Birdshot


What better time to hunt with your dog than dawn?

(2016) Thriller (CJ Entertainment) Mary Joy Apostol, Manuel Aquino, John Arcilla, Arnold Reyes. Directed by Mikhail Red

The world is a hard and often cruel place. Sometimes it feels like the powers that be are far more interested in symbols than in people. For those who live on the fringes of society, eking out an existence as best they can, getting caught in the machinations of the powerful is a daily struggle to survive.

Maya (Apostol) is a young teenage girl whose father Diego (Aquino) is the caretaker for a nature preserve in the rural Philippines. He is trying to teach her how to hunt so that she can one day fend for herself if something happens to him. She has difficulties with pulling the trigger and killing a helpless animal, much to the frustration of her dad.

Mendoza (Arcilla) is a cop and relatively new to the force. He has been partnered with Domingo (Reyes), a cynical veteran who doesn’t mind bending the rules every so often. The big news around that part of the Philippines is a bus full of farmers that disappeared on their way to Manila. Domingo interrogates a low-level criminal who might know something about the missing bus. The interrogation is a bit too brutal for Mendoza but he backs his partner, especially when the information he gets leads to the discovery of the bus in the wildlife preserve that Diego takes care of. Of the passengers there is no sign except for a piece of cloth from a shirt near the edge of the jungle.

Maya goes into the preserve to prove herself to her dad and she finally finds success, shooting a large bird. The bird turns out to be a Philippine eagle which is on the endangered species list; the preserve’s rangers keep careful count of the number of them left in the preserve. Diego is understandably upset. He makes Maya bury the bird and the gun that it was shot with and awaits the arrival of the police.

The investigation into the disappearance of the bus has met with official resistance, much to Mendoza’s surprise. The two cops are ordered to discontinue their efforts to find the missing passengers and instead look into a missing Philippine eagle from the wildlife preserve. Domingo urges Mendoza to give up on the case having seen what happens to cops who disobey their superior officers but Mendoza can’t give up the case, having spoken with the wife of one of the missing who beseeches him to find out what happened to her husband. The two cops go out to interview Diego about the missing eagle; Mendoza notices that Maya is wearing an eagle claw on a makeshift necklace. Domingo resolves to bring in Diego for questioning.

Diego knows he is about to be taken in and assumes that he’ll be back by the end of the evening; he urges his daughter to stay out of sight until he comes home. Mendoza receives a threat to his family that changes his outlook. The interrogation of Diego becomes more brutal and suddenly Diego is locked up overnight with hardened criminals who are plotting an escape. When the escape is successful but the criminals commit a horrific act in getting away, Diego is forced to flee. He makes his way home with the cops hot on his trail; a reckoning is bound to occur.

Red is an emerging talent in Filipino filmmaking. He has only made two films in his nascent career but both have been highly acclaimed and won film festival awards. His latest is a genre mash-up that starts out with two seemingly disparate stories – one a police procedural, the other a rural coming-of-age tale – that are slowly weaved into a single tale. Red who also co-wrote the film skillfully merges the two stories into one, a feat that is attempted pretty regularly in indie cinema these days but rarely as successfully as seen here.

There is a good deal of social commentary to be had here. Red makes clear that he feels that society values the lives of the rural residents less than the life of a bird. There is also a look at the corruption that is rampant in the law enforcement of the Philippines; considering that the war on drugs undertaken by the dictatorial president of the Philippines has led to the deaths and disappearances of thousands of Filipinos, the film is timely indeed.

The vistas of the rural Philippines are beautifully shot and make an excellent background to the ugliness of the souls of those who are in power. Red makes good use of the landscapes in the Philippine backwaters and crafts an extraordinarily beautiful movie. Unfortunately, the movie does move at a somewhat elephantine pace and is probably a good 15 minutes too long; some of the action here is redundant and unnecessary. The shocking ending is quite depressing as well.

Still, there is a lot going for the film for more patient viewers. Red is definitely a voice who has something valid to say and a talent we’re very likely to hear a lot more from in the future. If he keeps on making films like this, you might just be seeing his name on big Hollywood features in the not-too-distant future.

