The Kill Team (2019)


In battle there is brotherhood.

(2019) War (A24Alexander Skarsgǻrd, Nat Wolff, Adam Long, Jonathan Whitesell, Brian Marc, Osy Ikhile, Rob Morrow, Anna Francolini, Oliver Ritchie, Edd Campbell Bird, Adam James, Elham Ehsas, Tunji Kasim, Ian Attard, Taz Skylar, Zackary Momoh, Luka Schardan, Julio Perillan, Edward J. Bentley, Andreas Karraas, Amani Zafdoe. Directed by Dan Krauss

 

War is far from simple, although it is sometimes characterized that way. There are those who see it as the ultimate expression of masculinity, the place where young men go to prove themselves men. Others see it as institutionalized murder. It does require those who go to war to kill or be killed, putting them in a constant state of high stress. It also asks of them to violate some of the most sacred precepts both from a societal standpoint as well as a moral one – thou shalt not kill.

18-year-old Andrew Briggman (Wolff) has enlisted following high school. He wants to make a difference, to protect his country from terrorists and perhaps to some extent, be all he can be. Earning the pride of his father (Morrow), he goes to Afghanistan with a young man’s expectations. He quickly learns that Afghanistan is nothing like what he expected. Fortunately, he has a sergeant (Ikhile) who is a hearts and minds kind of guy, trying to win over the Afghan people with kindness. Unfortunately, that doesn’t work out too well for him.

Enter Sergeant Deeks (Skarsgǻrd) who is of the “speak softly and carry a big gun” persuasion. He is far more interested in winning over the hearts and minds of his command than in those of the locals. To Deeks, everyone is a potential enemy and he has no trouble sorting out the good from the bad – they’re all bad in his view and treats them accordingly. He appeals to the machismo of his men, rewarding them for their more bloodthirsty tendencies.

At first, Briggman buys into it but as he sees his platoon fall further and further from decency to the point where they are executing locals for sport, he is horrified. When he tries to report what he’s seen, he discovers Deeks has friends in all sorts of places and with Deeks falsifying reports, it boils down to the word of a three-tour decorated veteran versus a young wet-behind-the-ears rookie.

Briggman realizes that out in the field he is at the mercy of his comrades who are all trained killers. Soldiers survive because they know their brothers-in-arms have their backs; when you go out into the field not only uncertain whether your platoon has your back or might just shoot you in yours, it is not a place to be, to say the least. Briggman finds himself at odds with his conscience as well as his survival instinct.

Krauss based this loosely on a documentary that he directed back in 2013 (Florida Film Festival attendees may recall it and for those whose memory needs a jog, you can read my review here). That was a bit more of a morality play, chronicling a family’s encounter with the military justice system as the young soldier fights for the truth with his supportive family behind him. This version is fictionalized and the names are all changed, and the focus here is more on what the soldier endured and how it affected him. None of the film depicts the fall-out from the soldier’s accusations.

The role of Deeks is tailor-made for Skarsgǻrd and he responds with an intense performance. The actor underplays the role, giving the character a whole lot of menace. He certainly holds our attention on-screen. Wolff gives his character the right amount of naivete and gung-ho machismo to make him very relatable. Unfortunately, none of the other characters get much development.

Krauss also proves himself to be adept at building suspense and creating an on-screen tension that will keep audience members on the edge of their seats (or couches, as the case may be). The action sequences are a bit on the low-key side but they are adequate – in a lot of ways, the movie has the feel of a lot of recent war movies dealing with the conflicts in Iraq and Afghanistan.

Some of the moments in the film are truly terrifying and really hit you in the gut. There are enough of these to give the film a solid recommendation, but be warned that not all of the movie is like that and there is an awful lot of SSDD when it comes to modern war films. The Kill Team has been available on DirecTV for about a month and is just now hitting a limited theatrical release as well as being available on most streaming platforms. It’s not a must-see but then again you won’t go too far wrong if you do take a chance on it.

REASONS TO SEE: Truly harrowing in places, building the tension up nicely. Skarsgǻrd is absolutely amazing.
REASONS TO AVOID: The violence is curiously understated.
FAMILY VALUES: There is a cornucopia of profanity, war violence and some drug use.
TRIVIAL PURSUIT: Skarsgǻrd and Ikhile were both in The Legend of Tarzan.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu
CRITICAL MASS: As of 10/24/19: Rotten Tomatoes: 84% positive reviews: Metacritic: 62/100.
COMPARISON SHOPPING: A Few Good Men
FINAL RATING: 7/10
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Parker


Do you think Jason Statham makes for an authentic Texan?

Do you think Jason Statham makes for an authentic Texan?

(2013) Thriller (FilmDistrict) Jason Statham, Jennifer Lopez, Michael Chiklis, Nick Nolte, Wendell Pierce, Clifton Collins Jr., Bobby Cannavale, Patti LuPone, Carlos Carrasco, Emma Booth, Micah Hauptman, Kirk Baltz, Kip Gilman, Sharon Landry, Charleigh Harmon. Directed by Taylor Hackford

Most of us have some sort of moral code that we live our lives by, even if we can’t always articulate. We call them “lines” and we try not to cross them (although we aren’t always successful). It’s always somewhat miraculous when someone actually accomplishes it.

