Run All Night

Posted on March 12, 2015 at 5:24 pm

Two guys with the understanding of what they have lost and what they have paid to be where they are that only comes with sit opposite each other, drinks on the table between them. They must, at last, reckon with the truth that can no longer be avoided. That would be Ed Harris and Liam Neeson, who must be asking themselves how two such accomplished actors in so many prestige projects got stuck in this dumb bang bang crash bang of a movie that only takes time away from its various dumb shootout scenes for its various dumb talking scenes. We already knew from the use of a mournful soloist singing “Danny Boy” in the trailer — for a movie about Irish guys and crime? How refreshing! — that this was going to be a tired old retread. But it’s a very, very tired old retread.

Harris and Neeson play Sean and Jimmy, two old Irish guys from New York. They are lifetime friends who literally know where the bodies are buried. They have both sinned in order to survive, betraying those closest to them. Both sinned to prevent the greater sin of not being able to care for their families. Now Sean is prosperous and powerful, still paying off most of the local police force to stay out of his way. Jimmy is a burn-out, still under Sean’s protection because of old times. Sean promises Jimmy that at the end they will “cross the line together.”

Both men have grown sons. Sean’s son Danny is a cocky cokehead who is trying to persuade his father to to business with some Albanian drug dealers. Sean says he is now completely legitimate and turns them down. Danny, who clearly has not ever watched “The Godfather,” disagrees with his father in front of the Albanians. He has also already not just taken money from them to make this deal, he has spent it.

Jimmy’s son Michael (Joel Kinnaman) is a law-abiding citizen, who wants nothing to do with his father. He has a beautiful pregnant wife and two adorable daughters, just to ramp up the emotional heft in as obvious a manner as possible. He ends up in the wrong place at the wrong time, seeing the wrong things. Danny tries to kill Michael, so Jimmy kills Danny to save Michael’s life.

Sean tells Jimmy that he is going to “come after Michael with everything I got.” Once Michael is dead, he will kill Jimmy, too. So, the rest of the movie is basically just run with a gun stuff.

The shootouts are staged pretty well, but yikes, they cannot stand up under the constant intrusion of a string of you-gotta-be-kidding-me moments. I’m not talking about details like where the endless ammo comes from, or how Michael got to be adept at using a gun. I’m talking about the detour to visit someone in the hospital, or the isn’t-that-convenient discovery of an old photo of trip to the kind of remote location you might send someone to get away from danger with the address helpfully written on the back. And then there’s the way Jimmy snaps back into super-assassin mode despite being severely impaired and near delirium tremens only an hour before. And there’s a weird John Henry vibe when Jimmy has go up against a high-tech hitman with all kinds of nifty laser aiming devices, plus flack gear and bluetooth police channel receiver, and all Jimmy has is a shotgun that might have been left behind by Daniel Boone.

Harris and Neeson look exhausted. It is not because their characters are worn down by all the bad choices they have made or by how much their sons hate them, or because the actors had to work so hard to make any part of this dumb mess watchable. The most the accomplish is making their previous AARP action films like “Taken,” “Man on a Ledge,” and even “Non-Stop” look better by comparison.

Parents should know that this film has very strong and graphic violence, with many characters injured and killed, disturbing and bloody images, fire, drinking, smoking, drug use, drug dealing, car chases and crashes, and very strong language with crude sexual references.

Family discussion: Sean and Jimmy both have regrets about their choices. How do they respond differently? What could Sean have done to prevent what happened to his son?

If you like this, try: “John Wick” and “Taken”

Related Tags:

Action/Adventure Crime

A Million Ways to Die in the West

Posted on May 29, 2014 at 5:58 pm

When Seth MacFarlane tops his unprecedented success on television with three animated series (“Family Guy,” “The Cleveland Show,” “American Dad”) and his first feature film was a blockbuster — the talking teddy bear movie Ted is the highest grossing R comedy of all time, in both senses of the word, with a sequel in the works. He also found time to put out an album of American songbook standards that received widespread if somewhat grudging critical acclaim (Music Is Better Than Words) and produce a popular reboot of Carl Sagan’s “Cosmos” series. His only real flop to day was his disappointing hosting job at the Oscars (the song “We Saw Your Boobs” and sexist jokes did not go over well). So, he can write his own ticket in Hollywood. And that is what he has done with “A Million Ways to Die in the West,” a silly comedy that reflects the excessive deference given to someone with that track record. You want to do a western? Fine! You want to not just write and direct but also cast yourself as the lead opposite top-ranked actors? With lots of fart jokes? Where do we sign?