REASONS TO GO: The cinematography is gorgeous. It’s a very interesting view on corruption in the Philippines in an era in which they are being run by a dictator.
REASONS TO STAY: The pacing is slow and the movie is a bit on the long side. The ending is a bit of a downer.
FAMILY VALUES: There is violence and profanity and a scene of dog peril.
TRIVIAL PURSUIT: The film debuted at last year’s Tokyo Film festival where it won Best Asian Futures Film, an award given to directors who have the most potential to shape filmmaking in Asia in the coming decade.
CRITICAL MASS: As of 7/8/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Hell or High Water
FINAL RATING: 7.5/10
NEXT: Jane

Advertisements

Jane Got a Gun


Jane takes aim at the industry suits who kept this film on the shelf for three years.

Jane takes aim at the industry suits who kept this film on the shelf for three years.

(2016) Western (Weinstein) Natalie Portman, Joel Edgerton, Noah Emmerich, Ewan McGregor, Rodrigo Santoro, Boyd Holbrook, Alex Manette, Todd Stashwick, James Burnett, Sam Quinn, Chad Brummett, Boots Southerland, Nash Edgerton, Robb Janov, James Blackburn, Nicoletta Chapman, Ricky Lee, Darlene Kellum, Lauren Poole, Kristin Hansen. Directed by Gavin O’Connor

When you are threatened, I think that most of us can pretty much take it. You can do what you want to us, but leave our families alone, right? When home and hearth are threatened, well, one has to make a line in the sand someplace.

For Jane Hammond (Portman), that line has been drawn. When her husband Bill (Emmerich) shows back home with bullets in his back, he tells her that he had a run-in with the Bishop Boys, a gang he once rode with and who Jane herself has a past with. Now they are coming. Jane could easily take her daughter and run, but she’s done that her entire life. She loves her home and will fight to defend it.

But she can’t do it by herself and Bill’s wounds are simply too severe for him to be much use in a gunfight, so she swallows her pride and enlists Dan Frost (Edgerton), the gunslinger who was once her fiance. While he was away fighting the Civil War, she had become disillusioned, believing that he had been killed in action. While on a wagon train headed West led by John Bishop (McGregor), she was saved from the proverbial fate worse than death by Bill, along with a daughter fathered by Frost that he never knew he had.

Now the past has caught up with her and Bill and only Dan can save them. Dan has issues of his own, many of them stemming with his treatment at Jane’s hands so he’s ambivalent about helping her out, but he can’t leave the woman he once loved in the lurch, even if he has to save the man she’s with now. So he calmly goes about the business of fortifying her home, knowing that the force that is coming at them may be greater than even he can save her from.

This is very much in the vein of typical “against the odds” Westerns along the lines of a High Noon in which a heroic figure is preparing for the arrival of an overwhelming force that is likely to kill them. Natalie Portman is no Gary Cooper, but she does topline the film nicely. When I heard she was doing this film, I wondered about the wisdom of casting her in this kind of role; after all, she’s one of the most beautiful women in the world and has the grace of a ballerina. Could she play a dirt farmer’s wife in the Old West? Turns out, she can.

O’Connor wants to make a traditional Western with a bit of a twist, putting Portman in kind of a heroic role. While Edgerton – who co-wrote the film – is ostensibly the hero, Portman steals the show but not to the same extent that McGregor does. With his shoe polish black moustache and coif, he looks the part of a Western villain, maybe to the point of self-parody. But he is certainly venal enough and his smooth words disguise lethal venom. It’s a terrific villainous role for an actor who tends to assay heroic roles more often.

The dusty New Mexico landscape is dry as a bone and makes for an appropriately desolate setting. I have to admit that while the movie is decently paced and doesn’t seem to have any extraneous material, the flashbacks are a bit awkward and the whole balloon ride thing was more or less unconvincing – you half expected to see them sailing for Oz.

The movie has largely been left to fend for itself, which is a crying shame. It deserved a better fate than it got from Weinstein and various distributors, directors and producers. Despite its checkered past in getting from script to multiplex, this isn’t a bad movie and while it isn’t the best Western out there, it is a solid entry into the genre which has received a welcome resurgence over the past several months. Movies like this are likely to entice even more viewers into the genre.