A priest and two clowns walk into the Ohio State Fair main office. Sounds like a joke but it’s actually a robbery, one spearheaded by the priest – who is actually Parker (Statham), an expert thief who lives by a rather stringent moral code – never steal from those who can’t afford it, never hurt those who don’t deserve it. It’s served him well.

But when you work with clowns, well, you get what you deserve. One of them, Melander (Chiklis) has an idea for an even bigger score but needs the entire take from the State Fair job to make it happen. Parker, who is already not happy with the crew because one of them (Hauptman) had set a diversionary fire in the wrong place, decides to pass.

Unfortunately, Melander isn’t willing to take no for an answer and leaves Parker shot and nearly unconscious on the side of the road. Fortunately, a farmer and his family spies Parker on the side of the road and takes him to a local hospital. Parker regains consciousness and manages to escape before the cops arrive to ask questions he doesn’t want to answer. He recovers in a stolen ambulance in a secluded patch of woods and a helping of Demerol to help him sleep it off.

When he comes to he’s in a pretty foul mood. He approaches Hurley (Nolte), his mentor and also the father of Claire (Booth) – his girlfriend – and the man who set him up with Melander. It turns out that Hurley didn’t know that Melander was extremely connected, in this case to Danzinger (Gilman) a vicious crime boss. Hurley advises him to walk away but Parker can’t do that. He needs his score and he needs justice. He knows that Danzinger will send people not only after him but after Hurley and Claire and anyone Parker knows but it’s the principle of the thing.

After a visit to the brother of the misplaced arsonist (Baltz) in New Orleans, Parker gets wind that the job is taking place in Palm Beach, Florida. From snippets of  conversation just prior to his assault, he knows they were looking for a house down there. He contacts Leslie Rodgers (Lopez), an ambitious realtor trying to get her first commission. She’s in desperate financial straits – a divorce has left her with plenty of bills and precious little cash and she is forced to live with her difficult mother (LuPone) and field calls from bill collectors and repo agencies. She is at the end of her rope.

Parker, posing as an Ecuadorian-born oil baron from Texas (yeah, she doesn’t believe it either), soon discovers where Melander is hiding out and what he’s up to. Even with his atrocious Texas accent, he soon comes up with a plan but he has to dodge a hitman that Danzinger has sent after him and Leslie’s well-meaning interference. He’ll have to beat some pretty stiff odds to get away with this job.

This is based on Flashfire, the 19th novel in the Parker series by Richard Stark which is the nom de plume of the late Donald E. Westlake, one of the most respected and honored crime novelists of the 20th century. This was meant to be the ground zero of a Parker franchise, but given the anemic box office and quite frankly the lackluster quality of the movie, it doesn’t look like it’s going to happen.

Hackford might not have been the best choice for the director’s chair. While he’s a veteran helmer, he’s better known for movies like An Officer and a Gentleman and Ray. Noir-ish action flicks, which is what this was supposed to be, are outside of his comfort zone and it shows – the action sequences have almost no life to them and are filmed kind of statically. In fact, the movie is kind of oddly lacking in kinetic energy.

It’s not Statham’s fault. He actually makes a pretty good Parker given the taciturn nature of the character in the books. Parker is meant to kick ass and take names….well, he doesn’t really care about the names so much but Statham inhabits the role well. This is right in his wheelhouse.

Lopez has never really been my cup of tea although I thought she showed amazing promise in Selena back in ’97 but she actually was pretty good here. There’s a scene in which she is reading an e-mail about her car being repossessed and her mom is giving her crap about some inconsequential thing and then she looks up at her mom and you can see in her expression all the pain, the stress and the worry that has brought her to her breaking point. The look is so poignant her mother puts a hand on her shoulder, unsure what to do (inside you’re screaming Hug her you idiot!) but at last her mom walks away and Leslie hides her face in her hands. It’s some really affective acting and tells me that if Lopez could just stay away from the pop star diva thing she’s done she can be a really great serious actress.

The Palm Springs locations are actually quite nice as we see gorgeous home after gorgeous home. Yes, the lifestyles of the rich and shameless. Makes me want to punch someone in a Giorgio Armani suit and Ralph Lauren sunglasses. Or at least give them the evil eye.

I would have liked to see a movie with a little more grit, a little less glitz and a lot more spice. For a movie looking to establish a franchise beachhead there isn’t a lot of bang for your buck. It’s basically a mediocre action film with poorly written logical lapses – if you were going to buy a home in which you were going to lay low with tens of millions of stolen jewels, wouldn’t you at least consider some sort of home security system? – that with a little more care and a director more suited to this sort of film might have been the right step towards a profitable action franchise. As it is it’s back to the drawing board.

REASONS TO GO: Statham actually makes a pretty nifty Parker. Gorgeous Palm Beach location. Lopez ain’t half bad here.

REASONS TO STAY: Doesn’t add anything to the mix. Lacks spice.

FAMILY VALUES:  Lots and lots and lots of violence. A surprisingly small amount of bad language.

TRIVIAL PURSUIT: While the fifth film to be based on a Parker novel, it is the first in which the character’s name is actually used.

CRITICAL MASS: As of 2/4/13: Rotten Tomatoes: 38% positive reviews. Metacritic: 42/100; the reviews are mixed but trending towards the negative.

COMPARISON SHOPPING: The Italian Job

FINAL RATING: 5/10

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