Sunday, June 24, 2012

Safe House (2012)

Directed By: Daniel Espinosa
Starring: Denzel Washington, Ryan Reynolds, Vera Farmiga, Brendan Gleeson, Sam Shepard

Ryan Reynolds stars as Matt Weston, the low-ranking CIA field operative who is eagerly trying to prove his worth to his superiors.  Weston is tasked with a mundane job of being the caretaker of a CIA "Safe House" in Capetown, South Africa. After a rogue former CIA agent named Tobin Frost (Denzel Washington) turns himself in to the American Consulate, he is brought to the Safe House for interrogation by the CIA. The safe house is then raided by an unknown criminal force in an attempt to get to Frost. Weston takes custody of Frost and must get him to another safe house without the both of them getting killed. Weston also must try to figure out who the inside source is who has betrayed him. At one point in the plot, it is revealed that the reason why the "bad guys" are trying to kill Frost is because has secret documents in his possession that can bring down not only the leaders of the CIA, but also the leaders of every other world agency involved with them.

David Espinosa's spy/action thriller, Safe House might as well be entitled "The Bourne- Whatever." While the idea for the movie is good, and it contains an A-List cast, this film is nothing but 115 minutes of a lot of guys trying to kill two other guys, with little or no narrative cohesion. Washington and Reynolds virtually have little "acting" time together; their scenes have the pair doing a lot of running, jumping, fighting, shooting, and stabbing, but their dialogue is limited at best.

Despite Weston not having amnesia (or being an assassin), this film is Bourne-influenced in every way...from the grainy, handheld photography to the chaotic hand-to-hand combat in foreign locales, and the break-neck car chases.  The only thing missing from this film is Matt Damon (or Jeremy Renner.)  The existence of possible sinister government forces and the juxtaposition between their conference room scheming and Weston’s visceral fight for survival echoes all the trademarks of The Bourne Trilogy.  Swap Joan Allen for Vera Farmiga, and   Brian Cox for Brendan Gleeson, and lo and behold- you have Safe House. 

Saturday, June 23, 2012

Thin Ice (2011)

Directed by: Jill Sprecher
Starring: Greg Kinnear, Billy Crudup, Alan Arkin, David Harbour

We meet Mickey Prohaska (Greg Kinnear) at an insurance convention where he lectures on how to strike up conversations  (asking people if the have the time.) While at the convention, Mickey meets a woman who cons him out of his wallet, stealing nearly $20,000 in credit cards. Also while at the convention, he meets a fellow insurance agent named Bob Egan (David Harbour.) Mickey hires Bob to come work for him back in Kenosha, Wisconsin. We are then introduced to an old farmer named Gorvy Hauer. Gorvy purchases an insurance policy from Mickey and Bob. When Mickey learns that Gorvy posses an antique violin that could be worth millions, the plot thickens as Mickey tries to steal the violin. A locksmith named Randy (Billy Crudup) is called to Gorvy's home, where he learns that Mickey is trying to steal the violin.  Mickey becomes Randy's unwilling partner in crime when Randy blackmails him.

 When I first heard of this movie, I couldn't wait to see it for many reasons. First, the plot of the story was enough to capture my attention: murder, deception, blackmail...everything I love in a suspense/thriller movie. Plus, the story takes place in the state of Wisconsin, AKA "Cheesland", a place I hold very near and dear to my heart. Unfortunately, this film fell short of what it was trying to deliver, which was basically a rip off of the Coen Brothers memorable film, Fargo (1996.)  While the film isn't completely awful, and it does have its funny/quirky moments, the narrative is much too predictable and does not engage the audience. Greg Kinnear is convincing enough as the spineless insurance salesman; but he also wants to be a nice guy, and his character is conflicted.  Kinnear's character of Mickey has a conscience, unlike William H. Macy's character of Jerry Lundegaard in Fargo, who was a heartless coward. There was no mistaking Jerry Lundegaard for being a spineless snake. But in this film, I was unsure if Mickey was really a nice guy or a slimy coward. The explanation of the plot at the end of the film provides little consolation to a narrative that wasn't really coherent in the first place. Thin Ice is quite a befitting name for this film, because that is pretty much where it stands...ready to fall through.

Thursday, June 14, 2012

Django (1966)

Directed by: Sergio Corbucci

Starring: Franco Nero, Jose Bodalo, Loredana Nusciak, Eduardo Fajardo,

Italian Director Sergio Leone made cinematic history with the film A Fistful of Dollars (1964.) The film starred (a then unknown) Clint Eastwood, who played the character of a "Man With No Name", a lonesome drifter, if you will. A Fistful of Dollars spawned a whole new genre of film:"The Spaghetti Western." These  Western Films usually took place around the civil war, and were produced by Italian Filmmakers, starring Italian Actors, and filmed in either Italy or Spain. Sergio Leonne had the market cornered in this genre, but there were a few other Italian Directors who made their mark with the Spaghetti Western, one of them was Sergio Corbucci with his 1966 hit, Django.