REASONS TO GO: Nicely paced. Acting performances are all solid.
REASONS TO STAY: Nothing here is particularly different and exciting. Derivative.
FAMILY VALUES: There are violence and language issues.
TRIVIAL PURSUIT: Originally filmed in 2013, the movie sat on the shelf for nearly three years due to several release date changes, the bankruptcy of Relativity Studios (who were originally to release it) and reported clashes between the distributors and producers.
CRITICAL MASS: As of 2/10/16: Rotten Tomatoes: 33% positive reviews. Metacritic: 50/100.
COMPARISON SHOPPING: Hannie Caulder
FINAL RATING: 6.5/10
NEXT: Cinema of the Heart begins!

Diablo


Scott Eastwood is smoking hot.

Scott Eastwood is smoking hot.

(2015) Western (Orion/Momentum) Scott Eastwood, Walton Goggins, Camilla Belle, Samuel Marty, Danny Glover, Adam Beach, Roberto Franco, Diego Diablo Del Mar, Nesta Cooper, William Belleau, Morris Birdyellowhead, Tzi Ma, Greg Lawson, Yaniv Bercowitz, Rohan Campbell, Joaquim De Almeida, José Zuñiga. Directed by Lawrence Roeck

There isn’t anything a man won’t do when one of his loved ones are threatened. He’ll find them if he has to go to the ends of the earth to do it. He’ll take on any odds; do whatever it takes to bring them home safe and sound, even if it means doing things that may damn his soul.

Jackson (Eastwood) emerges from a burning home and barn to discover that his wife Alexsandra (Belle) has been taken by a group of desperadoes who speak Spanish. Once he rescues his horse from the barn, he takes off through the wilderness to find her. While in the mountains he meets up with Ezra (Goggins), an outlaw who takes great pleasure in killing indiscriminately. He also has an encounter with Ishani, a young Native (Marty) who fires a couple of arrows at him, but when Jackson realizes he’s just a boy spares his life.

The trail is hard and with the relentless Ezra stalking him, Jackson eventually ends up injured and cared for by Ishani’s tribe particularly his father Nakoma (Beach). However, not everyone in the tribe thinks that Jackson is necessarily the good man he seems to be and it is urged that he be given peyote and put into the sweat lodge. There, Jackson has a vision of his younger brother with whom he went to the Civil War to seven years earlier and it certainly seems that Jackson may have a few skeletons in his closet after all.

There are elements of classic Westerns in this movie, particularly in the first two thirds of it although there are elements of the Westerns of Peckinpah and Leone as well. I think the movie is going for an overall gritty feel, which isn’t a bad thing but it feels like Roeck is forcing it a little bit. There is lots of violence (some of it gruesome) and some pretty rough customers here traveling the byways of the West (mostly filmed in beautiful Alberta). Veteran cinematographer Dean Cundey outdoes himself here, giving us beautiful Rocky Mountain vistas that are absolutely dazzling, truly one of the highlights of the movie.

Goggins, who has been getting more high profile roles lately, does sterling work as the amoral Ezra. The costume helps a lot as he looks a bit like an undertaker but there is a cheerful malevolence to him that is scarier than a Snidely Whiplash type of villain. He is becoming quite a capable character actor; while the jury is out on whether he has lead role screen presence, I think it’s quite likely we’ll be seeing a lot more of him in the near future. Eastwood’s career is also picking up; he has some high profile features on the horizon, but here although his physical resemblance to his father is significant, his screen presence isn’t as developed as his old man’s.

The movie has a serious drawback and it involves the plot twist. It’s not a bad one – don’t get me wrong on that point – but they reveal it way too early and it changes the entire nature of the movie. I can kind of see why they did it that way, but frankly it doesn’t work. It’s the kind of thing that would have best been revealed during the climactic scene.

Westerns have been making something of a comeback lately; there have been some very high quality ones that have been released in the last few months, but this isn’t one of them. That’s too bad because it has some very good individual elements, but it doesn’t add up to a cohesive whole. There’s enough here to make it worth a look, particularly for those who love Westerns and those who love Clint Eastwood in particular, but even those worthies may be well-advised to play one of Clint’s classic on the home video player instead.

