Safe House

Posted on February 9, 2012 at 6:10 pm

Denzel Washington is the vodka and Ryan Reynolds is the orange juice in this spy story with top-notch action, middle-notch story, and bottom-notch ending, with a “surprise” plot twist that is obvious from the first 10 minutes.

Apparently, the CIA has big, high-tech, empty “safe houses” all over the world, just in case we need to stash an “asset” there for debriefing with or without torture, but I gather more often with. Reynolds plays a junior CIA agent named Matt, stationed in Cape Town, South Africa. His lissome French oncologist girlfriend (the glorious Nora Arnezeder of “Paris 36”) has no idea that he is really a spy. He’s not so sure himself, after a full year of sitting alone in the safe house, throwing a ball like Steve McQueen in “The Great Escape” and waiting for something to happen. He begs his mentor back at CIA headquarters in Langley, Virginia, David Barlow (Brendan Gleeson) to reassign him, but Barlow tells him to be patient.

And then the most notorious rogue spy to go AWOL from the CIA, Tobin Frost (Washington) , a man who ” has no allegiance and is wanted on four continents” walks into the American consulate. We know he has injected some sort of memory chip into his thigh and that some guys with guns are willing to kill a lot of people to get to him. Matt gets the call that a “guest” is en route and when Tobin arrives with an entourage of serious-looking guys, he escorts them to the interrogation room. They tell him to turn off the surveillance cameras and they start waterboarding Tobin, who calmly first offers to tell them whatever they want to know and then advises them that they are using the wrong kind of towels for torture. Then the other group of bad guys break in, shooting everyone they see, and Matt grabs Tobin, steals a car, and they’re on the run.

It’s “Bourne”-lite, a lot of well-staged action but without the personal or political identity issue resonance of the Bourne stories. Washington is superb as a spy whose specialty was manipulation and whose moral code is compromised, but clear. “I only kill professionals,” he tells Matt. “You’re not going to get in my head,” Mitch says. “I’m already there,” Tobin responds, and, predictable as it is, we know he is right. Part of what makes him effective is that he tells the truth. But Matt, whose specialty is analysis, strategy, and spycraft, gets into Tobin’s head, too, partly from observation and partly from the encounters along the way that show him

The hand-t0-hand combat and shoot-outs are intense, prolonged, and graphic. But when it comes to acting and holding our attention on screen, Washington wins by a knock-out.

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Action/Adventure Spies

Journey 2: The Mysterious Island

Posted on February 9, 2012 at 6:00 pm

B+

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for some mild adventure action and brief mild language
Profanity:	Some brief schoolyard language
Alcohol/ Drugs:	None
Violence/ Scariness:	Action-style peril, minor injuries, some large insects, scary animals with big teeth, and some gross and disturbing images
Diversity Issues:	Diverse characters, mild sexist humor
Date Released to Theaters:	February 10, 2012
Date Released to DVD:	June 4, 2012
Amazon.com ASIN:	B007R6D74G

Like its predecessor, Journey to the Center of the Earth, this is a well-paced and highly entertaining family film made with good humor, panache, and imagination. Josh Hutcherson returns as Sean Anderson, a teenager whose last expedition was in search of his father. Refreshingly, it does not take itself seriously. Even more refreshingly, it takes the idea of adventure seriously, with a welcome reminder that the actual thrill of exploring beats even the most entertaining movie or game.

Sean receives an encrypted radio signal and suspects it may be from his grandfather, Alexander, an explorer. Sean’s stepfather Hank (Duane “The Rock” Johnson) is a Navy veteran who once one a prize for code-breaking. Sean does not want to have anything to do with Hank, but cannot resist letting him help solve the code. When it appears to be coming from Sean’s grandfather, with a clue that leads them to more clues in classic stories of island adventure by Jules Verne, Robert Louis Stevenson, and Jonathan Swift, Sean is determined to find it. Hank persuades Sean’s mother (Kristen Davis), to let them try because it is the first real opportunity he has had to get close to his stepson.

They fly to Palau, where the only person crazy and desperate enough to try to take them to an uncharted and possibly imaginary island in the middle of the most dangerous storms on the ocean is Gabato (Luis Guzman, providing awkward comic relief). Sean and Hank get into Gabato’s rattletrap of a plane with Gabato’s beautiful daughter Kailani (“High School Musical’s” Vanessa Hudgens) as a navigator. Like the Millennium Falcon being sucked into the Death Star by the tractor beam, Gabato’s plane is pulled onto the island by the swirl of the storm for a crash landing that shatters it to shards.

