Greetings again from the darkness. Espionage thrillers can be so much fun in both book and movie form. Movies actually have a little advantage for the action scenes. Books clearly have the advantage in details, backstory and character development. What is frustrating as a viewer is when a movie starts strong and then crumbles under the weight of expectation … sometimes trying to make a bigger splash than necessary. Such is the case with director John Madden‘s remake of the rarely-seen 2007 Israeli film Ha-Hov.
The story is centered around a 1965 mission of a trio of Mossad agents. Mossad is Israel’s CIA. These three agents, Rachel (Jessica Chastain), Stephan (Marton Csokas) and David (Sam Worthington) are to capture the notorious Nazi war criminal, the Surgeon of Birkenau (Jesper Christensen), and bring him back for a proper trial of war time atrocities.
Flash forward to 1997 and Rachel’s daughter has written a book about the daring mission and the three heroes. The older version of the characters are played by Helen Mirren (Rachel), Tom Wilkinson (Stephan) and Ciaran Hinds (David). We are treated to flashbacks of the mission and how things took a wrong turn, but ended just fine. Or did they? There seems to be some inconsistencies with the story told and the actual events that have created much strain between Rachel and Stephan, and life-altering changes for the more sensitive David.
This is an odd film because the best story parts occur when the younger cast members are carrying out the 1965 mission. It is full of suspense and intrigue. The intensity and believability drops off significantly in the 1997 version, but oddly, the older actors are much more fun to watch on screen … especially the great Helen Mirren. I am not sure what all of that really means, but for me, it meant the third act of the film was a bit hokey and hard to buy.
Director John Madden is known for his fabulous Shakespeare in Love, but not much else. His films since then have all come up just a bit short of that very high bar he set 13 years ago. Jessica Chastain continues her fantastic 2011 season adding this performance to her more spectacular turns in Tree of Life and The Help. Sam Worthington is known for his role in Avatar, but his character here is so thinly written, I doubt any actor could have pulled it off. Jesper Christensen seems to usually play the bad guy and he is in full glory here as a Nazi war criminal with no regrets.
The first half will keep you on the edge of your seat, but by the end you will have a somewhat empty feeling. What a shame as this one teased us with much hope.
SEE THIS MOVIE IF: espionage thrillers are your cup of tea and you can overlook a few exaggerated details OR you want to see Helen Mirren and Jessica Chastain if full-fighting mode
SKIP THIS MOVIE IF: you need the attention to meticulous detail of Tom Clancy in your espionage thrillers
Greetings again from the darkness. We can’t really discuss this movie without referencing the 1985 original. Writer Tom Holland was involved with both (including directing the original) and gets credit for updating the story while maintaining the look and feel. It seems as if vampires are everywhere these days, but the Fright Night recipe expertly mixes suspense, danger and campy humor.
Charley (Anton Yelchin) and his single Mom (Toni Collette) live in a quiet Las Vegas suburb. Charley’s nerdy friend Ed (Christopher Mintz-Plasse) notices the place is getting quieter everyday … people are disappearing! These disappearances correspond with the arrival of Charley’s new neighbor Jerry (Colin Farrell). Yep … Jerry the Vampire.
Charley at first ignores Ed’s investigative skills and concentrates on Amy (Imogen Poots), the out-of-his-league girlfriend whom he desperately wants to get to know better. And then … Ed disappears. Charley tries to push Amy aside and solve this mystery. It doesn’t take long since he breaks into Jerry’s house and discovers where he stores the bodies of his victims. As you might expect, Jerry doesn’t take well to the invasion.
Charley goes to Vegas showman Peter Vincent (David Tenant) to seek help in destroying Jerry. See, Peter Vincent’s crazy Vegas show is all about fighting the evil dead among us. Of course, Vincent isn’t quite as tough off stage.
There are plenty of moments of campy fun as Charley pursues Jerry. Not the least of which is a fender bender which includes Chris Sarandon, who played Jerry in the original. While it’s a nice homage, it just made me miss Roddy McDowall, who originated the role of Peter Vincent. Still, watching McLovin as a tough-talking vampire is quite a bit of fun as are the few moments of doubt from Collette and Poots.
