Mute


Here’s a scene that could have used Harrison Ford.

(2018) Science Fiction (Netflix) Alexander Skarsgård, Paul Rudd, Justin Theroux, Seyneb Saleh, Robert Sheehan, Daniel Fathers, Robert Kazinsky, Jannis Niewöhner, Dominic Monaghan, Melissa Holroyd, Levi Eisenblätter, Caroline Peters, Nikki Lamborn, Noel Clarke, Gilbert Owuor, Andrzej Blumenfeld, Michael Behrens, Mike Davies, Sam Rockwell, Anja Karmanski. Directed by Duncan Jones

 

Duncan Jones is one of the most inventive and admired genre directors out there. When Netflix picked up this film to display, it was considered a coup. A much-admired director at the top of his game in a fairly large-budget production, Netflix was undoubtedly hoping for a franchise.

That’s not necessarily what they got. They got a sci-fi noir story set in a 2050 Berlin very much based on the look of Blade Runner. Alexander Skarsgård plays Leo, an Amish bartender (!) at a seedy dive in the underground of Berlin who has been mute since a childhood boating accident. His girlfriend Naadirah (Saleh) is a cocktail waitress (and as he later discovers, a part-time prostitute) who disappears after a couple of lowlifes make some untoward advances, causing the angry Amish (!) to beat the holy crap out of them.

No longer burdened with having to be a bartender after getting fired (even seedy dive owners get grumpy about employees beating up customers) Leo turns into gritty Amish detective (!) and searches the dodgy side of town in search of his lover who turns out to have a few secrets of her own, secrets that are connected to a couple of AWOL American military surgeons named Cactus Bill (Rudd) and Duck (Theroux) and perhaps Luba (Sheehan), a bisexual waiter and fellow prostitute who has a big time crush on Naadirah and big time contempt for Leo.

The visuals are nothing less than stunning, although you’ll get a sense that you’ve seen it all before; the nod to the Ridley Scott classic at times crosses the line from homage to rip-off. Skarsgård at least delivers a soulful performance as Leo, mainly having to emote using facial expressions and body language. However the conceit of making him Amish fails spectacularly – should any Amish have a Netflix subscription they no doubt will be scratching their beards and wondering to their mates “Does thee believe what thou are seeing?” The banter between Rudd and Theroux is fun, but it gets a bit creepy (Cactus Bill has a volcanic temper and Duck is a pederast) particularly towards the end of the film.

Critics absolutely hated this thing as you can see by their scores below, but they’re being a little harsh, maybe because Jones set his own bar so high. Yeah, the plot is muddled but if you stick with it for the two hours plus that the movie runs it all does come together. The film is genuinely inventive and I think most critics will agree that it’s like nothing you’ve seen before which I admit isn’t always a good thing. However, I was reasonably entertained and parts of the film have remained with me although parts have not – one of the most important plot points is explained at the end but I can’t for the life of me remember what that explanation is. Don’t let the Rotten Tomatoes and Metacritic scores dissuade you for deciding for yourself; I enjoyed it enough to recommend it although do take that with a note of caution; I’m pretty much alone in the critical community in that regard.

REASONS TO GO: The visuals are breathtaking. Skarsgård delivers a soulful performance.
REASONS TO STAY: The plot is more than a little bit muddled. Sheehan gives far too wooden a performance as Luba.
FAMILY VALUES: There is violence, profanity and sexuality herein.
TRIVIAL PURSUIT: David Hasselhoff appears on the currency.
BEYOND THE THEATERS:  Netflix
CRITICAL MASS: As of 8/20/18: Rotten Tomatoes: 16% positive reviews. Metacritic: 35/100.
COMPARISON SHOPPING: Blade Runner 2049
FINAL RATING: 6/10
NEXT:
Deadpool 2

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Cargo (2017)


Floating in the big blue.