Sean is thrilled to find his grandfather (a game and very dapper Michael Caine) and the group is enchanted by the lush beauty of the tropical island and by its big/small reversals. Animals that are big in the rest of the world are small, and animals that are small are big. So the elephants are the size of border collies and the lizards are the size of dinosaurs. Alexander has created a “Swiss Family Robinson”-style treehouse and has discovered the ruins of an ancient city. But when Hank discovers that the island is sinking and will be submerged in a few days, they have to find a way to get back home. They set off for the coast. Alexander at first is hostile to Hank but, like Sean, learns to appreciate him after he shows how skillful and dependable he is — and after he pulls out a uke and sings a very respectable and funny version of “Wonderful World.”

Director Brad Peyton keeps the characters and the plot moving briskly and manages to bring in some nice moments as Alexander, Hank, and Gabato demonstrate different styles of fatherhood. Kailani reminds Sean that it may be bad when parents embarrass you but it is worse when they don’t even try to provide support and guidance. The humor is silly, but reassuring, not condescending to the young audience. It balances the scenes of peril as the group tries to find an escape. However, Gabato is so over-the-top he is likely to grate on anyone over age 10. It palpably conveys the fun of exploration and discovery and the pleasures of being part of a team. The production design by Bill Boes is spectacular, especially Alexander’s wittily imagined house, the ancient city, and the 140-year-old submarine that starts up like Woody Allen’s VW Bug in “Sleeper” after a unique jump start. It perfectly matches the fantasy-adventure-comedy tone of the story, where you can hold a a baby elephant in your arms and fly on the back of a giant bee. “Are you ready for an adventure?” characters ask more than once. This movie will have you ready to say, “Yes.”

As an added treat, there’s an “What’s Opera, Doc”-ish 3D Daffy Duck cartoon before the film, with audio from the original Daffy and Elmer voice talent, Mel Blanc.

Parents should know that this film has characters in peril, minor injuries, some icky and scary-looking animals with big teeth, some jump-out-at-you surprises, some potty and briefly crude humor, and brief schoolyard language.

Family discussion: How many different styles of parenting were portrayed in this movie? Which do you think is best? What adventure would you like to go on?

If you like this, try: “Journey to the Center of the Earth,” “20,000 Leagues Under the Sea” and books by Jules Verne

Red Tails

Posted on January 19, 2012 at 6:00 pm

The official military documents of the 1940’s said that African-Americans were “mentally inferior” “subservient and cowards” and not fit to fly planes. The Tuskegee Airmen of WWII proved that African-Americans were outstanding pilots. They had to fight to be trained and they had to fight to be allowed to do combat missions, but once they were in the air they demonstrated skill, courage, and dedication that made their divisions one of the most highly decorated of the war. For George Lucas, a long-time scholar of aerial combat, a film about the Tuskegee Airmen was a passion project. When the studios told him that they would not finance an expensive movie with no white leading characters, he put up almost $100 million of his own money for a feature film and a documentary about one of the most inspiring stories of the 20th century.

It has the best of intentions, an excellent cast, and thrilling battle footage. But the scenes on the ground are clunky. It is in part because the filmmakers, with some justice, do not trust the audience to know very much about history, both of the second World War and of institutionalized racism, so they feel they have to explain everything. But screenwriters John Ridley and Aaron McGregor (the “Boondocks” comic strip) make the dialog so expository-heavy it is a surprise the aircraft are not too weighed down by them to get off the ground.

Cuba Gooding, Jr. and Terrence Howard (both, by coincidence, playing Tuskegee Airmen for the second time) play officers inspired by real-life General Benjamin O. Davis. Gooding plays Major Emanuelle Stance, the commanding officer of the Italian air base where the Tuskegee Airmen are waiting to be allowed to fly missions and Howard plays Colonel A. J. Bullard, who is in Washington advocating for his fliers to be given a chance. The dignity and resolve Howard shows in meetings with a racist superior officer (“Breaking Bad’s” Bryan Cranston) shine despite the awkward dialog.