Craig Gillespie directs the film, and his success a few years ago with the indie hit Lars and the Real Girl brings an added touch of class to the film. He really does a nice job of balancing the terror of the story with the humor necessary to make this one enjoyable and a bit different.
A tip of the cap to the casting of the movie. Yelchin (Star Trek, The Beaver) is a real up and comer. Ms. Poots was very effective in Jane Eyre and it will be interesting to follow the direction of her career. Collette is a real pro. Colin Farrell seems to really enjoy his turn as a vampire and adds some subtleties and quirks that make it fun. David Tenant (“Dr. Who”) really captures the Vegas Peter Vincent. Mintz-Plasse is one of the few who can effectively bounce from high school nerd to powerful vampire. Must also mention some hidden gems: singer Lisa Loeb makes a quick appearance as Ed’s mother, Charley’s friend Mark is played by Dave Franco – brother of James (you will spot the resemblance), and Peter Vincent’s girlfriend Ginger is played by Sandra Vergara, sister of Sofia from “Modern Family” (again, you can’t miss the resemblance).
In this day and age, it isn’t easy to assemble such a strong cast, script and director for a movie that isn’t centered around alien action, terminal disease or toilet humor. If you enjoy campy horror films done with an acknowledged tongue planted in cheek, then I recommend this one. It delivers exactly what you hope and expect.
SEE THIS MOVIE IF: you enjoyed the 1985 original OR you get a kick out of campy vampire flicks
SKIP THIS MOVIE IF: you prefer your vampire movies to be dark and mysterious OR you are convinced no one can ever be a better vamp than Robert Pattinson
Greetings again from the darkness. The psychotic, sadistic son of Saddam Hussein is the subject of this film from director Lee Tamahori. Tamahori has a history of colorful films with terrific visuals that are somewhat lacking in substance. This latest film falls right in line, though it had much potential.
The key reason to see this one is the explosive performance(s) of Dominic Cooper. He plays two characters who happen to look identical, but are polar opposites in thought and morals. As Latif Yahia, Cooper plays a genuinely nice citizen of Iraq who gets forced into the role of “fiday” or body double for Saddam’s evil son Uday. For lack of a better description, Uday is psychotic and thrills only at abuse of power. This is not political corruption per se, because Uday has very little role in the Saddam government. But it is the most frightening example of absolute power corrupted.
The script is based on the real Latif’s story, and the closing credits catch us up on the key players. Mr. Tamahori interjects actual footage of the war in Iraq, but it really adds no substance. At its core, this is a story of a good guy fighting a bad guy … albeit in a most unusual manner.
This has to be an actor’s dream come true … playing two such different characters, one of which allows, even requires, your actions to go over the top. Cooper is best known for his much different roles in Mamma Mia and An Education. While there have been many actors who have played dual roles in movies, very few are as spellbinding as Cooper in this one. His performance ranks with Al Pacino in Scarface and Vincent Cassel in Mesrine. The movie is very difficult to watch because of the actions of Uday, but Cooper’s performance makes it worthwhile.
The support work is provided by Ludivine Sagnier (Swimming Pool) as Uday’s lover, who also risks her life by getting cozy with Latif. I am really not sure about this character and although I am a fan of Sagnier, this story line seemed to take away from the battle of wits between Uday and Latif. Combine that with the movie being about 10-15 minutes too long, and I believe the script could have been tightened up resulting in an improved movie.
SEE THIS MOVIE IF: you want a look at a possible Oscar contender for Best Actor – Dominic Cooper is amazing
SKIP THIS MOVIE IF: you are looking for a documentary on Saddam or Uday Hussein as this is a dramatized version
Greetings again from the darkness. As a young kid I saw the original Planet of the Apes at a drive-in with my parents. At the time, I mostly just thought the talking apes were cool and enjoyed the surprise ending, despite having no ability to really process the statement that Pierre Boulle (novel) and Rod Serling (screenplay) were making. Since then, I have had a soft spot for the series, including the Tim Burton version 10 years ago.