(2017) Drama (Best Ever Film) Warren Brown, Gessica Geneus, Omar J. Dorsey, Persia White, Jimmy Jean-Louis, Jamie Donnelly, Sky Nicole Grey, Jason Elwood Hanna, Dana J. Ferguson. Directed by Kareem Mortimer

Film production is pretty much global these days and that’s a welcome development. Points of view vary from place to place and it is always wonderful to get the perspective of people who live in different places. Cargo is the most ambitious film to come out of the Bahamas and it made it’s world premiere right here in Florida at the Miami Film Festival.

In the movie, Kevin (Brown) is an American ex-pat living in the islands after leaving the States under somewhat dark and mysterious circumstances – and if you’re going to flee a dark past, the Bahamas are an excellent place to do that. However, no matter how far you run from your problems, you generally bring the cause of them – yourself – with you and even in this island paradise Kevin, a gambling addict, has found it difficult to make a new start.

His wife Berneice (White) has essentially given up on him. She’s tired of the promises and the excuses as to why things aren’t working out. Kevin has enrolled their son in an expensive private school which he can’t afford. Berneice has also been taking care of Kevin’s mom who has severe dementia and sometimes smears her own excrement on the walls.

Kevin needs an immediate infusion of cash and gets it as he uses his boat to smuggle desperate Haitian workers to the Bahamas who will from there be taken by another boat to Miami. At first, it works out. Kevin hires a caretaker to take the burden off of Berneice. The new hire is Celianne (Geneus) who is herself an illegal immigrant from Jamaica. Also, being who he is, he embarks on an extramarital affair with a waitress at his favorite café just as things are starting to get better with his wife. There’s a storm brewing on the horizon however and things aren’t going to remain good for very much longer.

It is good seeing a slice of Bahamian life onscreen. Usually we see the island as tourists see it – a Caribbean paradise with beautiful beaches, casinos and women in skimpy bikinis. We don’t see the life that ordinary Bahamians lead and for giving us that glimpse the filmmakers are to be commended.

In many ways this is an ambitious film as Mortimer is not only looking at the effects of human smuggling but on the effects of immigration in the Bahamas as well and in many ways that muddles up the story. I think he would have been better served to focus more on Kevin and the effects of human smuggling on the smuggler – that is a storyline not often seen in the movies and would have made for a much more riveting experience, but adding subplots and extraneous characters only serves to bloat the film unnecessarily.

The acting is not up to the standards of a Hollywood film in many ways. Brown as Kevin is occasionally a bit flat; what the character is feeling is not conveyed as effectively as it might be. Kevin is always saying “I’m going to fix this,” to the point that it becomes kind of a mantra that even he doesn’t really believe; it’s more a way of deflecting Berniece’s constant nagging and condescending, cutting remarks. It is the curse of men to believe that everything can actually be fixed.

The movie is visually beautiful. There are few places on Earth so visually congenial as the Bahamas and the filmmakers make full use of that congeniality. There is something of the timeless in the Bahamas; often you will hear the phrase “island time” in connection with the Caribbean islands. It is a declaration that nothing is so important that it must be seen to immediately. Things happen at their own pace in the islands and there is a certain style in that. You get that the film is on island time in many ways and those who are less patient will have a hard time with this film.

This is definitely the product of people who are making a first stab at things. That gives this film a bit more of a pass than I would give to a Hollywood film that carries the same issues. I hope that Mortimer makes more films and that they improve with each one. I hope that he and others like him kickstarts a vibrant Bahamian film industry. As far as I’m concerned, the world can use that.

REASONS TO GO: There are some beautiful images. Nice to see a slice of Bahamian life onscreen.
REASONS TO STAY: Too many characters and too much story; some of the plotlines should have been eliminated. The acting is on the wooden side. The movie feels like it’s going on too long.
FAMILY VALUES: There is some nudity and sexuality as well as a bit of profanity.
TRIVIAL PURSUIT: Mortimer’s interest in human smuggling came when he was a boy and news footage of Haitian migrants trying to make it to Florida whose bodies washed up on shore in the Bahamas stayed with him. He recreated the scene for the opening of the movie.
CRITICAL MASS: As of 3/12/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: A Better Life
FINAL RATING: 4.5/10
NEXT: Sleepless

The Transporter Refueled


A handgun romance.