And that is how “A Million Ways to Die in the West” got made. It is too long, too dumb, and too gross. But sometimes funny.

The saucer-eyed MacFarlane plays Albert, a sheep farmer who hates living in the west where “everything that is not you is trying to kill you.” A motif of the film is the many ways minor characters are killed off, intentionally or by accident. We meet Albert talking his way out of a shootout on the main street, to the disappointment of the assembled townsfolk and his fiance, Louise (Amanda Seyfried, the local schoolmarm). Louise dumps him, and Albert is devastated. His friends Edward (Giovanni Ribisi) and his fiancee Ruth (Sarah Silverman) try to comfort him, but he is inconsolable until he meets Anna (Charlize Theron), new in town. She offers to help him make Louise jealous, but they find themselves attracted to one another. Unfortunately (as we know early on but Albert does not), Anna is married to the West’s most notorious gunslinger, with the macho name of Clinch Leatherwood (Liam Neeson).

The movie looks and sounds like a classic western, with sun-burnished views of Monument Valley from Director of Photography Michael Barrett and an evocative score by Joel McNeely, both MacFarlane regulars. Neeson is outstanding, as always, never winking at the camera. Neil Patrick Harris is a pleasure as Albert’s romantic rival, a mustachioed slicker who can dance up a storm. Theron manages the more challenging trick of making Anna feel real, even though she is delivering contemporary dialog in buckskin and a bustle. It is a wonderfully natural, appealing performance that does wonders to give MacFarlane more humanity and make him seem a little less whiny and juvenile.

Unfortunately, the move keeps things pretty whiny and juvenile anyway, with MacFarlane taking full advantage of the MPAA’s notoriously lax standards for a studio comedy to include material that is more tiresome than outrageous. More unfortunately, it goes on at least 40 minutes too long, with an extended drug trip hallucination sequence that feels as endless as your college roommate’s moment by moment rendition of his dream. Lame humor includes an extended conversation about people in olden days not smiling in photographs and Ruth’s activities as a prostitute who as a good Christian won’t sleep with her boyfriend until they are married. There are no set-pieces as funny as Mark Wahlberg’s recitation of trashy girl names in “Ted” and the guest stars feel stunt-ish, not a part of the storyline as Sam Jones and Norah Jones were in that film. By the time the sheep is peeing on Albert’s face, the audience may feel that in the old west as ever, dying is easy but comedy is hard.

Translation: Constant extremely crude and gross-out humor with very explicit and raunchy sexual references and situations and extensive bodily function humor, nudity, jokes about prostitution and child molestation, racial and sexual orientation humor, western-style violence with shoot-outs and many characters injured and killed, disturbing images, drinking, smoking, drug use, very strong and explicit language including the r-word

Family discussion: What do the “straight” western elements of this film like the cinematography, landscapes, and score contribute to its overall effect? Do you think any of these jokes went too far?

If you like this, try: “Ted” and “Blazing Saddles”

Related Tags:

Comedy Western

Non-Stop

Posted on February 27, 2014 at 6:00 pm

I’ve got nothing against action movies that are dumb fun (see last week’s review of 3 Days to Kill). My bar is pretty low. I don’t ask them to make sense. But “Non-Stop” sinks to a level of ridiculousness that harshes the buzz from even a top-notch cast and engaging set-up. I never thought I’d say this, but if Liam Neeson wants to appear in an yearly middle-aged action movie to combat the doldrums of winter, maybe he should consider “Taken 3.” Or “Snakes on a Plane 2.”