Django (Franco Nero) is an ex-Union Soldier drifting from place to place, all the while dragging a coffin behind him; he has a checkered past which haunts him, but is never revealed what it's about.  Django rescues a prostitute named Maria (Loredana Nusciak) from being murdered by a group of racist, hooded-outlaws.  Django takes Maria to a deserted town, where he finds a local war is taking place between the Mexicans, led by General Hugo Rodriguez (Jose Bodalo) and the racist outlaws led by Major Jackson (Eduardo Fajardo.)  When Django is confronted by Jackson, he finally reveals what he is carrying in his coffin: a giant machine gun. After wiping out half of Jackson's men with said machine gun, Django makes a deal with Rodriguez and the Mexicans to steal all the gold that Jackson has stored in his camp. Together, the Mexicans and Django steal the riches from Jackson, but Django's ulterior motives are soon revealed, as he double-crosses General Rodriguez. Django has now played both sides of the war to his advantage, but he will pay a serious price for it in the end.

What makes this film comparable to Leone's "Man with No Name" series is the fact that Franco Nero carries the film, much like Eastwood did in Leone's films.  Just like Eastwood, Django is the "anti-hero", a loner who doesn't back down and knows how to play both sides of a conflict to get what he wants. Django is a master gun-slinger, and has a score to settle with somebody, just like Eastwood did in the "Man With No Name" series.  The musical score composed by Luis Bacalov makes the film resonate within you, much like Ennio Morriconne's score did for The Good, The Bad, and The Ugly (1966.) The sound of ricocheting bullets in this film are a tell-tale sign of the Spaghetti Western, which that alone makes it stand out from an American-Made Western film, no matter when it was made.

The graphic violence in this film was unprecedented for its time. By today's standards, it is relatively mild, but for 1966 it was considered appalling.  The "ear-severing" scene was supposed to be cut from the original film, and it led to the film being banned in several countries, including the UK until 1993.  For a fan of the Spaghetti Western genre, Django is a must see.

Side note: Quentin Taratino's upcoming film, Django Unchained (2012) has nothing to do with this film, other than the fact that he uses the name for the title and leading role. There is however, a small cameo appearance made by Franco Nero. Here is a sneak peek at what is sure to be another Tarantino Masterpiece:

Tuesday, June 5, 2012

Hell and Back Again (2011)

Documentary Film
Directed by: Danfung Dennis

Nearing the end of a six month tour of duty in Afghanistan, Marine Sgt. Nathan Harris is severely wounded by enemy sniper fire. The sniper's bullet "blows half his ass off," as he describes it. 

Equipped with a customized Steadicam, filmmaker Danfung Dennis was embedded with Harris and the rest of his platoon, Echo Company, 2nd Battalion, 8th Marine Regiment, when they were dropped behind enemy lines in Southern Afghanistan back in 2009. From the very start of the mission we witness the Marines fighting what seems to be a "ghost-like" enemy. The Taliban are not seen in the film, but the exchange of gunfire is real, as one of Harris' men are killed in the first hour of fighting on day one. Dennis got to know Harris while he was filming the combat footage, and continues the film in North Carolina when Harris returns home to recover from his wounds. The narrative jumps back ad forth between the combat footage and Harris' grueling recovery process; moreover, his return to civilian life.

It becomes crystal clear very early in the film that the "hell" of war does not stop on the battlefield.  The film documents Harris at home, dealing not only with his injuries, but also trying to cope with everyday life in American Society.  Signs of post-traumatic stress become evident with Harris when everyday annoyances like trying to find a parking space at a crowded WalMart frustrate him beyond what the average person would feel in the same situation. The injuries sustained by Harris are described and shown in graphic detail not only by the scars he has (which he reveals several times in the film), but also by the recovery process itself. Harris can not walk without the use of a cane or walker, the physical therapy he has to endure seems more painful than the injury itself.  Harris becomes dependent (even addicted) to the heavy narcotic pain medication he is on.  If there is anyone who deserves the title of "hero" in this film, it should be Harris' wife, Ashley. After surgery and rehab, Ashley is charged with the day-to-day care of her husband. She is the one who helps him with everything: from helping him get dressed to picking up his medications at the pharmacy.  It is clear that Ashley is afraid for (and at times of) her husband. She states that although she does love her husband, "there are times when he is almost like a different man."

In the combat footage of the film, Harris displays a natural ability to lead his men, not by unsung characteristics of heroism, but because he knows his job and he believes in the cause he is fighting for.  He is clearly a professional leader on the battlefield.  The scenes of Harris back home however, show an injured,  depressed, and immature kid who has an obvious unhealthy obsession with handguns. He is shown several times at home simulating Russian-Roulette, and incessantly loading and unloading a handgun which he "keeps loaded under his mattress." A veteran of three combat tours, Harris recounts how at age 18 he was the prototypical Marine who "just wanted to kill people." Now in his mid 20s, Harris reflects that being a Marine isn't as simple as just killing people. Harris wants to return to the front lines with his men; but, by the end of the film it becomes apparent to him what the audience already knows... that his injuries will prevent that from ever happening.

Was Harris' "hell" fighting in the war? or was it when he came "back?" That is the question that is left unanswered with words, but certainly not by the actions documented in this great film that unquestionably deserved a 2012 Oscar nomination for best documentary feature.