A handgun romance.

(2015) Action (EuropaCorp) Ed Skrein, Ray Stevenson, Loan Chabanol, Gabriella Wright, Tatiana Pajkovic, Wenxia Yu, Radivoje Bukvic, Noémie Lenoir, Yuri Kolokonikov, Lenn Kudrjawizki, Samir Guesmi, Anatole Taubman, Robbie Nock, Michael Morris, Nash Novcic, Jochen Hägele, Cédric Chevalme, Jerome Zybala, Stephanie Moreno-Carpio. Directed by Camille Delamarre

Getting from point A to point B is no easy thing. Sometimes it requires someone who knows what they’re doing; a transporter, if you will. And in the cases of some cargo, only the best in the business will do.

The best in the business happens to be Frank Martin (Skrein). He is a former Special Ops mercenary sort who got out of that game and now makes a living as an expensive transporter of packages, both living and otherwise. He has made it a policy to ask no questions, to make no excuses and to never, ever be caught. He drives a luxury Audi with a few minor modifications.

He is spending some time with his recently retired Dad, Frank Sr. (Stevenson) who is an Evian salesman nudge nudge wink wink. In reality, Frank Sr. is something of a spy but not a James Bond sort – more like a fixer of things that need fixing, be it a government that needs toppling, a dictator who needs killing, that sort of thing.  Junior gets some of his fastidiousness from dad, who is a stickler for being on time.

While entertaining his Pater, Frank gets a job from a mysterious femme fatale named Anna (Chabanol). She wears a bleached blonde wig and the package turns out to be three other women wearing identical wigs – Gina (Wright), Maria (Pajkovic) and Qiao (Yu). It turns out they’ve robbed a bank and not just any bank – the one that holds a safety deposit box belonging to vicious Russian mobster Arkady Karasov (Bukvic). It turns out that Arkady and Frank have a history, having been mercenaries in the same company prior. It also turns out that Arkady and the girls have a history; they were all sold into prostitution to him by their families.

Normally Frank wouldn’t care one way or the other but the girls have kidnapped his father and given him poison; Frank has 24 hours to finish the job which is to get to the mobster’s partners and set them against their boss or else dear old Dad will expire. And when Arkady finds out what’s going on, it is going to be certain that all Hell will break loose.

This is a reboot of the Transporter franchise which starred Jason Statham, who passed on reprising his role mainly because he was too expensive for the producers at this stage in his career. Instead, they got Game of Thrones cast member Skrein who is also playing Ajax in the upcoming Deadpool movie which is likely to enhance his profile further. In all honesty, Statham was much better suited to the urbane, taciturn Martin than Skrein who is a bit stiffer than Statham; Statham’s martial arts expertise was also more fluid than Skrein’s. However, the film retains producer Luc Besson who had a hand in writing and producing the film.

A movie like this needs spectacular action sequences to pull in an audience and while the action sequences are all right, they aren’t anything particularly to write home about. Delamarre is competent at filming them at least and we don’t see the jerky quick cuts that some action directors have resorted to of late. Delamarre also has a good eye for the South of France scenery as well as the eye candy that are the girls. The testosterone will definitely be flowing for male moviegoers.

Where the film truly succeeds is in the banter between Stevenson and Skrein which are the movie’s highlights. Stevenson, who most people know as the Punisher in Punisher: War Zone, looks to be having more fun than anyone. He’s delightful and has a few butt-kicking moments of his own here. I am sure I’m not the only one who wished they had recast Stevenson in the lead role but he may be a bit too rumpled for the part. In any case, his work with Skrein is what is best about The Transporter Refueled.