REASONS TO GO: Gorgeous cinematography. Goggins makes a malevolent villain.
REASONS TO STAY: The twist is revealed too early. Tries too hard to be gritty.
FAMILY VALUES: Plenty of violence, most of it in the style of the Old West, and some brief profanity.
TRIVIAL PURSUIT: Eastwood has purposely avoided Westerns to avoid comparisons to his father even though he receives by his count more than 50 scripts every month; this is the first one he has actually agreed to do.
BEYOND THE THEATER: iTunes, Amazon, Vudu, M-Go
CRITICAL MASS: As of 2/2/16: Rotten Tomatoes: 18% positive reviews. Metacritic: 35/100.
COMPARISON SHOPPING: Pale Rider
FINAL RATING: 5.5/10
NEXT: The 5th Wave

R.I.P.D.


Gunfight at the OK Corral

Gunfight at the OK Corral

(2013) Supernatural Comedy (Universal) Ryan Reynolds, Jeff Bridges, Kevin Bacon, Mary-Louise Parker, Stephanie Szostak, Robert Knepper, James Hong, Marisa Miller, Mike O’Malley, Devin Ratray, Larry Joe Campbell, Michael Coons, Christina Everett, Michael Tow, Lonnie Farmer, Piper Mackenzie Harris, Ben Sloane, Catherine Kresge. Directed by Robert Schwentke

Just because we’re dead doesn’t mean there aren’t any rules. When you die, you depart this mortal coil and drift skyward into the next realm where you will be judged and your final destination assigned. A lucky – or unlucky, depending on how you look at it – few are yanked out of line because they have certain skills. They become part of an elite law-keeping force – the Rest in Peace Department.

Nick Walker (Reynolds) is a Boston cop and up until now, a good one. He and his partner Bobby Hayes (Bacon) stumbled onto some gold during a routine drug bust and now are keeping the stuff out of evidence. Nick, who wants to build a better life for his wife Julia (Szostak), is having second thoughts however. He just can’t bring himself to be a dirty cop. Bobby has no problem with it however and just to show Nick what a good sport he is about it he shoots him in the face.

Nick’s trip to judgment is interrupted (as you might guess from the first paragraph) and is yanked into a sterile-looking office where a bored-looking functionary named Proctor (Parker) basically tells him what’s what and offers Nick a 100-year contract with the R.I.P.D. Or, of course, he can go ahead and face judgment.

Nick isn’t quite ready for that so he accepts and is assigned to Raycephus Pulsipher (Bridges), better known as Ray – a cantankerous Wild West sort that would have been played (or at least voiced) by Slim Pickens a few decades back. Ray’s none too happy about having a partner – particularly a green-behind-the ears (literally) rookie. However, he shows him the ropes albeit reluctantly.

The job of the R.I.P.D. is to locate souls who had somehow stayed on Earth after death and bring ’em back for judgment. Apparently earth and death don’t mix and the souls begin to rot, developing a stank (as Roy puts it) that can be noticed by electronic glitches, unusual amounts of rust, rot, mildew and dead plants and of course human-looking people who when confronted with cumin suddenly transform into fleshy, putrescent masses of rot that have superhuman strength, can bound about like a kangaroo on steroids and generally wreak havoc. These rotting souls, which are called Deados, need to be kept from human attention in order to keep the universe in balance. Oh, and R.I.P.D. officers on Earth don’t look like their earthly selves; Nick appears to be an elderly Asian man (Hong) and Roy a smoking hot underwear model (Miller, who happens to be a smoking hot underwear model).

In a case of cosmic serendipity that only a Hollywood screenwriter could hatch, Nick’s first case involves a Deado named Stanley Nawlicki (Knepper) who – wonder of wonders! – has pieces of gold just like the ones Nick was keeping. That leads him to investigate his old partner who he still has some unfinished business with which leads to a conspiracy to turn the one-way portal to the afterlife into a two-way street using an ancient artifact (there are always ancient artifacts in these stories) called the Staff of Jericho which if activated will literally create Hell on Earth as the Dead overwhelm the living. Or it could just be this week’s episode of The Walking Dead.

Based on the 2001 Dark Horse comic of the same name, R.I.P.D. has a clever title and a not-bad premise to work with. Schwentke provides some pretty cool visuals, from the Men in Black-esque headquarters to the Ghostbusters-esque monsters. But therein is the rub – the visuals, while cool in and of themselves, remind you of something else. I don’t have a problem with borrowing – even borrowing liberally – from other visual looks but I don’t recall anything in the movie that looked especially unique.

