus down to a singular investment bank. Writer/Director JC Chandor serves up a dramatized story that begins with massive layoffs. We see the hatchet crew arriving replete with security escorts, as high paid executives are led out to the sidewalk. Stanley Tucci plays a middle manager in the Risk-Analysis department. As he is headed to the curb, he hands a flash drive to one of his young analysts (Zachary Quinto) and tells him to finish it and “be careful”.

 Flash forward a few hours and the surviving staff heads out for celebratory drinks while Quinto’s character starts churning away on Tucci’s formula. Once he realizes that the risk formulas on MBS (mortgage backed securities) show threatened stability of the firm, he places an emergency call. It is quite interesting to see how this emergency escalates as we are introduced, one rung at a time, to the hierarchy within the firm … Paul Bettany, Kevin Spacey, Demi Moore, Simon Baker. This culminates in a late night conference room meeting when the CEO (Jeremy Irons) arrives by helicopter.

 There are so many facets to this story. We see how some are in the game for money. Penn Badgley says it’s all he ever wanted to do, but his obsessive behavior over the income of each manager shows us why. Paul Bettany is a middle manager who realizes the “killers” such as Simon Baker have passed him by. Demi Moore plays the type who doesn’t mind finding a fall guy, as long as it’s not her. Kevin Spacey is 30+ year career man who has survived many crisis by being loyal to the firm, while also doing right by the client. Jeremy Irons is the charming, powerful CEO who laughs about being as smart as a Golden Retriever, but laser-focused on keeping the firm viable.

 What you can’t help but notice is the number of managers who point out that they don’t understand the charts and graphs and numbers, and just need someone to explain it to them in “plain English”. We also see self-preservation at its finest/worst and the struggle that some of the characters have in deciding what is the “right thing to do”. It is not surprising, yet frightening still, to see that the red flags were flying before anyone acknowledged their presence. No one wants to be the one to shut down a party.

When the CEO says the three ways to win are to: “be first, be smartest or cheat”, we realize huge decisions are made only in the best interest of the firm … not the economy, and certainly not an individual investor. Although this investment firm remains nameless through the film, I did find it interesting that Irons’ character name is John Tuld.  John Tuld … Dick Fuld … Just sayin’!

SEE THIS MOVIE IF: you want as many perspectives as possible on what caused this latest financial meltdown OR you have any remaining doubts that corporations make decisions based on their own best not interest.

SKIP THIS MOVIE IF: 2008 is in your rearview mirror and you have no interest in looking back OR your blood pressure shoots up any time someone mentions Wall Street, investment bankers, etc.

watch the trailer:

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Posted by David Ferguson

DREAM HOUSE

October 7, 2011

 Greetings again from the darkness. The horror/thriller idealist in me just refuses to surrender. With three legit movie stars and a director who is responsible for one of my favorite movies, I thought this might just be the genre’s rare gem. Instead, it’s watchable, kinda fun, yet mostly predictable and irritating.

Much of the predictability comes from the trailer, which inexplicably spoils the key twist in the film. Because of the trailer, I actually expected an additional twist to contradict the give-away. Instead, it plays out pretty much as expected, saved only by the efforts of Daniel Craig and Rachel Weisz (now married in real life). Word is that the producer of the film, wrestled control away from director Jim Sheridan (In America, My Left Foot) and edited the film into it’s mostly banal finished state. Such a shame.

 Basic story is that a NYC white collar professional quits his job and moves his wife and two girls to their dream house in a quaint little community. Problem is, no one told them that a few years back a mom and her two daughters were murdered in the house, supposedly by the husband who then spent years in a mental institution. With the help of a neighbor (Naomi Watts), Craig starts assembling the pieces of the murder mystery and his new home. On top of that, Elias Koteas is tracking his every move and watching the house.

 The frustration with this one lies in untapped potential. So much more could have been done with Koteas, Watts and Marton Csokas who plays Watts’ overly intense ex-husband. For two days after watching this movie, I kept coming up with new twists and turns that could have made the movie more suspenseful and entertaining. It’s clear that Craig and Weisz are unhappy with the final product as they have been noticeably absent on the talk show circuit, and supposedly Mr. Sheridan requested his name be removed as director.  The behind the scenes mess clearly impacted what we see on screen.