This is supposed to be the first movie in a proposed trilogy and quite frankly while the movie is mindless entertainment (which isn’t a bad thing), it’s a bit too mindless. There’s nothing here that is really memorable enough that you’ll remember it an hour or two after you’ve left the theater (or more likely, switched off the TV) but in all honesty, will suffice to kill some time if you’re of an action bent.

REASONS TO GO: Beautiful women, beautiful scenery. Banter between Skrein and Stevenson.
REASONS TO STAY: The action sequences aren’t anything special. Skrein a bit too low key to be interesting here. Misses Statham’s presence.
FAMILY VALUES: Plenty of violence and action sequences, some foul language, a bit of sexuality, drug references and adult thematic material.
TRIVIAL PURSUIT: Originally Relatively Media was set to distribute this as producers EuropaCorp and Relativity had a distribution contract. However when Relativity went bankrupt, EuropaCorp retained distribution rights to all their properties set to be distributed by Relativity. The Transporter Refueled is the first film to be distributed by EuropaCorp in the United States.
CRITICAL MASS: As of 9/22/15: Rotten Tomatoes: 16% positive reviews. Metacritic: 32/100.
COMPARISON SHOPPING: The Getaway
FINAL RATING: 5/10
NEXT: The Visit

Redemption (Hummingbird)


Don't keep Jason Statham waiting for his drink.

Don’t keep Jason Statham waiting for his drink.

(2013) Action (Roadside Attractions) Jason Statham, Agata Buzek, Vicki McClure, Benedict Wong, Ger Ryan, Youssef Kerkour, Anthony Morris, Victoria Bewick, Christian Brassington, Danny Webb, Sang Lui, Bruce Want, Dai Bradley, Siobhan Hewlett, Steven Beard, Ian Pirie, Lillie Buttery, Macey Chipping, Emily Lue Fong, Michelle Lee. Directed by Steven Knight

We all do things we’re not proud of. It’s just a part of living and learning. Sometimes we do and say things we wish we could take back. Sometimes we make decisions that upon reflection were unwise or thoughtless. Other times we do things out of self-interest that end up having unintended consequences. Still other times we do things we know are wrong but we do them anyway. The ramifications of the latter can be devastating.

Joseph Smith (Statham) – not the Mormon leader – is a British soldier in Afghanistan. He has deserted from the army and lives on the streets of London, a homeless alcoholic. He’s also suffering from major PTSD, often seeing hallucinations of hummingbirds. He shares a cardboard box with Isabel (Bewick), a drug-addicted prostitute who’s also homeless. The two are set upon one night by thugs who snatch Isabel and chase Joseph off. He finds his way into a very snazzy flat – one in which the wealthy owner will be leaving conveniently vacant for 8 months, returning on October 1st as Joseph discovers on the answering machine.

Rather than wallow in the new found luxury, Joseph decides to change his life around. He shaves, puts on a new suit and with the help of a conveniently left credit card reinvents his image. He becomes Joseph Jones and even gets a job washing dishes in the kitchen of a Chinese restaurant. When some rowdy customers need to be evicted, Joseph evicts them none too gently, catching the eye of his employer Choy (Wong) who is impressed and makes Joseph his driver/enforcer. Now known as Crazy Joey, Joseph spends a lot of his new salary on feeding the homeless, and thanking the comely Sister Cristina (Buzek) who runs the soup kitchen that fed him while he was on the streets. The two strike up one of those more-than-friendship things. He even has enough to help out the wife (McClure) and kids he left behind.

Then he finds out that Isabel was beaten to death and dumped in the Thames. Once he gets over his grief, he knows that his time in the flat is running out and Sister Cristina is off to do missionary work in Sierra Leone – coincidentally, on the same day. He has one more job to do before he returns to his homeless, drunk existence – revenge before redemption.

This is the directorial debut of Knight, best known for writing the gritty David Cronenberg film Eastern Promises and there’s a similar vibe here. The seedy side of London is filmed unapologetically and without accusation – this is just the way things are, that’s all. No pointing fingers, no sermonizing. Everyone has their story and Joseph has his (and yes, we do find out what happened in Afghanistan to drive him AWOL and to the streets of London).