Reynolds has gotten a lot of flack lately for his appearances in subpar movies (much as Ben Affleck did a few years back) which I think is patently unfair – Reynolds is charming and appealing but his character doesn’t really play to those strengths. Here he’s kind of grim and obsessive and that really isn’t his forte; when Reynolds is at his best he’s a bit of a smartass, like his work as Deadpool in X-Men Origins: Wolverine (and when is his Deadpool movie coming out 20th Century Fox executives? We’re waiting!). Had his role been a lot lighter, the movie would have been better. Instead, he’s essentially a straight man for Jeff Bridges.

And there’s no shame in that. Bridges is a terrific actor and he hams it up here for all its worth, which is considerable. He goes on and on about having a coyote gnaw on his bones after his demise which gets a bit tiresome but then his character is supposed to be tiresome. Kevin Bacon knows how to be a smooth, vicious baddie and he pulls it off here.

The worst crime this movie commits though is a lack of energy. There’s no sense of fun here, like the cast and crew were performing a chore rather than having a good time. This is the kind of movie that should be made with a twinkle in the eye and a sly wink to the audience but you don’t get that sense here. The elements are all there for a really good summer movie but the whole doesn’t add up to the sum of its parts. It’s not as bad as the critics say it is – but it isn’t as good as it could have been either.

REASONS TO GO: Clever premise. Bacon and Bridges do some fine work.

REASONS TO STAY: Feels flat. Derivative.

FAMILY VALUES:  A lot of violence, much of it of the Looney Tunes variety. Some sexuality and a bit of language (including some suggestive dialogue).

TRIVIAL PURSUIT: This marks the fourth film based on a comic book that Ryan Reynolds has appeared in to date.

CRITICAL MASS: As of 7/29/13: Rotten Tomatoes: 12% positive reviews. Metacritic: 25/100; the reviews were dreadful, coming as a surprise to no one.

COMPARISON SHOPPING: Beetlejuice

FINAL RATING: 6/10

NEXT: Fruitvale Station

The Lone Ranger (2013)


Armie Hammer isn't quite sure how to tell Johnny Depp he has a dead bird on his head.

Armie Hammer isn’t quite sure how to tell Johnny Depp he has a dead bird on his head.

(2013) Western (Disney) Johnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner, Helena Bonham Carter, Ruth Wilson, Barry Pepper, James Badge Dale, Bryant Prince, Leon Rippy, Stephen Root, Rance Howard, JD Cullum, Saginaw Grant, Mason Elston Cook, Harry Treadaway, James Frain, Joaquin Cosio, Damon Herriman, Freda Foh Shen. Directed by Gore Verbinski

John Reid, the Lone Ranger, has been an iconic American character in nearly every medium that a character can come to life in, be it comic strips, radio, television or the movies. However as Westerns fell out of favor, so too did the masked Texas Ranger who rode his white horse Silver like the wind, accompanied by his faithful Native American sidekick Tonto.

Now Jerry Bruckheimer, Gore Verbinski and Johnny Depp who together made the Pirates of the Caribbean franchise the most profitable in Disney history (at least until another couple of Marvel movies and the next Star Wars trilogy fatten their coffers) are back with a reboot of the great American hero. Is the 21st century ready for him?

Reid (Hammer) is an Eastern-educated lawyer returning home to his native Colby, Texas as the county’s new Assistant District Attorney. There he will meet his brother Dan (Dale), a well-respected Texas Ranger who has always overshadowed young John. Dan even got the girl that John wanted, Rebecca (Wilson).

However also on the train west is notorious outlaw Butch Cavendish (Fichtner) who eats human flesh and has a pretty sadistic streak in him – and is on his way to a hanging (his own) – and a Comanche known as Tonto (Depp) who has a dead crow on his head and perhaps a few loose neurons rattling around between his ears. Of course, you just know that Cavendish is going to be broken out of jail or in this case, train. You also know that Reid and Tonto are going to be at odds and not think too terribly high of each other.

Faster than you can say plot complication, John joins his brother Dan on a posse to collect Cavendish so he can be properly hung Texas-style (methinks Rick Perry might be a descendant) and faster than you can say “I saw that coming” the Rangers are massacred by the outlaws and Butch chows down on Dan. John is left for dead.