As you can tell by the title, this latest version is truly a prequel. It is meant to explain the beginnings of how the Apes gained intelligence and created a powerful society that would one day rule humans. It begins in a genetic engineering lab run by James Franco and his team. They are using chimps to test an experimental drug that will hopefully be used to treat and cure Alzheimer’s. In no small coincidence, Mr. Franco’s father is played by John Lithgow, a once renowned musician and teacher, who is now suffering the effects of this horrible disease.
When things go wrong at the lab, Franco breaks most every known law and tests the drug on dear old dad. Of course, it works miracles. The accident in the lab, leads Franco to adopt a baby chimp born to one of the chimps used to test the drug. This chimp quickly becomes the smartest one in the house, neighborhood and city. Named Caesar, his learning curve is off the charts. And yes, after a couple of years, his strength and temper are as well.
After yet another accident, Caesar is put away in a chimp camp run by greedy Brian Cox and sadistic Tom Felton (Draco of Harry Potter fame). Caesar uses his intelligence and the unsuspecting and unobservant nature of the humans to organize a coup. This part is really something to behold.
By far the best acting in the film is delivered by Andy Serkis. Don’t recognize the name? You might know him better as King Kong or Gollum in Lord of the Rings. Mr. Serkis is a motion-capture actor-extraordinare. It is sometimes difficult to tell where these effects stop and the CGI begins, but overall the look of the chimps is pretty good and the action sequences are downright amazing.
What hurts the film is the weakness of the human stories. Franco as a genius scientist? Doesn’t work for me. Freida Pinto as a primate specialist? The script gives her nothing to work with. Lithgow and Cox are excellent actors, but mere pawns in this story.
Director Rupert Wyatt tips a cap to the original film a few times: tribute names such as Bright Eyes and Dodge Landon, an orange orangutan named Maurice (in honor of Maurice Evans), a quick glimpse of a Statue of Liberty puzzle, horse-back riding, Charlton Heston on TV (as Moses), and a couple of classic lines including “stinking paws”.
In what was supposed to be a transition story, this one really belongs to the apes … and it’s teed up beautifully for a sequel. The apes are planning it in a wooded area located at the sign post just ahead … across the Golden Gate.
SEE THIS MOVIE IF: you are a fan of the Apes series that dates back 43 years OR you want to see how James Franco can screw up even worse than he did hosting the Oscars
SKIP THIS MOVIE IF: you just can’t buy off on the whole brilliant apes idea OR after a hard day at the office, the last thing you want is more talking apes!
Greetings again from the darkness. Ba-dum. Two of the more recognizable notes from any movie musical score are courtesy of 5-time Academy Award winner (45 nominations!), composer John Williams. A truly great score plays a vital role in the emotional connection that a viewer makes with a movie. In some movies, we barely notice the music. Not so with the Jaws theme. In 1975, it signaled an immediate jump in our blood pressure and has since glided right into becoming part of our societal lexicon – musical slang for “danger is on the way”.
You are probably wondering why I am writing about a 36-year old movie … especially one that revolves around shark attacks. Haven’t we had more than our share of monster and disaster flicks? Well, my friends, it’s time for you to re-discover the wonderment, joy, anxiety, humor and humanity of Jaws. I did just that last evening at a screening provided by the Dallas Film Society, Dallas Morning News and film critic Chris Vognar.
When Jaws was first released in 1975, I saw it three times over three consecutive days. I couldn’t get enough! It was, after all, the first “summer blockbuster”. At the time, I was the ultimate beach lover, and along came a movie that was so frightening, it convinced people to stay out of the water! Over the years, I have watched it quite a few times on cable/tape/DVD, but not until last evening was I able to re-live that theatrical experience from the summer that changed movies forever. Last night the theatre was full, and nearly a third of those in attendance claimed to have never before seen the movie. So my hope is that you will make time for this classic film … whether it’s your first time, or your twentieth. Introduce it to your kids, grandkids, nieces and nephews (if they are ready). Talk about what makes it great, and about all the movies it has since influenced.
Rather than “review” the movie, I will point out some interesting details on how it was made, its legacy and even some of my favorite moments from the movie.