Statham is the premiere action star going, even more so than Liam Neeson in that Statham is more bred for the type of role than Neeson who had a thriving dramatic career and an Oscar to his credit before changing paths into the ass-kicking one. But, like Neeson, Statham has some acting chops – perhaps not quite to the degree of Neeson – but there nonetheless. The main complaint about Statham is that he doesn’t seem to portray a lot of emotions other than anger, bonhomie and cheerfulness. It’s a fair enough criticism, but it can’t be made here as we see Statham at his most emotionally vulnerable maybe ever. He also kicks plenty of butt however, so no worries on that score.

Knight, who co-wrote the movie, gets the benefit of cinematographer Chris Menges who gives us plenty of neon-lit images, some of which are pretty scintillating. However, the thing that kind of puzzles me is that Knight, who is quite a good writer judging on his resume, put so many frankly unbelievable coincidences in the script. For example, who would leave an expensive flat vacant for eight months without someone checking on it at least periodically, or without a security system installed?

Statham’s performance thankfully elevates the movie beyond its writing flaws. This isn’t going to be the movie that elevates him beyond the typical action roles he gets, but it’s certainly another brick in that particular wall. In the meantime, we can enjoy him at his butt-kicking best.

WHY RENT THIS: Statham is always entertaining. Some pretty nifty fight scenes.
WHY RENT SOMETHING ELSE: Requires too much stretching of the imagination. Been there done that plot.
FAMILY VALUES: Brutal violence, graphic nudity and lots of foul language.
TRIVIAL PURSUIT: The movie was filmed almost entirely at night in environs in London where homeless people hang out; several also served as extras in the film.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $12.7M on a $20M production budget.
SITES TO SEE: Netflix (DVD rental/Streaming), Amazon (rent/buy), Vudu (rent/buy),  iTunes (rent/buy), Flixster (rent/buy), Target Ticket (rent/buy)
COMPARISON SHOPPING: Safe
FINAL RATING: 6/10
NEXT: The Search for General Tso

Trade


Human trafficking is no victimless crime.

Human trafficking is no victimless crime.

(2010) Drama (Roadside Attractions) Kevin Kline, Cesar Ramos, Alicja Bachleda, Paulina Gaitan, Kate del Castillo, Marco Perez, Linda Emond, Zack Ward, Tim Reid, Pasha D. Lychnikoff, Natalia Traven, Guillermo Ivan, Christian Vazquez, Jose Sefami, Leland Pascual, Jorge Angel Toriello, Luz Itzel, Eren Zumaya, Norma Angelica, Kathleen Gati. Directed by Marco Kreuzpaintner

Like most things, human trafficking to a large extent has much to do about sex. Most human trafficking is for sex slaves and most of the victims are women. It is at epidemic proportions and is a problem that doesn’t seem to be going away anytime soon.

In Mexico City young Adriana (Gaitan) has been given a bicycle as a gift from her brother Jorge (Ramos) and despite warnings not to ride it because it is too dangerous, Adriana decides to do so anyway and of course manages to run into members of the Russian Mafia who kidnap her off her bike. Jorge, feeling responsible, does some digging and discovers that she’s about to be shipped off to New Jersey and arrives at the house where she’s being held moments too late, witnessing her being loaded into a truck along with several other girls.

He manages to follow them to a border town where he hooks up with Ray (Kline), a Texas Ranger who has been searching for his own daughter for a decade who has been similarly kidnapped. He agrees to help Jorge and drives him to New Jersey, the last stop for Adriana before being put up for auction on the Internet. Is rescue in the cards for Adriana? Is redemption in the cards for Ray?

