This Means War

Posted on February 17, 2012 at 6:01 pm

In the world of this film, American spies work in stylish and luxurious L.A. offices and live in cool apartments that look like the ads in Maxim with people toasting each other with expensive vodka. One of the apartments is underneath a swimming pool, so the occupant can look up at the way the light plays through the clear blue water as luscious lovelies swim by. And that’s the believable part.

Chris Pine plays FDR and Tom Hardy plays Tuck, quip-spouting spies, who are always going to elegant parties for glamorous undercover missions and exchanging purportedly witty barbs as they chase the bad guys. FDR (really?) is the playa and Tuck is the sensitive divorced dad. It’s a big-time bro-mance with such blurred boundaries that they seem to have the same mother, even though Tuck is British. At a family party, Rosemary Harris (“Spider-Man’s” Aunt May) gently chides them both for not producing grandchildren – and then strangely dismisses the fact that Tuck already has a son, who does not count any more, presumably because of the divorce or maybe because no one cared enough to check back to the other pages of the script.

Lauren (Reese Witherspoon) is a consumer products tester who has not dated for a while. She meets Tuck via an online match-up site and – another example of how completely out of date this movie is – she meets FDR in a DVD rental store. All of a sudden, she has gone from not dating anyone to dating two guys at once. And her specialty is product testing, even though she is a good girl who gets the flutters at the idea, egged on by her friend (Chelsea Handler), she decides to date them both. When they find out, they become intensely competitive in a way that is supposed to be charming and funny but in reality is just extremely stalker-ish and strongly suggests that she is just the hapless proxy for their intense attachment to one another, they use all of their training and resources to subvert and spy on each other. One is getting too close to having sex with Lauren? Bring out the tranquilizer darts. Sure, why not spend the billion dollar technology that is supposed to be trained on terrorists to eavesdrop on each other’s dates? We are supposed to find it endearing, but I was horrified.

Parents should know that this film includes action violence and peril with guns, chases, and explosions, sexual humor — some crude — and non-explicit situations, and strong language.

Family discussion: How did Lauren’s professional background affect the way she evaluated FDR and Tuck? Which man was more honest with her?

If you like this, try: “Get Smart”

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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

Mission: Impossible Ghost Protocol

Posted on December 15, 2011 at 7:00 pm

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for sequences of intense action and violence
Profanity:	One s-word
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Constant action-style peril and violence, bombs, guns, chases, explosions, characters injured and killed
Diversity Issues:	Diverse characters
Date Released to Theaters:	December 16, 2011
Date Released to DVD:	April 09, 2012
Amazon.com ASIN:	B004EPYZUS

The first live-action film from animation director Brad Bird (“The Iron Giant,” “The Incredibles”) is pure adrenalin rush. It has the best stunts of the year and crackerjack mastery of pace in this fourth “Mission: Impossible” movie.

More “inspired by” than “based on” the 1960’s television series, the series features Tom Cruise as Ethan Hunt, an agent who operates outside even the ultra-clandestine world of spies. The most direct tie to the original program is in the presentation of new assignments. They include video as well as audio four decades later, but the recording still intones, “Your mission, should you decide to accept it…” and end by advising him that if anyone on the team is caught or killed, the US government will disavow any knowledge of the operation. And then it self-destructs — this time with a witty twist.

We begin with a classic spy setting, a document drop gone very wrong. There’s a guy with a laptop in a van. There are guards playing a card game in front of a bank of monitors. And there’s a field operative in some sort of hallway. Ethan has to be broken out of a Russian prison, and for some reason it has to happen before the end of the song, “Ain’t That a Kick in the Head” by Dean Martin. A meticulously orchestrated plan is amended on the spot and the guy in the van says, “I don’t know what he’s doing and for some reason I’m helping him.” What Ethan is doing is bringing another prisoner along with him. He sticks by his friends, he explains.

After Ethan is in the wrong place at the wrong time and aborts a mission that takes him to the heart of the Kremlin only to be blamed when the whole building blows up, “the Secretary” (Tom Wilkinson) shows up to say that the entire Mission: Impossible force has been shut down and it is time for “ghost protocol,” a mission that is off the books for those who are already operating off the books, kind of a spy version of double secret probation. I just have to ask — the Secretary of what? The head of the CIA has the title “Director.” Cabinet officers are hardly low profile. But he’s not around long anyway, and with the M:I force disbanded and no time, Ethan has to work with the people already there. That’s field agent Gorgeous (Paula Patton as Jane), tech guy Comic Relief (Simon Pegg as Benji), and Mystery Guest Who Says He is an Analyst But Fights Like a Field Agent (“The Hurt Locker’s Jeremy Renner, soon to be Hawkeye in “The Avengers,” as Brandt).