It’s not the worst suspense thriller you’ll ever see, but there are better haunted house films on the market.

SEE THIS MOVIE IF: you are a big fan of the suspense thriller genre – even when the final product is far from perfect.

SKIP THIS MOVIE IF: like me, you get annoyed with obvious deficiencies in movie making.

watch the trailer (only if you don’t mind a MAJOR SPOILER):

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Posted by David Ferguson

STRAW DOGS (2011)

September 18, 2011

 Greetings again from the darkness. If you have seen Sam Peckinpah‘s classic 1971 original with Dustin Hoffman and Susan George, it is impossible to watch this remake without comparing the two films. Because of that, these comments will include some comparative notes. After all, it’s been 40 years and most people watching this new version have never seen the original, though I highly recommend it.

Director Rod Lurie follows the Peckinpah version pretty closely with the obvious changes being a move from the English countryside to the deep south (Mississippi), and the main characters are now a screenwriter and actress instead of mathematical whiz and … well, whatever Susan George’s character was in the original. Those are the obvious changes, but not the most significant. I really missed the subtlety and psychological trickery delivered by Peckinpah, especially in the relationship between David and Amy.

 Lurie chooses to take advantage of the physical screen presence of Alexander Skarsgard (“True Blood”) as Charlie, the local stud and Amy’s ex. Charlie’s past exploits on the football field and his creepy leadership skills with his posse of thugs, provide the yin of physical strength to the yang of David’s intelligence. It’s interesting to note that this version spells out Sun-Tzu’s description of “straw dogs” while Peckinpah left his audience to fend for themselves. But, of course, what the story boils down to is just how far can a civilized person be pushed … and how far is the bully willing to go?

 James Woods is a welcome and terrifying addition to the new version. Since it is based in the small town south, high school football must play a role. Woods is the former high school coach who is now a violent drunk, and still leader of his former players. He is a sadistic type who picks on Jeremy Niles (Dominic Purcell), the slow-witted brother of Daniel (Walton Goggins) and constantly accuses him of inappropriate behavior with his 15 year old cheerleader daughter.

 James Marsden (Hairspray) and Kate Bosworth (Remember the Titans) play David and Amy. They come back to Amy’s childhood home so she can rest and David can have some peace and quiet while writing his screenplay on the Battle of Stalingrad. Well, we couldn’t really have him writing a rom-com, could we? From Day One, the peace and quiet is clearly missing and Lynyrd Skynyrd wins out over Bach in the battle of radio volume. Tension builds and David is tested daily over what it means to be a man … tested by the local hicks and doubted by his lovely wife.

Things turn from bad to worse when the locals invite David to go hunting with them. What happens with Charlie and Amy during this time changes everything. This sequence was the key to the controversy of the original and what caused it to be banned in many cities and countries. Lurie chooses to handle it in a very straightforward manner – plus, times and mores have changed quite a bit in the last 40 years.

For me, the Peckinpah original remains a classic film with brilliant psychological undertones which left me feeling very uncomfortable and questioning what I might do in this situation. Lurie’s new version offered little of that but does work fine as a straightforward suspenseful thriller.

SEE THIS MOVIE IF: you would like to compare original vs. remake OR you want to see a very creative use of a bear trap OR you want a close up view up Kate Bosworth’s heterochromia (one brown eye and one blue)

SKIP THIS MOVIE IF: you are devotee to Peckinpah’s version OR you prefer your thrillers have little violence

watch the trailer:

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Posted by David Ferguson

DRIVE

September 17, 2011

 Greetings again from the darkness. An art-house crime drama. That’s the best description I can come up with. Danish film auteur Nicolas Winding Refn takes the James Sallis novel and presents it like an art gallery opening … with operatic tendencies … and electronic music thumping straight out of the 80’s. Confused yet? My apologies, but I am trying to make the point that this one is different. No wonder it got such a strong reception at Cannes, where creativity has always been rewarded.