Director Steven Spielberg was 28 years old when the movie was released. He had already made some noise as a filmmaker with Duel and Sugarland Express, but it was the success of Jaws that labeled him wunderkind. The now-legendary Spielberg went on to direct such classics as Close Encounters of the Third Kind, three Indiana Jones movies, The Color Purple, the first two Jurassic Park‘s, Schindler’s List, and Saving Private Ryan. He is also listed as Producer on more than 120 other projects. He is the ultimate ‘mover and shaker’ in Hollywood. But Jaws was his last movie where the burden of expectations and box office results were minimal. Jaws went on to gross almost a half billion dollars worldwide … an unheard of level at the time (movie tickets cost about $2.oo each in 1975).
The story is based on the first novel by Peter Benchley, who would later write “The Deep” and “The Island“. Mr. Benchley also appears briefly in the film version of Jaws as a reporter on the Amity beach. The novel was a best seller, but much darker in tone than the Spielberg film. Spielberg turned the book’s key characters into less abrasive personalities, while maintaining the colorful attitudes.
Speaking of characters, many people tend to focus on Roy Scheider‘s Martin Brody, Chief of Police on Amity Island. He really does a nice job as the no-nonsense non-islander attempting to fit in without poking too much fun at the “problems” of the locals. Others are drawn to the performance of Richard Dreyfuss as Oceanographer Matt Hooper. Dreyfuss is far and away the most energetic of the actors, and his cocky, know-it-all, rich boy makes for a terrific contrast with the other more subdued characters.
The guy to really watch in this movie is the great Robert Shaw as Quint, the crusty local fisherman who vows to kill the shark for a huge fee. Spielberg originally wanted Lee Marvin for the role, but it’s difficult to imagine anyone other than Shaw as the tough-as-nails Quint. His sililoquy regarding his USS Indianapolis ordeal is mesmerizing and fascinating … and that scene alone should have won him the Best Supporting Actor. Yet somehow, he wasn’t even nominated in the year that had, yes, George Burns winning for The Sunshine Boys. Shaw’s character comes across as true salt of the sea, and watching him co-exist on a small boat with Scheider and Dreyfuss for the entire second half is movie-watching glory. As they compare scars and enjoy an adult beverage, we are afforded a brief laugh outloud moment. And don’t miss Scheider giving momentary consideration to flaunting his appendix scar.
Much has been written over the years about the animatronic shark. It was nicknamed Bruce, after Spielberg’s attorney. Bruce gave the filmmakers a great deal of trouble and, because of that, the film works even better. We don’t glimpse the shark until well into the movie, giving tension and anticipation much time to build. Until the last few minutes, we really don’t get a full-on view of the shark, but it SEEMS like we do!
The Mayor of Amity is played by Murray Hamilton. Mr. Hamilton is well remembered as Mr. Robinson … husband to THAT Mrs. Robinson … in The Graduate (1967). In that movie, he refused to shake Dustin Hoffman‘s hand. Here, he refuses to close the beaches, for fear of losing tourist revenue. He only has a hand full of scenes in Jaws, but each is quite memorable. Watching him speechify to the cameras, politicize to the citizens, and nearly break down while smoking in the hospital, adds depth and intensity to the film.
The trivia associated with Jaws is abundant. What’s really important is that this is an incredibly well made movie that holds up extremely well today. When you watch it, notice how you immediately understand the feelings of the locals at the town hall meeting, the desperation of the deputy, the shame of the Medical Examiner, the bravado of the fishermen and the confusion of Brody’s wife. Notice the camerawork as it varies between the viewpoint of the shark, the viewpoint of a character, or interested onlooker to the beach happenings. Check out the masterful film editing with three characters battling for space aboard the Orca. Great stuff.
Jaws was nominated for Best Picture, but lost out to One Flew Over the Cuckoo’s Nest. It did win for Best Editing, Best Sound, and Best Music (score). Its lasting impact includes the genius of Spielberg, turning Summer into Movie time, and that iconic score. Ba-dum. Stay out of the water!
Greetings again from the darkness. Suspenseful thrillers, when well done, are just about as much fun as one can have at a theatre (unless you are Pee Wee Herman). The debut film from director Giusseppe Capotondi is very well acted, and pretty well written and filmed. It has some similarities to, but is not quite at the level of one of my Top 5 movies from 2008 – Tell No One.
