(2010) Crime Thriller (Lionsgate) Russell Crowe, Elizabeth Banks, Liam Neeson, Brian Dennehy, RZA, Olivia Wilde, Daniel Stern, Ty Simpkins, Jason Beghe, Aisha Hinds, Lennie James, Trudie Styler, Allan Steele, Helen Carey. Directed by Paul Haggis
Desperate men will do desperate things, all in the name of love. When we are backed up against the wall with nowhere left to turn, we can become capable of things both amazing and terrifying.
John Brennan (Crowe) and his wife Lara (Banks) live a decent life. John is an English teacher at a community college, and Lara has a more upscale job with a boss she detests. The two go out with John’s brother and his wife and have a spirited conversation about female bosses (which Lara’s boss is) and their ability to work with female employees.
The two go home and the next day share breakfast. All seems to be normal – until the police arrive to arrest Lara. It seems she’s been fingered as a suspect in the brutal murder of her boss, bludgeoned to death with a fire extinguisher. The evidence is highly circumstantial at best; Lara was observed driving away from the scene of the crime (the parking lot at the office where she works), her fingerprints were on the murder weapon, she and her boss argued rather loudly earlier in the day and to seal the deal, some of the victim’s blood made its way to the back of her overcoat.
Lara claims that she didn’t see the body, and that she had bumped into another woman who was leaving the parking lot on foot, although nobody else saw her but Lara. Despite her protestations of innocence, she is convicted and sentenced to prison. Three years pass; appeal after appeal is denied and their lawyer (Stern) informs John that basically her options have been exhausted – she’ll have to do the time. Lara, who has grown increasingly more depressed, her relationship with their son Luke (Simpkins) deteriorating to the point of non-existence, attempts suicide.
John knows she’ll never last the full length of her sentence. He also is completely sure she is incapable of murdering another human being, no matter how angry she was at them or what the provocation. With no further legal recourse, he determines that the only other option is to break her out of prison.
Of course, he knows nothing of prison breaks other than watching them on TV. He meets with an ex-con (Neeson in what is essentially an extended cameo) who achieved notoriety by breaking out of seven different prisons and lived to write a book about it. The author informs him that he needs a plan and a timetable. Being that she’s languishing in Allegheny County Prison in central Pittsburgh, he needs to know that 15 minutes after the escape is detected the police will have the center of the city locked down, the bridges closed and all of the subway and train stations as well as the airports manned with officers. 35 minutes after the escape is detected, the city will be on lockdown with toll booths manned by police officers and roadblocks on every major road out of the city.
John begins to spend a heck of a lot of time studying the prison and trying to figure out a foolproof plan. He is also going to need a weapon and a whole lot of money. Then he gets even more devastating news – his wife is going to be transferred to a prison far away from where they live in three days. If he doesn’t break her out in three days, their window of opportunity will be gone.
Haggis is one of the most honored writers in the business and he based this motion picture on a French film called Pour Elle (Anything for Her) which I haven’t seen yet. Haggis is a meticulous screenwriter and tends to fill his stories with an amazing amount of detail and research. Much of the first two thirds of the movie is kind of a how-to, setting up the story in the first 15 minutes of the two hour plus movie, then spending the next hour or so showing John doing research for the break-out. Fortunately, it doesn’t involve tunneling under the fence, putting mannequins in the beds to fool the guards or masquerading as day workers.
Few actors can resonate as an everyman as Russell Crowe can. He is quiet and strong, a perfect husband and father. Yet there is a core of steel to him, one which glimmers from time to time through the sweaters and the tweed jackets. Several critics have complained that they never quite catch the transformation from bookish teacher to efficient criminal, but I disagree. He is driven by desperation; desperate people have lifted automobiles off of other people. You never know what you’re capable of until you’re put into an untenable situation with no other options available to you but to achieve the impossible.
Banks has become one of Hollywood’s more reliable leading ladies. She doesn’t get the due of a Katherine Heigl or a Cameron Diaz but she is nonetheless just as competent and in many ways a better actress. We literally watch her fall apart before our very eyes and it is a compelling and believable performance in every way.
The movie really picks up during the final third when the actual escape is taking place. That is handled with edge-of-the-seat thrills and more than its share of gotchas. If the movie had been able to sustain that pace throughout, this would have been one of the year’s best.
Instead, we get kind of a how-to of prison breaks for the first two thirds that often stops dead in its tracks, particularly as we watch John stumble around Pittsburgh’s underbelly looking for falsified documents. The movie might still have gotten a decent audience, but stacked up against Harry Potter and the Deathly Hallows Part 1 it was essentially doomed to underperforming at the box office. This is a pretty solid movie that may not necessarily fit into your holiday movie plans, but is certainly worth a look on DVD/Blu-Ray if you can’t make it out to the multiplex.
REASONS TO GO: The last third of the movie when the escape takes place is tense, fun and energetic. Crowe is one of the best in the business.
REASONS TO STAY: The first two thirds of the movie about the planning stages drags a bit.
FAMILY VALUES: There is plenty of violence as well as some drug references and a bit of foul language. There is also some implied sexuality; basically this is fine for any teen and/or mature older children.
TRIVIAL PURSUIT: Haggis remains the only screenwriter to date to win the Best Screenplay Oscar in back-to-back years (for Million Dollar Baby in 2004 and Crash in 2005).
HOME OR THEATER: With all the holiday offerings coming out thick and fast, chances are you won’t be able to fit this into your movie going schedule which is okay – it will work just as well at home.
FINAL RATING: 6/10
TOMORROW: The Painted Veil