Tonto wanders upon the scene and buries the dead, including John who, it turns out, isn’t quite dead yet. Tonto identifies him as a spirit walker, one who has come back from the Other Side…and a white spirit horse that John eventually names Silver agrees with him. Silver is probably the smartest character in the movie, possibly in ANY movie. Okay, I made that last part up.

Anyway John has his mad on and he wants to get his hands on Cavendish in the worst way and as it turns out, Tonto has plenty of reason to want to stomp a mudhole in Cavendish as well. However as it turns out Cavendish is working for someone, someone quite powerful who has interest in the Transcontinental Railroad making its way to Utah to be completed. Someone who will change the course of the United States in his greed and lust for power.

This is definitely a much more modern retelling of the tale of the Lone Ranger. While there are elements that tie this film to the illustrious past of the character – the soul-stirring swell of the ”William Tell Overture,” Tonto’s laconic nickname for his partner kemosabe and the silver bullet, this isn’t retro in the least. One element I really like about it is that the story is told by Tonto to a young boy in San Francisco in 1933, some 60 years after the events took place (which if Tonto is Depp’s age in the movie in 1868 makes him a centenarian). This makes it clear from the get-go that this really isn’t John Reid’s story as much as it is Tonto’s and I like the change of viewpoint very much.

The Natives aren’t treated like cannon fodder as they were in most Westerns of the era but are given a surprising amount of respect and deference, although Depp’s Tonto can be Looney Tunes from time to time. That’s a nice touch.

Depp is of course the star and like Captain Jack Sparrow in the Pirates of the Caribbean movies takes center stage not because of his bravery or heroism but more because of his quirkiness, albeit a different kind of quirky. Think of it as the difference between using peyote and getting rip-roaring drunk on grog. But even the best quirkiness can get a little grating after awhile.

Hammer is an able heroic sort in a gee-whiz kind of way and while on the surface seems well-suited for this sort of role, I don’t think that at the end of the day he’s memorable enough in it. Don’t get me wrong – he does as good a job as you can ask for but his character is made to be an imbecile at times and Hammer is much too intelligent a guy to believe as an idiot for even a second.

There are some fine supporting turns by Carter as a one-legged prostitute and Wilkinson as a railroad baron but they are largely wasted in a movie that is too long in a big way. So much of the middle third is unnecessary and slow that by the time the movie’s climactic scenes roll around you might be checking your watch which is a shame because the action sequences that begin and end the film are spectacular indeed and are worth the price of admission alone.

There are a lot of good ideas in this movie and also a few bad ones. Trimming the movie down to a more manageable two hours might have been more advisable but for whatever reason there is a trend this summer for longer running time which might well thrill consumers who are getting more bang for their buck but has to disappoint exhibitors who have fewer screenings to bring customers into their theaters.

REASONS TO GO: Even Depp’s missteps are entertaining. Some pretty nifty action sequences.

REASONS TO STAY: Way too long. A little silly in places.

FAMILY VALUES:  There are plenty of Western action sequences, some of them intense and some suggestive material.

TRIVIAL PURSUIT: This is the first version in any medium that the actor playing Tonto gets top billing over the actor playing the Ranger.

CRITICAL MASS: As of 7/8/13: Rotten Tomatoes: 25% positive reviews. Metacritic: 36/100; it’s pretty obvious the critics hated it.

COMPARISON SHOPPING: Rango

FINAL RATING: 7/10

NEXT: The Divide

Jack Reacher


A picture guaranteed to please both men (big gun) and women (wet Tom Cruise).

A picture guaranteed to please both men (big gun) and women (wet Tom Cruise).

(2012) Action (Paramount) Tom Cruise, Rosamund Pike, Richard Jenkins, Werner Herzog, David Oyelowo, Jai Courtney, Robert Duvall, Alexia Fast, Vladimir Sizov, Joseph Sikora, Michael Raymond-James, Josh Helman, Susan Angelo, Julia Yorks. Directed by Christopher McQuarrie

There is an axiom that when a solution to a problem is handed to you on a plate, take a look at the plate first. That is especially true when it comes to solving crimes. Rarely are cases open and  shut so when it appears that way, it is natural for a good investigator to be suspicious.

Pittsburgh is rocked by a heinous crime; a sniper has taken out five people seemingly at random.. The Pittsburgh police put this one at the top of their list, and quickly found enough evidence to put a suspect, one James Barr (Sikora) into custody in what looks to be an open and shut case. While being interviewed by Detective Emerson (Oyelowo) and District Attorney Rodin (Jenkins) Barr says only one thing – “Get Jack Reacher.”