Filmed in Italy (with English subtitles), the film does a terrific job of sucking us right in. Guido (Filippo Timi) and Sonia (Ksenrya Rappoport) meet at a speed dating event. He is a former cop now security guard, and she is a Slovenian immigrant working as a housekeeper at a swanky Italian hotel. Love blossoms for these two until the story takes a very dark turn. That’s when all the twists and turns and misdirection begin.
Both lead actors are tremendous and I will seek out more of their work. Really not possible to talk too much about what happens (without spoilers), other than to say the characters and events aren’t always what they seem. I really enjoyed the first two acts of the movie, but felt letdown a bit by the final act. Some of the visuals are very good, but the wrap up is just a bit disappointing. Still, the first 80 minutes or so are terrific and make the film worth watching.
SEE THIS MOVIE IF: you are addicted to suspense dramas, especially those involving personality twists and elaborate plans gone wrong
SKIP THIS MOVIE IF: you are only willing to read subtitles if the payoff is life-changing
Greetings again from the darkness. A nostalgic feeling generated by nostalgic filmmaking at the hands of JJ Abrams and classic Spielberg. Yes, I meant to use nostalgic twice … the film has a familiar feel to it, but also entirely new twists and effects. That’s what happens when the master (Steven Spielberg) and the star pupil (Abrams) unite.
Part of the nostalgia is that this is kind of a throwback to the blockbuster era that Spielberg helped create. There are bits and pieces of Jurassic Park, E.T., The Goonies, *Batteries not Included, Close Encounters of the Third Kindand Jaws. Spielberg has always had a nice feel for kids and emotions, and in this film the genius of Abrams’ script and special effects make for a spectacular combination.
You know there is nothing more fun for these filmmakers than a story about smart, outcast kids obsessed with making a movie! Throw in the adolescent battle over the out-of-reach older girl, the somewhat demented kid who just loves explosions, the sensitive kid dealing with the death of his mother, the wise beyond her years girl who is a natural actress, and the chubby, driven boy with a camera … mix it up with a couple of clueless parents and the evil, secretive Air Force, a sci-fi element and you have quite the exciting small town Ohio drama with comedic elements and startling special effects.
Not going to say anything about the “surprise” that was hinted in the trailer, but what I will say is that the first hour of this movie was pure movie magic to me. Unfortunately, the second half was a slight let down, though certainly not horrible. I just enjoyed the pure human elements on display before it became just another …
The film really rides on the shoulders of Elle Fanning (probably the last time I will reference her as Dakota’s little sis). Ms. Fanning has proved again that she may be the most talented of the acting sisters. She really has a feel for her scenes and clearly melts the heart of young Joe Lamb, played by newcomer Joel Courtney. Also excellent are Riley Griffiths as Charles the movie maker, and Ryan Lee as Cary the demolition “expert”. Joe’s dad is played by Kyle Chandler (Friday Night Lights), but again, this film really belongs to the kids.
The film is rated PG-13 for some pretty intense scenes and some language that many prefer not to hear coming from kids. It’s too bad more films “like” this aren’t made, but that’s probably a factor of not many filmmakers being in the class of Spielberg and Abrams (Lost, Star Trek).
SEE THIS MOVIE IF: you can sit back and enjoy a big ol’ blockbuster with a fun script and giant special effects
SKIP THIS MOVIE IF: you prefer high art that taxes the mind
Greetings again from the darkness. I am struggling a bit with how much to say about this one. It is such a different type of film that it’s difficult to categorize. Yes, it is definitely an Action-Thriller (in the Bourne vein), but it also has some dark comedy, as well as some commentary on parenting, governmental agencies and coming of age.
Let me first say that I highly recommend the film if you are a fan of thrillers and/or action films. It succeeds well on both fronts. However, there is much more to this movie, particularly the fantastic talents of Saoirse Ronan. You will remember her stunning turn in both Atonement and The Lovely Bones. Here she plays Hanna, a girl raised in the deep forest by her father (Eric Bana). His sole purpose in raising her was to train her to be a deadly weapon in any situation. Oh and he also “schooled” her with some generic encyclopedia that has the look of a gas station giveaway. Her head is filled with facts, figures and data on all parts of the world, and somehow she speaks an infinite number of languages.