Human trafficking is a major law enforcement issue worldwide and has become a billion dollar industry for organized crime. There is certainly a good movie to be made on the subject. The issue is that the filmmakers who tackle it tend to go for titillation ahead of content and that is the case here. There are plenty of scenes of sexuality and rape but very little that looks at the impact on families of losing loved ones, or the challenges of law enforcement in tackling this epidemic.

Kline can always capture the decency of a character but while this particular character is a Texas Ranger, Kline doesn’t really radiate the toughness that those law enforcement officials seem to be infused with on a cellular level. While Ray’s strong force of will is in evidence, you never get the sense that he’d be capable of kicking anyone’s ass. Still, Kline makes the character sufficiently compelling that he’s worth watching. His chemistry with Ramos seems pretty genuine.

Cinematographer Daniel Gottschalk offers some magnificent views of rural Mexico as well as urban Mexico City scenes as well as bucolic suburban New Jersey shots. There is definitely some interesting procedural suppositions about how the human trafficking industry works and it is handled in a very un-sentimental way, despite the prurient content. Some of the scenes engender legitimate suspense.

That is undercut by the overuse of shaky hand-held cameras which have become epidemic in cinema, sadly. As someone who has issues with vertigo to begin with, I am extra-susceptible to the nausea that comes with the use of that technique so I might be forgiven if I’m a little overly sensitive about the subject. Even if you don’t mind that so much, you’re bound to notice the plot points that strain credibility and the way the movie meanders from time to time and loses plot focus.

Affection for Kevin Kline can only  take you so far and sadly the flaws outweigh the strengths in this particular film. That’s a shame because the subject matter deserves a really good movie; this just isn’t it.

WHY RENT THIS: Kline is always reliable. Some nice cinematography. Un-sentimental and occasionally gripping.
WHY RENT SOMETHING ELSE: Too much shaky-cam. Plot proceeds with impossible coincidences. Loses narrative structure at points. Too titillating for some.
FAMILY VALUES: Plenty of sexuality, much of it involving minors as well as a fairly graphic rape. There is also lots of violence and foul language not to mention some drug content.
TRIVIAL PURSUIT: Based on a 2004 article in the New York Times Magazine.
NOTABLE DVD EXTRAS: There’s a featurette on the original news article that inspired the film.
BOX OFFICE PERFORMANCE: $1.5M on an unknown production budget.
SITES TO SEE: Netflix (DVD only), Amazon (rent/buy), Vudu (rent/buy),  iTunes (rent/buy), Flixster (rent/buy), Target Ticket (rent/buy)
COMPARISON SHOPPING: Eden
FINAL RATING: 5/10
NEXT: Dracula Untold

A Lonely Place to Die


 

There's nowhere to go but up.

There’s nowhere to go but up.

(2011) Thriller (IFC) Alec Newman, Ed Speelers, Melissa George, Kate Magowan, Gary Sweeney, Holly Boyd, Douglas Russell, Alan Steele, Sean Harris, Stephen McCole, Karel Roden, Eamonn Walker, Paul Anderson, Eric Barlow, Jamie Edgell, Matthew Zajac, Gillian MacGregor, Tania Chant, Robert J. Goodwin, Alan Wyn Hughes. Directed by Julian Gilbey

Sometimes when you least expect it you find hidden gems where you ought not to. It might have to do with low expectations – you think that the movie is going to be just one of many that when it turns out that it is not you are so pleased that you perhaps give it an inordinate amount of credit. That’s as may be but the truth is those kinds of movies are the sort you appreciate simply because they leave you pleasantly surprised.

Rob (Newman), Ed (Speelers) and Alison (George) are mountain climbing in the Scottish highlands and having a kick-ass time of it. Sure there are a few hairy moments but nothing these young enthusiasts can’t handle. Afterwards, they meet up with married friends (McGowan, Sweeney) in a remote cabin and….well, do things that young active people do.

High winds the next day preclude their plans for climbing so a hike in the woods is called for instead. It is there that Alison and Ed hear a plaintive voice, crying out in a language they don’t understand. After digging, they find Anna (Boyd), a Serbian girl who can’t speak a word of English, buried in a box underground. They pull her out and determine to send their best climbers – Alison and Rob – on ahead to fetch help.