 Ryan Gosling stars as the nameless driver. He is a movie stunt driver by day and hired lead foot in his spare time. He partners with hustler Bryan Cranston (“Breaking Bad”) for the odd-jobs and they both dream of going straight by entering the racing world. To do that, they need a capital infusion from bad guy Albert Brooks. Yep, I said BAD GUY Albert Brooks. We all know Mr. Brooks as the wry comedian who makes us laugh at the world. However, trust me when I say he plays a really bad man. If you have seen Out of Sight, you have seen this side before. If not, you will be shocked.

 Gosling’s character is quite the loner, but he falls for his neighbor played by Carey Mulligan, who has a cute young son. Gosling’s dream of normal include not only racing, but also a domestic home life with these two. Small obstacle: Mulligan’s husband (Oscar Isaac) is getting out of prison in a week. When he arrives, Gosling agrees to help him square a debt with some bad guys. Things don’t go so well and Gosling’s dream of domestic bliss goes straight to Hades. Well, actually not all that straight.

As they tend to do, the bad guys (including Ron Perlman) run a double-cross and things get really messy. The middle 60% of this movie is as intense and thrilling as you could ever ask. Some terrific driving stunts as expected, but also some very nice “little” scenes as these most interesting characters try to make sense of many tattered loose ends. Refn’s camera work and lighting are very stylish, providing a noir look and the perfect feel.

 My mind was racing as I watched this oddly paced, minimal dialogue, intense story unfold. A few films flashed in my mind and I have decided there are elements of each: Bullitt (1968, Peter Yates), The Driver (1978 Walter Hill), Thief (1981 Michael Mann), To Live and Die in LA (1985 William Friedkin), and Heat (1995 Michael Mann). Additionally, Gosling’s character shares some traits with Clint Eastwood’s ‘Man with No Name’. Now I am sure you are confused. How about one more: Gosling wears a jacket similar to Kurt Russell‘s Stuntman Mike in Death Proof, only this one has an embroidered scorpion and sure enough, we get the scorpion and frog story.

 Gosling gives a very solid strong, silent type leading man performance, and Mulligan has very little to do. Albert Brooks will probably get some well deserved attention at Oscar time. There are a couple of scenes that more and make this one worth seeing. One is the fantastic chase scene after the pawn shop robbery and the other is the most beautifully choreographed and violent elevator scene ever filmed, complete with mood lighting!

This one will be loved or hated by those that see it. Hard to imagine it falling in the gray area. If you are up for a twist on the traditional approach to crime dramas, and can handle some brutal violence, I would encourage you to check it out.

SEE THIS MOVIE IF: you are a fan of any of the movies I listed above OR you want to see Albert Brooks’ Oscar worthy performance as one really bad man

SKIP THIS MOVIE IF: anything described as an art house crime drama prompts an eye-rolling OR you think the hoodlum movie genre should have died off in the 70’s

watch the trailer:

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Posted by David Ferguson

CONTAGION

September 10, 2011

 Greetings again from the darkness. Fellow germophobes beware: the first few minutes of this movie will have you reaching for disinfectant and a surgical mask. Just remember – it’s only a movie. The scary part is that we have already experienced much of the terror that the film presents. We have seen first hand the effects of Swine Flu and Asian Bird Flu. We understand the fear of uncertainty and helplessness. It’s important to note that a virus is a living element capable of mutating and spreading … it looks for a way to get stronger and survive.

 The movie goes for the gut punch in the first few minutes. We see Gwyneth Paltrow returning home to hubby Matt Damon after an overseas business trip. We immediately know she is sick, but we aren’t sure of the source … though the film provides many source possibilities. Simultaneously we are shown numerous people with the Paltrow symptoms all over the world, and quickly understand that these are related and the “monster” is spreading quickly.

 Cut to Dr. Cheeve (Laurence Fishbourne) and his team at CDC. He partners with Dr. Orantes (Marion Cotillard) of the World Health Organization and Dr. Mears (Kate Winslet) from the Epidemic Intelligence Services. We are left to fill in the blanks on how these organizations work together to study and interpret the source and danger of an outbreak.

 The true heroes of science are those in the labs. Here we have Dr. Hextall (Jennifer Ehle, from The King’s Speech) and Dr. Sussman (Elliott Gould). We understand that these are highly talented people with the very specific skills needed to save the planet.