The trouble is, they can’t find the man. He used to be a crack military investigator but after being discharged took himself off the grid. He’s a man who doesn’t get found – he finds you. Fortunately for them, Reacher (Cruise) walked right into their office. To their surprise, he’s no friend of Barr’s; in fact, he wants to put Barr away for good after getting away with a very similar crime in Iraq when he took out four civilian contractors.

The trouble is, he can’t talk to Barr – he’s in a coma after being beaten up during a prison transport. Barr’s lawyer happens to be the district attorney’s daughter Helen (Pike) and she smells something really fishy. She wants Reacher to be her investigator which would give him access to the evidence, something the DA is not inclined to give him. Reacher only wants to catch the next bus out of Pittsburgh but he needs to put paid to this and move on, so he hangs around.

As he looks into it, he begins to get more and more suspicious and the police’s open and shut case begins to look more open all the time. Pretty soon it becomes obvious that Barr is just a patsy and that sinister forces are at work as Reacher gets closer and closer to the truth and the man who set all of this in motion – a man known only as The Zec (Herzog).

Reacher is a character invented by author Lee Child who has turned it into a series of novels that numbers 17 to date (with number 18 scheduled for publication in 2013). The Reacher in the book is a hulk, six feet five inches tall and massive. That is certainly not a physical description of Tom Cruise.

The reason that Cruise was cast and why Child approved of it is that Cruise captures the essence of Reacher. Reacher is certainly a force of nature when it comes to violence but he is also whip-mart, super observant and a true student of human nature. He understands not only what people do but why they do it.

Cruise is in remarkable shape for a 50-year-old man. He handles the physical aspects of the character well and a scene in which he takes out five thugs in a bar fight is believable, which you wouldn’t expect from a one-on-five encounter. In fact, all of the action sequences are pretty well done. McQuarrie doesn’t try to re-invent the wheel and given that he’s a first time director (after an acclaimed writing career that includes The Usual Suspects) is probably a wise decision.

While the climax drags a bit (which is a bit of a drag), the rest of the movie is surprisingly good. Herzog makes a pretty great villain (he orders a minion to chew off his own fingers after messing up) and Pike is a lovely and radiant heroine. I had thought that the movie would be a pretty typical action movie but it does rise above, thanks to a compelling story and a smartly done script. One can’t ask for more than that.

The timing is unfortunate as the first scene depicts a mass shooting (the film was released less than a week after the Newtown tragedy) and so that’s going to color some perceptions. Those who were particularly disturbed by those killings may want to think hard about seeing this – at one point in the film’s opening sequence the crosshairs of the killer’s rifle lands and lingers upon a young child. That’s meant to heighten the heinousness of the crime being committed, although in this case Hollywood doesn’t hold a candle to reality when it comes to human cruelty.

REASONS TO GO: Tautly plotted and well-written. Action sequences are quite satisfactory.

REASONS TO STAY: The movie Jack Reacher is much different than the book Jack Reacher. Climax is dragged out a little bit.

FAMILY VALUES:  There is plenty of violence and some foul language with just a hint of drug use.

TRIVIAL PURSUIT: Was originally titled One Shot after the novel the movie is based on which is actually the ninth in the series.

CRITICAL MASS: As of 12/27/12: Rotten Tomatoes: 60% positive reviews. Metacritic: 49/100. The reviews hover from mixed to good.

COMPARISON SHOPPING: The Marine

QUARRY LOVERS: The film’s conclusion takes place in a quarry and the landscape is used to good effect in the action sequence.

FINAL RATING: 7/10

NEXT: Mystery Men

The Jackal


The Jackal

Anyone think Bruce Willis is overcompensating just a bit?

(1997) Suspense (Universal) Richard Gere, Bruce Willis, Sidney Poitier, Diane Venora, Mathilda May, J.K. Simmons, Richard Lineback, John Cunningham, Jack Black, Tess Harper, Sophie Okonedo, Daniel Dae Kim, Leslie Phillips, Stephen Spinella, Larry King. Directed by Michael Caton-Jones

 

The old saying goes that it takes a thief to catch a thief, which to my mind is utter claptrap. Plenty of thieves have been caught by people who aren’t thieves. However, if you’re going to follow that logic, then it follows that it takes an assassin to catch an assassin.