Neeson plays Bill Marks, an ex-cop-turned air marshall with issues. We meet him in the airport parking lot, taking a drink, arguing with his boss, and looking seedy and shaky. Outside the airport taking a last smoke, he is distracted, not hearing a request for a light, and inside the airport he is curt with other travelers. Once on board the plane to London, he admits to his seatmate, Jen (Julianne Moore), that he is very tense during take-off, but fine once the plane is in the air. Once they air airborne, he goes into the lavatory and puts duct tape on the smoke detector so he can have another cigarette.

Back in his seat, he receives a text on the secure federal network. It says that if $150 million is not transferred to a bank account, every twenty minutes someone on the plane will die. The sender seems to know all about him. Bill has to figure out if the threat is real and who it is coming from.

Thankfully, the movie avoids the obvious “if you don’t know why that well-known actor is in this movie, he’s the bad guy” syndrome. There’s a lot of bench strength in the “that guy looks familiar” non-star supporting cast, with outstanding character performers and up-and-coming actors like Scoot McNairy (“12 Years a Slave,” “Argo”), Corey Stoll (“Midnight in Paris,” “House of Cards”), Nate Parker (“Arbitrage”), Michelle Dockery (“Downton Abbey”), Luptia Nyong’o (“12 Years a Slave”), Linus Roache (“Law and Order: SVU”), and Omar Metwally (“Harry’s Law”). Every one of them takes the unforgiving material of the storyline further than it could possibly be expected to go, most of them giving us reasons to doubt/believe/doubt/believe whatever they are saying so nicely that they almost make it possible for us to ignore the increasingly dumber twists of what I will loosely refer to as the plot. They make the shifting alliances hold our interest even as the storyline veers out of control. The twists and turns of the who-dun-it and what-did-he-or-she-do-and-how are not as dumb as the decision to have Marks, for example, stop in the middle of a dire, every-second-counts moment to tell everyone on the plan a sad story about why he is so tortured. And then there’s the moment when the cabin loses air pressure just in time to float a gun into Marks’ hand.

An airplane movie should take advantage of its locked-room setting and inherent danger. But this one seems to miss the point. Constricted space and the limits on getting dangerous materials through the TSA checkpoint should make the fight scenes more interesting, but they are unimaginatively staged by director Jaume Collet-Serra. Marks’ instability is another limitation should also add an additional layer of uncertainty, but it is handled so inconsistently that it breaks the tension. Finally, so much is piled into the last fifteen minutes that it feels like an unsuccessful attempt to get us to forget how little sense it makes. We don’t ask for much from movies like this but the minimum is that you should get all the way to the car before you start saying, “Wait a minute….” This one depends on such a pile-up of preposterousness that even these actors can’t land it safely.

Parents should know that this movie’s themes concern terrorism and hijacking, fights, guns, bomb, intense peril. Some characters are injured and killed, and the movie includes a sexual situation, brief strong language including gay slur, drugs, and alcohol abuse.

Family discussion: What was the villain’s real motive? If you suspected the wrong person, how did the movie mislead you?

If you like this, try: “Air Force One” and “Red Eye”

Related Tags:

Action/Adventure Drama Thriller

Ten Lessons from Schindler’s List

Posted on December 8, 2013 at 8:00 am

Steven Spielberg’s film about Oskar Schindler and the 1200 Jews he saved from being killed by the Nazis came out twenty years ago, based on the novel by Thomas Keneally (originally titled Schindler’s Ark). Keneally happened on the story when he stopped in a Beverly Hills luggage shop and chatted with the owner, who turned out to be one of the people saved by Schindler. Keneally later wrote Searching for Schindler: A Memoir, about his research, writing the book, and his dream of “an Oscar for Oskar” that came true when the movie was made in 1993.

The anniversary is just one of many good reasons to remember Schindler and ten of the lessons from the film.

1. Even if you cannot stop a great wrong, you can do something that will be very meaningful.

2. Heroes are not always exemplars of integrity and sacrifice. Oskar Schindler worked for the Nazis and was for much of his life an opportunist and self-promoter. Keneally once said that what interested him about Schindler was “the fact that you couldn’t say where opportunism ended and altruism began. And I like the subversive fact that the spirit breatheth where it will. That is, that good will emerged from the most unlikely places.” No one is perfect.