They’re after a dangerous guy code-named Cobalt (Michael Nyqvist of the Swedish “Dragon Tattoo” series). He’s one of those super-villains who is not only off-the-charts brilliant but also in great shape and with outstanding hand-to-hand combat skills. And if they don’t stop him a lot of very bad stuff is going to happen. The details are not important; they’re just a delivery system for action and stunts that includes a wild chase though a sandstorm, a crazy fight scene in a parking lot with vertical conveyer belts and revolving platforms (has Bird been consulting with his old boss re “Cars 2?”), a fall into fan shaft, kept just above the sharp blades by a magnet suit, and Ethan’s heart-stopping ascension along the side of Burj Khalifa, the tallest building in the world, 100 stories above ground with nothing but a pair of very sticky mechanical gloves — and then just one glove. What’s fun is what goes right — all the cool gadgets and clever plans. What’s cooler is when things go wrong — mechanical failures and just plain being outsmarted by a very clever bad guy. Our crew visits world capitals and a secret hideout in a train car and has run-ins with an assassin, a weapons dealer, the Russian police force, and a playboy billionaire. And of course, as all glamorous spy movies must, there’s also a pause for a big, fancy party so our crew can get all gussied up. Though I can never figure out why no one at the party ever notices our crew having conversations with the air Patton is spectacularly beautiful.

Renner is terrific in this, playing very well off of Cruise’s intensity and performing the action scenes a Steve McQueen-style economy of motion (I was pleased to see that he is currently working on a biopic of McQueen). He also shows great comic timing in a scene where he has to force himself to do something dangerous. I liked the way the story tied into the third in the series (director J.J. Abrams of III was a producer on this one). But the post-mission coda was under-scripted, with dialog that would have been out of date in the days of the television series. And even by the low don’t-think-too-hard standards of chase and explosion films, the plot has some big holes. But no one is buying a ticket for witty repartee or realism. This is just for fun and it is enormously entertaining.

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Tinker, Tailor, Soldier, Spy

Posted on December 15, 2011 at 6:26 pm

There are spy stories with glamor and chases and explosions and answers. And there are spy stories like this one, murky, gritty, grubby, complicated. The brilliant BBC miniseries version of the the book by John le Carre opened with the grim-looking Russian matryoshka nested dolls, a perfect image for this Cold War era story of a traitor at the heart of British intelligence. The original miniseries, with Alec Guinness as the exiled spy called back in to find the mole was known for being both superbly made and almost impenetrable. I watched it four times before I felt confident that I had some idea of what was going on. And now it has been remade in a fraction of the running time. Its production design is brilliantly done and there are moments of extraordinary power and artistry but it is even harder to follow. Yes, the difficulty is part of the point. While one of the reasons we love movies and indeed stories of all kinds is that they make sense of a complicated and ambiguous world, and you can even make sense by pointing out the complicated and ambiguous nature of things, this movie does not have the time or the scope to tell this story effectively and suffers by comparison with the superior earlier version.

Gary Oldman plays the Guinness role of the ironically named George Smiley. He is a spy who was once close to “Control” (John Hurt), the head of British Intelligence, officially known as MI6 but referred to by everyone as “the Circus.” Smiley was pushed out of the Circus, which is why when one of their agents is double-crossed, shot, captured, and tortured, that someone in the top levels is giving secrets to the Soviets, Smiley is the only senior spy who is not a suspect, and thus the only one who can investigate. Control tells him it is one of five men, and he assigns code names to them based on the old nursery rhyme: tinker, tailor, soldier, poorman, and beggarman. Smiley is helped by a young agent named Peter Guillam (Benedict Cumberbatch) and a rogue agent named Ricki Tarr (Tom Hardy), as well as a visit to a retired MI6 head of research (Kathy Burke in the film’s best performance).

But nothing is as straightforward as that paragraph suggests. Everything is codes within codes and what is not said or shown is more important than what is. The atmosphere is the most important character in the film. The production design by Maria Djurkovic powerfully evokes the era as Britain adjusts to post-WWII economic struggles and its rapidly shrinking role in international affairs with its dingy institutional spaces and ironically child-like vocabulary. The scenes set at an office Christmas party are dead-on and deadly, the mirthless drinking and sad little decorations. The contrast between the smallness of that world and the enormity of the end-of-the-world issues in those early days of WMDs is conveyed better by a hand-lettered sign in a grimy office than by the the big reveal about who has been providing secrets instead of gathering them.

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The Man Nobody Knew: In Search of My Father, CIA Spymaster William Colby

Posted on October 27, 2011 at 10:51 am

B+

Lowest Recommended Age:	High School
MPAA Rating:	Not rated
Date Released to Theaters:	October 27, 2011
Amazon.com ASIN:	1591141222

Documentaries made by adult children about their fathers have become a significant new genre. My Architect is the story of Louis Kahn by the son he never publicly acknowledged. In Tell Them Who You Are, filmmaker Mark Wexler trains his camera on his cinematographer father, Haskell. And in “Five Wives, Three Secretaries, and Me,” Tessa Blake uses her million dollar trust fund to make a movie about her multiply-married father, Texas oilman Thomas Walter Blake, Jr. All of these films, in their way, are about secrets. But this film, about the head of the CIA, is about family secrets and national security secrets, too. Can a man whose job is keeping secrets share enough of himself to be a good father? Does a man who loves secrets even want to be? “I’m not sure he ever loved anyone, and I never heard him say anything heartfelt,” says his son, Carl.

Part family story, with insightful comments from the woman who was wife to the movie’s subject and is mother to the movie’s director and part “Fog of War”-style exploration of America’s role in post-WII international affairs with a Who’s Who of Cold War policy-makers, this is a riveting and important film that does not rest too heavily on the connection between its subject’s personal emptiness and the moral failures Colby would come to regret. He kept so many secrets he lost touch with the reasons. Its elegiac tone concluding in Colby’s mysterious death — alone — in a boating accident, ties together the sense of personal, professional, and national loss.

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Documentary Movies -- format Spies