When she finally tires of gutting deer in the wild, she tells her father she is “ready”. We then find out that her father is some type of former CIA agent and with the flip of a sonar switch, the two separate and the CIA moves in to capture her. While sitting in a secured bunker in the desert, her “mission” becomes clear. She is to kill the CIA agent played by Cate Blanchett, who is connected to Hanna’s “birth” and the death of her mother. That’s when the movie kicks into gear.
What follows are some terrific action and fight sequences, a wonderful segment where Hanna hangs out with a traveling British family led by Olivia Williams and Jason Flemyng … and their daughter Sophie, played exceptionally well by Jessica Barden. The “friendship” that Sophie and Hanna create really brings into focus how sheltered from society Hanna has been.
The cat and mouse chase with Blanchett and her thugs would have worked even better if Blanchett’s character had been better defined and she wasn’t just god-awful in it. Usually Ms. Blanchett is a strong actress who adds much to a film. Here, she is the dead-weight keeping it from reaching even greater heights. And what’s with her dental hygenic practices?
The film is directed by Joe Wright, who has also provided Pride and Prejudice, Atonement, and The Soloist. The man knows how to make a movie … and that’s why this is so much more than an action flick. I must also mention that the Chemical Brothers are standouts with the film score, and though it catches you off guard at first, it really adds impact and effect to the film. There have been a few recent films with young girls in action/fight films. And while Chloe Moretz was excellent in Kick-Ass, this film is far superior. Get to know Saoirse (pronounced Sur-Shuh) Ronan. She is a real talent!
SEE THIS MOVIE IF: you are a fan of the action-thriller genre … especially those with a twist
SKIP THIS MOVIE IF: you’ve had your fill of fight scenes OR anytime you see a female field dress a large mammal, you think of Sarah Palin
Greetings again from the darkness. Ahh, the lost art of horror films. I don’t mean slasher films or gore-fests. I mean real horror films. The Saw series falls into gore-fest and its collaborators, director James Wan and writer Leigh Whannel, team up again for a more traditional horror film … one designed to scare the viewer, rather than just gross out society. Of course, recommending a horror film is as risky as recommending a comedy.
The film opens as Patrick Wilson and Rose Byrne move into a beautiful old house with their two young sons and infant daughter. By beautiful house, of course I mean terribly creepy with nooks and crannies, creaking floorboards, squeaky doors and an attic designed by Satan. The mom (Byrne) quickly realizes things aren’t just right with this house, and as is customary in horror films, the dad finds some lame excuse (grading test papers??) to work late so the mom and kids can be haunted without him.
There are some bits and pieces from classic horror films like The Exorcist, Poltergeist, Amityville Horror and, yes, Saw (but not the gory stuff). Remarkably, this film is rated PG-13, which means the filmmakers really have to tell a story … and they do … well as much as can be hoped for in a fright film. There are even touches of humor throughout.
The mom gets so desperate, she begs to move. They do. Guess what? Things aren’t better. So mother-in-law Barbara Hershey (from creepy Black Swan) says she knows someone. Next thing you know, two goof-balls (one is the film’s writer Whannel) who look like they should have their own cable show are in the house confirming something is definitely amiss. So they call in their boss. Unfortunately, the great Zelda Rubinstein (Poltergeist) passed away, so our expert is played by Lin Shayle. She does an effective job explaining astral projections and the next thing you know all hell has broken loose. Nice work lady. Surely she requires payment upfront.
What makes the film work are the characters, the setting, the atmosphere and the really nice build-up of suspense and drama. Sure I think there were some details that could have been handled much better. For instance, the “other” brother looks like he is going to be a factor, but instead all of the attention goes to Ty Simpkins as Dalton. Simpkins was seen recently with Russell Crowe in The Next 3 Days. Also, more of the backstory with Hershey and Wilson’s childhood could have provided some twists.
Still, I will say if you are a fan of horror films, this one is worth seeing. If nothing else, you will absolutely love the opening credits with their haunted images and smoky font. It’s a bit of a fun challenge to find the “image” in each of the opening sequences. Just make sure to finish your popcorn before the movie starts. That stuff is too expensive to be tossing across the aisle when you JUMP!!