3. And a related lesson — sometimes a person’s faults are assets when it is time to rebel against authority.

4. Schindler was able to save 1200 people by insisting that they were essential employees in his business and contributing to Germany’s wartime efforts. This shows that people in business can — and must — make as much or an even greater contribution to the public good as government and non-profits.

5. The Nazi camp commander played by Ralph Feinnes shows us how a soul is destroyed by evil. The more corrupt he becomes, the more he must wall himself off from any sense of compassion or decency.

6. This movie was made half a century after the events it depicted and nearly 20 years after Schindler’s death. Sometimes it takes a while for us to be able to begin to understand historical events.

7. Some historical events are so enormous and so tragic they can never be fully understood. The best we can do is tell as many different pieces of the story as possible. The story of a small group who were saved must help us better understand the reality of those who did not survive.

8. As we reach the end of the time when living witnesses will be able to share their stories directly, it is even more important that we make sure that these stories are remembered. Making this film inspired director Steven Spielberg to create the Shoah Foundation and an archive of interviews.

9. Even a child can save a life with quick thinking and courage.

10. To quote the line from the Talmud in ring given to Schindler by the Jews he saved: “Whoever saves one life saves the world entire.”

Battleship

Posted on May 17, 2012 at 9:29 pm

As if it wasn’t enough of a challenge to try to create a movie based on a board game — and a board game based on a game that is perfectly adequately played with pencil and paper — this movie has to find its way around the fact that the large armored warships that give the game and the movie its title have been out of commission as everything but museum pieces for decades, replaced by much more powerful ships called destroyers. And yet, director Peter Berg (“Friday Night Lights”) and screenwriters Eric and Jon Hoeber (“Red“) have somehow managed to add some aliens and a lot of explosions to create a good, old-fashioned summer popcorn movie that is good, old-fashioned fun.

They give us half an hour to meet the main characters. Alex Hopper (Taylor Kitsch, thankfully making it possible to overlook “John Carter“) is an impetuous but gallant young man. His brother Stone (“True Blood’s” Alexander Skarsgård), a naval officer frustrated with Alex’s lack of direction, insists that Alex get some discipline and join the navy. A couple of years later, Stone is a commander and Alex is a promising but still-impetuous lieutenant in love with Samantha (Brooklyn Decker), the daughter of the admiral (Liam Neeson). In the midst of an event called RIMPAC that is like an Olympics of international naval operations, just after Alex gets in trouble for a scuffle with a Japanese naval officer (Tadanobu Asano), something happens that is not part of the program. For four years, a program called the Beacon Project has been sending signals to a planet that is similar to earth and capable of supporting life in the hope of making contact. The signals have been seen as an invitation and the inhabitants of the other planet have arrived, like Columbus. And, as a character points out, if they are Columbus, we — all of humanity — are the the Indians. Except it is more like Columbus arriving with an armored brigade and bombs that slice through destroyers like bullets through tissue paper. And they operate a enormous rockets that operate like Decepticons the size of the Chrysler Building in a world with no Optimus Primes.

The Battleship board game involves trying to guess where the other player’s warships are hidden by calling out squares on a grid, and the Hoebers find a witty way to make that a part of the story, and to bring in a real battleship, too. There’s more than just bang-bang. Alex comes up with some clever, way-out-of-the box tactics and Rihanna is a hoot as a determined petty officer weapons specialist. And in a cute variation on the whole “ET phone home” thing, the aliens need to get to the Beacon Project communication center. The only people who can stop them are none other than the beautiful daughter of the admiral and a wounded warrior she happens to have been trying to inspire by taking him for a bit of a mountain climb. He is played by real-life West Point graduate Gregory D. Gadson, a double leg amputee, in a performance adding some nicely quiet dignity to the story. There is not much quiet or dignity in the rest of the movie, but Berg stages the action scenes with kinetic energy and a sure sense of fun. (And be sure to stay all the way through the credits for an extra scene.)

Parents should know that this movie has non-stop action-style violence with aliens, many explosions and military battles, characters injured and killed, and some strong language (s-words, muffled f-words).

Family discussion: How did the qualities that got Alex into trouble also help him? Would you say the same about anyone else in the story who became an unexpected hero?

If you like this, try: “Independence Day” and “Transformers” – and the board game!

Related Tags:

Not specified