So does the terrific cast of young actors including Nate Parker, Elijah Kelly, Method Man, Ne-Yo, and, as the daredevil every war movie has to have (think of him as a WWII Maverick from “Top Gun”), British actor David Oyelowo. His nickname is “Lightning” and he’s the kind of guy who has to have one more swing around to hit one more target on the way home. There is the usual conflict between the by-the-rules guy and the rules-are-made-t0-be-broken guy and a sweet romance with a local girl who speaks no English. The script falters but the power of the real story, the sincerity and screen presence of the actors and the dedication and gallantry of the Tuskegee Airmen and the men who portray them make this a stirring tribute.

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Contraband

Posted on January 12, 2012 at 6:00 pm

Oh, not another one last job movie! This remake of an Icelandic thriller, directed by the actor who played the lead role in the original, is a by-the-numbers heist, chase, and shoot-em-up. It’s too gritty to be escapist fun and too predictable to work as a thriller.

Mark Wahlberg plays Chris, a one-time smuggler turned legitimate family man with a loving wife Kate (Kate Beckinsale) and two sons. He is committed to staying on the right side of the law. But Kate’s young brother gets into trouble with the local drug dealer (Giovanni Ribisi as an oily predator named Briggs) the same way Han Solo got into trouble with Jabba the Hutt, dumping the payload to avoid capture, and Briggs says he will come after the whole family if he doesn’t get paid. So, Chris has to get the band back together for one more run. He gets approved by the Department of Homeland Security to work on a ship going to Panama and arranges for trusted associates to be assigned to the crew. He leaves his closest friend Sebastian (Ben Foster), a recovering alcoholic, to watch over Kate and the boys and takes off for many locations where bad cell reception will add to the tension and frustration.

We’re supposed to be on his side because he keeps saying he won’t smuggle drugs and he loves his highly photogenic family and because the bad guys are so thoroughly loathsome. And because he such a good smuggler. But that can’t make up for the increasingly sour taste of the story as Chris and his gang get caught up in some ugly situations, including a detour to meet up with yet another strung-out drug dealer who wants everyone to call him El Jefe, keeps deadly animals in cages, and yes, needs Chris to ride along for just one more last job. There is one good exchange when the drug dealer says he fed a colleague who disappointed him to the wolves and Wahlberg responds, “Literally?” And there are scenes that are either commentary on the conundrum of abstract expressionism in a realist world or an ironic statement on valuation models, or perhaps a pearls/swine reference, but most likely just a cheap joke about real guys who know how to fight being smarter than people who pay millions of dollars for paintings no one can understand. Chris may love and defend his family and even try to protect Briggs’ little girl but his callousness to the carnage and other damage around him and inflicted by him makes it hard to stay on his side.

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Action/Adventure Crime Remake

The War Horse

Posted on December 23, 2011 at 12:30 pm

The second Steven Spielberg movie of the week opens on Christmas Day, a grand epic, is big, long, ambitious, and showy. It is a work by a master, but it is not a masterpiece. Every detail is carefully considered. Every leaf on every tree is perfectly aligned so that every sunbeam and shadow fall perfectly across them. Every equine muscle, every country cottage, every blade of grass, every puff of smoke from a discharged weapon is exquisitely framed and lit, but the visuals outweigh the story. The result is serviceable but stodgy, stuffy, and static. The poetry and symbolism of the stage play (with a multi-operator puppet as Joey) is replaced by postcard-picturesque images that are visually rapturous but feel thin in comparison to the movie’s aspirations.

It’s “Black Beauty Goes to War,” the story of a magnificent horse named Joey and Albert (a dull Jeremy Irvine), the boy who loves him. When World War I begins, Albert’s father sells Joey to a gallant young officer (Tom Hiddleston), who promises Albert he will do everything he can to keep Joey safe and get him back home after the war. But war has a way of changing everyone’s plans and soon Joey is on his own journey that will take him back and forth between the British and the German forces and, for a short idyllic time, a respite with a frail but brave little French girl and her affectionate Grandfather. The horse can switch sides in a way that a human cannot, and the movie makes clear the difference between the soldiers who are taken prisoner and shot and the animals who are inherently neutral and thus commoditized. The brutality of war affects the human characters differently as we see in their responses to the animal.

The sweep and grandeur and tragedy of the film pay homage to majestic WWII-era filmmakers like John Ford, with gorgeous cinematography by Janusz Kaminski. One quiet scene of breathtaking power recalling the real-life Christmas truce reminds us of our better angels. But it also reminds us of Spielberg’s better films.

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