SEE THIS MOVIE IF: you are always game for a real horror film … one that scares you with characters and atmosphere, rather than splatter.
SKIP THIS MOVIE IF: you are expecting the next generation of SawOR you can’t imagine an effective PG-13 horror film (in other words … you need gore).
Greetings again from the darkness. Duncan Jones (son of David Bowie) was the writer/director for a terrific 2009 film called Moon (highly recommended). Here he stays in the sci-fi realm with a thrilling and brainy script from Ben Ripley. The best, most accessible sci-fi films not only don’t require the viewer to hold a Ph.d, but they also don’t talk down to us. This is a fast-moving script with a smart (though a bit preposterous) premise, and plenty of reality to keep us glued to the screen … and hanging on every word spoken.
It’s impossible to write much about the film and not give away some of the stuff that makes it fun, so my comments will be brief. Trying to figure out what’s happening, how it’s happening, and whether they can stop it from happening again … well, that’s just about all a movie lover can hope for! So I won’t give away any more than what the trailer sets up.
Jake Gyllenhaal is Colter Stevens and he is involved in a remarkable project that allows “time travel” to a parallel universe so that a military contractor can discover the terrorist who bombed a train. The first time he wakes up on the train across from Christina (Michelle Monaghan) he has no idea who she is or where he is. 8 minutes later he is face to face with Captain Goodwin’s face (Vera Farmiga) on a monitor with her voice telling him to calm down. Her boss (Jeffrey Wright) is some type of ambitious genius trying to make a name and a buck for himself.
The story evolves by Gyllenhaal being sent back and forth between “then and now” on numerous occasions with the mission of uncovering the identity of the train bomber. Of course, Gyllenhaal is a good soldier and wants to go above and beyond the call of duty. With some of the elements of Groundhog Day, the film then spins off and gets tricky and brilliant.
Director Jones works wonders with the camera and we are treated to some fascinating images – both large (Chicago) and small (Gyllenhaal in a train restroom). Great stuff here. That’s about all I will say on this one. It should be obvious how much I like it. Also, a fun note … the phone voice of Gyllenhall’s father is that of Scott Bakula, who is known for his role in the TV series “Quantum Leap“, also a time travel premise.
SEE THIS MOVIE IF: you have one of those minds that is always asking “What if it were possible to …”
SKIP THIS MOVIE IF: you prefer your movies grounded in reality and have no use for any of that stinking hypothetical bunk.
Greetings again from the darkness. Espionage thrillers can be so much fun in both book and movie form. Movies actually have a little advantage for the action scenes. Books clearly have the advantage in details, backstory and character development. What is frustrating as a viewer is when a movie starts strong and then crumbles under the weight of expectation … sometimes trying to make a bigger splash than necessary. Such is the case with director John Madden‘s remake of the rarely-seen 2007 Israeli film Ha-Hov.
The story is centered around a 1965 mission of a trio of Mossad agents. Mossad is Israel’s CIA. These three agents, Rachel (Jessica Chastain), Stephan (Marton Csokas) and David (Sam Worthington) are to capture the notorious Nazi war criminal, the Surgeon of Birkenau (Jesper Christensen), and bring him back for a proper trial of war time atrocities.
Flash forward to 1997 and Rachel’s daughter has written a book about the daring mission and the three heroes. The older version of the characters are played by Helen Mirren (Rachel), Tom Wilkinson (Stephan) and Ciaran Hinds (David). We are treated to flashbacks of the mission and how things took a wrong turn, but ended just fine. Or did they? There seems to be some inconsistencies with the story told and the actual events that have created much strain between Rachel and Stephan, and life-altering changes for the more sensitive David.
This is an odd film because the best story parts occur when the younger cast members are carrying out the 1965 mission. It is full of suspense and intrigue. The intensity and believability drops off significantly in the 1997 version, but oddly, the older actors are much more fun to watch on screen … especially the great Helen Mirren. I am not sure what all of that really means, but for me, it meant the third act of the film was a bit hokey and hard to buy.
Posted by David Ferguson 
Movie Reviews from the Dark 