What they don’t understand is that some Really Bad Men put Anna in that hole and they’re not particularly happy that someone has dug her out. They mean to put her back in that hole and to put anyone who gets in between them – or even knows that she exists – in the ground in a more permanent fashion. Really Bad Men are like that.

This is one of those thrillers that doesn’t rely on artifice – or at least a lot of it – to keep its audience on the edge of their seats. This is a smart, beautifully photographed suspense movie that utilizes some beautiful Scottish scenery. There is a real sense of jeopardy that you can’t manufacture without at least a working understanding of the nuances of the situation. Another thing you can’t manufacture is the scenery; there are some breathtaking images here.

Melissa George has developed into a fine actress who is most commonly found in European thrillers and horror flicks. She’s been compared with Jamie Lee Curtis and I think that is pretty apt; she plays smart, strong women who can be a physical presence without losing their feminine side or their sex appeal. Curtis made a career that way and Gina Carano looks to do the same; George already is.

When the movie changes location to a Scottish village it loses a lot of its momentum, as if the filmmakers were more comfortable filming in the wilderness than they were in a more urban environment. That aside, there are some really nice twists and turns, particularly one having to do with the identity of the Really Bad Men that fans of the genre will surely appreciate.

I’m deliberately keeping things fairly vague because the movie works so much better if you don’t see what’s coming. I was fortunate enough to go into seeing this without knowing anything about it and was simply blown away by how sophisticated the movie making was here. You might think from reading the plot summary that this is a very basic “wilderness stalking” movie, but it’s far from that. It’s elevated by some strong performance (particularly from Speelers and George), some gorgeous cinematography and writing that gives its audience credit for having some sophistication and intelligence. While the ending might knock it down a peg or two, this is still a really good gem in the thriller genre.

WHY RENT THIS: A couple of well-put together scenes. Speelers and George are compelling leads. Gorgeous scenery.

WHY RENT SOMETHING ELSE: Final third of the movie doesn’t hold up to first two thirds.

FAMILY VALUES: There is some fairly strong violence and a bit of foul language.

TRIVIAL PURSUIT: Director Gilbey and his brother Will (who co-wrote the script with Julian) became avid mountain climbers while researching and making the film. The footage over the end credits that was taken with helmet cans was actually shot by the brothers themselves while scouting locations for the movie.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $25.3M on a $4M production budget; that’s a pretty sizable hit for a movie that’s been pretty much ignored over here.

COMPARISON SHOPPING: Surviving the Game

FINAL RATING: 6.5/10

NEXT: Meskada

The Whistleblower


The Whistleblower

Sometimes the peacekeepers aren't so blessed.

(2010) True-Life Drama (Goldwyn) Rachel Weisz, Monica Bellucci, Vanessa Redgrave, David Strathairn, Nikolaj Lie Kaas, Roxana Condurache, Paula Schramm, Alexandru Potocean, William Hope, Rayissa Kondracki, Jeanette Hain, Benedict Cumberbatch, David Hewlett. Directed by Larysa Kondracki

In the course of our working day, we often see things that we find repugnant. Most of the time, we just let things slide. After all, why get yourself into a tizzy over things you can’t change? Once in awhile however, we run across things that we just can’t leave alone. We have to put a stop to something that is heinous.

Kathy Bolkovac (Weisz) is a hard-working police officer in Nebraska. She is recently divorced and her husband has been awarded custody of her daughter. He is now moving to Georgia for a new job and Kathy is doing her level best to find work down there but hasn’t been able to as of yet. Her commanding officer tells her about the potential of making $100K working as a UN peacekeeper in Bosnia after the end of the Bosnian civil war.