A raid on a Russian disco by the FBI and Russian military cops ends up with the brother of a high up figure in the Russian underworld getting shot. He blames the FBI for his brother’s demise and enlists the services of the most notorious assassin – only known as the Jackal (Willis) – who accepts a payment of $70 million to off the director of the FBI.

Deputy director Carter Preston (Poitier) gets wind of this and is presented with quite the dilemma; nobody knows what the Jackal looks like which is quite handy if you’re an assassin. Actually, that isn’t quite true – there is the former terrorist for the IRA named Declan Mulqueen (Gere) who knows what he looks like. And, if he is willing to help Preston and Major Valentina Koslova (Venora) track down the Jackal, well, the feds would be grateful. At least he’ll be able to get out of prison and see his former girlfriend, a Basque terrorist named Isabella Zanconia (May) who is now married to another man and living in Northern Virginia, who also knows all about the Jackal. For somebody whom law enforcement agencies have so little information on, these ex-terrorists sure have the goods on him.

Even with Mulqueen’s help, the Jackal leads them on a merry chase around the globe. He’s building a big bad remote control gun with which he can take out his target without actually being on the site; poor Jack Black (in an early role) plays a rawkin Canadian gunsmith who asks one annoying question too many and gets perforated by his own creation. That sucks rocks, dude.

Things get far more personal between Mulqueen and the Jackal and it turns into a kind of mano a mano cat and mouse game between the two. Still, how do you stop him when you don’t even have the target right?

This was based loosely on the 1973 thriller Day of the Jackal which in turn was based on a novel of the same name by Frederick Forsythe which was based on a real life plot to assassinate President Charles de Gaulle of France. That movie is considered one of the classic thrillers of its day and still holds up well nearly 40 years later.

I don’t know that this one will hold up as well in 2037. It has been utterly Americanized and comes off with the Jackal as kind of a cut-rate anti-Bond, with all sorts of gadgets and disguises – Willis has a goodly share of wigs, hairpieces and fake moustaches which must have been fun for him, and he has a different personality with each look from a frumpy Canadian to a suave gay man to a no-nonsense cop. Willis makes a pretty credible bad guy.

Gere’s performance is pretty good. Although his Irish brogue is inconsistent, he has the charisma to make what is essentially an IRA terrorist a sympathetic character although they backpedal and make the good guy terrorists in the movie mostly non-lethal who were more freedom fighters than terrorists. I wonder how sympathetic Gere would have been if we found out that Declan Mulqueen had taken part in a school bus bombing, something that the IRA actually did. Still, he is in full-on movie star mode here and carries the movie pretty well, although Poitier who was undergoing a career renaissance when the film was made, is reliable and gracious enough not to steal the movie out from under his nose which he was fully capable of doing.

The plot often takes ludicrous twists and turns and requires some pretty severe leaps of faith as logic often fails here. There is also a kind of Eurotrash undertone particularly in the soundtrack and some of the scenes that have Willis posturing a little overly much. The ending is a bit of a groaner too. However as empty-headed action thrillers go, this is one that I still view from time to time with enormous affection. However for real thrills I would suggest you see the 1973 version first.

WHY RENT THIS: Poitier is as always terrific. Some terrific action scenes. Willis is excellent as the villain.

WHY RENT SOMETHING ELSE: Gere’s accent is unconvincing. Takes itself too seriously. Too much Eurotrash. Poor ending.

FAMILY VALUES:  There is a good deal of violence and strong language.

TRIVIAL PURSUIT: Fred Zinnemann, the director of the original Day of the Jackal reportedly asked that the title of the remake be changed shortly before he passed away because he felt the original stood the test of time and was a completely different film from the newer one, which should warrant a different title.

NOTABLE HOME VIDEO EXTRAS: While the DVD is sorely lacking in features, the Blu-Ray has a bunch including an unusually informative commentary track and a nice featurette comparing the 1997 version with the original 1973 film.

BOX OFFICE PERFORMANCE: $159.3M on a $60M production budget; this was profitable (more than).

COMPARISON SHOPPING: Day of the Jackal

FINAL RATING: 7/10

NEXT: Barry Munday