From a movie making perspective, the film is technically fine. The camera work and acting are all excellent. Director Steven Soderbergh is a superstar director and well-respected. Writer Scott Z Burns has quite an impressive resume. The cast is as deep and spectacular as any you will see this year. Then why am I in such a funk about this film? It disappoints me to say that the film plays like a disjointed mess. We get bits and pieces of numerous stories throughout, but never do we really connect with a single character. Matt Damon and Lawrence Fishbourne have the most screen time, but neither are accessible or give us any reason to believe we know them … only their desperation. Jude Law plays a super-blogger who teeters between exposing governmental conspiracies and his own insider trading for personal gain. There are subplots with Marion Cotillard, Jennifer Ehle and Laurence Fishbourne that all could have been intriguing, but we get the glossy outline version, rather than an actual story.

 The film focuses not on the personal side of the outbreak, but rather the process of damage control, scientific research and lab work for a vaccine. But we only get scattered bits of any of this. Same with the political side. We see a “world” teleconference with the CDC and leaders from many countries, but never an explanation on why they are all looking to the U.S. for a miracle cure. It would have been fascinating to see how or if the experts from Japan, China, India and the U.S. work together in times of a global epidemic. Instead, we get thoughtful poses from Mr. Fishbourne. What a waste.

Despite the potential for greatness, this film is neither thrilling or dramatic or informative. Mostly I wondered how much time the endless stream of movie stars actually spent on set. It appears Mr. Soderbergh now enjoys hanging with an all-star cast more than really making a statement with a movie. Additionally, I found the quasi-Techno soundtrack to be distracting and annoying. There are numerous virus outbreak movies that are superior to this one.

Whether you see this movie or not … remember to wash your hands!

SEE THIS MOVIE IF: you want to play “spot the movie star” OR world epidemic movies are your guilty pleasure

SKIP THIS MOVIE IF: you believe a thriller should be thrilling OR you agree that an endless checklist of partial subplots can be annoying

watch the trailer:

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Posted by David Ferguson

THE WHISTLEBLOWER

September 8, 2011

 Greetings again from the darkness. Emotional exhaustion swept over me as this film came to an end. Based on the true experiences of Kathryn Bolkovac, we see what a true hero is. She absolutely refused to turn away from the despicable actions of her co-workers and government officials.

Rachel Weisz delivers what is far and away her best performance yet. She captures the emotional complexity and strength that Ms. Bolkovac displayed. Some have stated she was conflicted, but I never saw that. I saw the character of a woman who had a clear understanding of right and wrong … and would settle for nothing less than “right”.

 Kathryn, a Nebraska cop, accepts a UN peacekeeping job in post-war Bosnia. Her spirit and strength is recognized, and rewarded with promotion, by Madeleine Rees (Vanessa Redgrave) who is director of the Human Rights Commission. It is in this job where she slowly uncovers the corruption and cover-up of sex trafficking of underage girls. Even more sickening is that this most profitable business is being run by the peacekeepers and law officers being paid to protect these citizens.

 It turns out that though Ms. Bolkovac was fighting for these human rights of these girls, she was also working diligently to expose the corruption of the private contractors hired to supply personnel in all aspects of recovery in countries such as Bosnia and Serbia. In her situation, the private contractor was DynCorp and she had no problem pulling back the curtain on the lack of training and control exhibited by this and other contractors.

Combine that with the frustrations in dealing with bureaucrats such as Monica Bellucci‘s character, it often feels as if Ms. Bolkovac is fighting a one woman crusade (with a little help from David Strathairn‘s character). When red tape (such as no passport for the abused girls) and diplomatic immunity become major players in fending off her efforts, we get the wonderful line “immunity not impunity”. That explains a great deal.

The film is directed by first timer Larysa Kondracki. Setting and tone are well captured, but the editing of many scenes left me somewhat distracted, but not to the point of annoyance. There is so much tension and exposure to despicable actions in this film that I found it difficult to relax afterward. The strength and courage of this woman will restore your faith in humanity and remind us we should never turn away from doing the right thing.

SEE THIS MOVIE IF: you agree the “true story” element elevates the tension in a thriller OR you prefer your heroes to be real people rather than the comic book type

SKIP THIS MOVIE IF: you have a weak constitution for the horrific actions of a few OR you are looking for light-hearted fare

watch the trailer:

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Posted by David Ferguson

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