This will enable Kathy to eventually move to Georgia when she finishes her six-month tour. She agrees and is given a position with the security contractor Democra and before long she helps train the Bosnian police in successfully prosecuting the first case of domestic abuse since the war ended. It’s a difficult job at best, given the still-simmering mistrust between ethnic groups and the attitude towards women in general in the region, but she perseveres and gets her conviction. This brings her to the attention to UN official Madeleine Rees (Redgrave) who installs her in charge of the Office of Gender Affairs, there to investigate crimes against women.

 Boy, does she find one. A ring of human traffickers are bringing women into Bosnia to serve in forced prostitution, particularly in the case of 15-year-old Ukrainian Raya (Condurache) and her friend Luba (Schramm) who were sold to human traffickers by her own uncle. When Raya is discovered beaten to the point of near-unconsciousness, Kathy investigates the incident and is shocked to discover that not only were the Bosnian police complicit in the affair but so is the United Nations and high-ranking diplomats and military personnel. Kathy will have to battle apathy and indifference in a bureaucratic nightmare that has some powerful forces arrayed against her, and the health, welfare and very lives of innocent young women in the balance.

This is based on an actual case and yes, Kathy Bolkovac is a real person. She worked for the real life company DynCorp which Democra substitutes for here. More on that in a minute.

This is an unflinching look at what is one of the fastest-rising crimes in the world. Human trafficking is at an all-time high and shows no signs of slowing down. Director Kondracki is obviously passionate about the subject and that passion is reflected in Weisz who gives Bolkovac a simmering, dogged personality. Not knowing much about the real Kathy Bolkovac, I can’t say whether that’s accurate or not but I can say that it fits the needs of the character in this movie nicely. Weisz as an actress can be extraordinary when given the right role. This isn’t her very best work but it’s darn near.

She is aided by an excellent supporting cast including Redgrave, regal and majestic as the UN official and Strathairn, as an internal affairs officer at Democra who helps Kathy in her investigation. Kaas plays a Dutch member of the international Democra peacekeeping team who enters into a romantic relationship with Kathy as well as a professional one.

The movie’s dark tone is underscored by the dark cinematography which occasionally descends into murkiness. There are scenes where it is difficult to ferret out what’s going on. A few more lights might not have been a bad idea here. Also, it feels like major plot points have been edited out or skipped over. I don’t mind reading between the lines in a movie, but this one needed a few more that would have helped explain some of the goings-on.

In real life, the investigation cost Bolkovac her job, forcing her to sue DynCorp in the British courts. DynCorp fired seven people (including Bolkovac) and reassigned several more but to date the company has never paid any restitution for its role in the incident. Personally, I find this sort of injustice infuriating; at the very least they should have been find and personally I think they should have lost every government contract they have. Not so much because their employees committed crimes under their aegis, but because they complicitly supported them by protecting them and impeding the real-life investigation of Bolkovac. To my mind, that’s unconscionable.

This could well have been an important movie and still might be. I don’t remember a movie dealing with the human trafficking subject that was this stark and this realistic. For once you get an idea of the degradations and horrors that these girls go through and the sexual slavery aspect isn’t just there for titillation. That The Whistleblower is based on actual events makes this as terrifying as any horror movie hitting the October release schedule.

REASONS TO GO: A terrifying view at a subject rarely tackled by films and never with this level of realism. Weisz, Redgrave, Strathairn and Kaas give raw performances.

REASONS TO STAY: Too many blanks left for the viewer to fill in. The cinematography is often murky.

FAMILY VALUES: There is violence, much of it of a sexual nature including one particularly brutal sexual assault. The language is rough as well and as you might expect, there’s plenty of nudity.

TRIVIAL PURSUIT: The movie was mostly shot in Romania. Weisz had originally been approached to play the role in 2005 but turned it down due to her pregnancy. When she discovered the movie’s production had stalled, she accepted the role and consequently the movie was made.

HOME OR THEATER: I’d say see this in a theater; it might be easier to make out some of the images on a bigger screen.

FINAL RATING: 7/10

TOMORROW: You Again