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

Taken 3


Liam Neeson manages to keep a straight face while reassuring Forest Whitaker his beard looks okay.

Liam Neeson manages to keep a straight face while reassuring Forest Whitaker his beard looks okay.

(2015) Action (20th Century Fox) Liam Neeson, Forest Whitaker, Famke Janssen, Maggie Grace, Dougray Scott, Sam Spruell, Don Harvey, Dylan Bruno, Leland Orser, David Warshofsky, Jon Gries, Jonny Weston, Andrew Borba, Judi Beecher, Andrew Howard, Cedric Cirotteau, Catherine Dyer, Jimmy Palumbo, Nazareth Dairian, Stefanie Kleine. Directed by Olivier Megaton

Sequels essentially come in two varieties; cash grabs made to capitalize on the popularity of the original film, or story extensions which continue the story from the first. Often the second kind can be an effective money maker for the studios, while the first kind can occasionally be surprisingly resonant with audiences. Generally speaking, however, all sequels are made – without exception – because the studios or the producers believe that there is a market demand for them.

The first two Taken films were very successful. In them Bryan Mills (Neeson), a former special ops military sort, sees his daughter Kim (Grace) kidnapped in the first film by sex traffickers and goes to Paris to kill everyone who looks at him cross-eyed and rescue his daughter; the second film has the ex-wife (Janssen) kidnapped in a revenge scenario by the dad of the kidnappers in the first film which leads to much of Istanbul being depopulated.

In this one nobody gets kidnapped. Ex-wifey is murdered and Bryan framed for it. No exotic locations, no family vacations, just Bryan tearing through Los Angeles looking to find out who done it and who is going to get his ass kicked all over Southern California. With a persistent detective (Whitaker) chasing him, ex-wifey’s husband (Scott, taking over for Xander Berkeley) trying to assist him, Russian mobsters led by the sadistic Oleg Malenkov (Spruill) slithering about, his buddies Garcia (Harvey), Smith (Bruno) and Sam (Orser) lending their own particular sets of skills when needed and Kim generally getting in the way, it’s going to be a very bad day in SoCal until Bryan gets to the person responsible for all his woes.

Now, before you wonder about the size of the rating I gave this, keep in mind that you don’t go and see an action movie for deep personal insights, innovative storytelling techniques or snappy dialogue; while sometimes any or all of those occur in an action film, it’s icing on the cake when they do. Mainly what we go to see action films for is to turn off our brains, sit back with our ice cold soda and buttered popcorn and bliss out to car crashes, flying bullets and villainous asses being properly kicked. We want to cheer for the hero, boo the villain and leave the theater feeling that all is right with the world.

It’s a fairly low bar to set from a certain perspective but there is absolutely nothing wrong with forgetting your troubles for a couple of hours in the multiplex and this is the kind of tonic you’re looking for if that’s what you’re after. Neeson is the most personable action star working at the moment with perhaps the sole exception of Dwayne Johnson and he certainly gives us everything we’re looking for in an action hero in all three of the Taken movies, this one included. Bryan is kind of a sweetheart most of the time, showing up at his college-aged daughters apartment a few days before her birthday with a gigantic teddy bear in an effort to be unpredictable. His effort fails miserably but throughout the movie he seems like a genuinely affable guy you’d want to shoot pool with.

You’d also want him at your back cracking skulls with the pool cue if necessary and while Neeson is in his 60s and moves like he’s in his 60s during a foot chase early on in the movie, he gets all the other stuff dialed in perfectly. He doesn’t have the physique of an Arnold Schwarzenegger or the fighting techniques of a Jet Li or even the hangdog smartass attitude of a Bruce Willis but he sort of fits in the mold of a nice guy with skills who has been pushed where you should never push him.

The supporting cast, for the most part, is all right. Whitaker, a fine actor in his own right, is full of idiosyncrasies and tics and business that occasionally distracts from the matters at hand but he is a very smart performer who knows that he is supposed to be the Sherlock Holmes here and Whitaker would make a crackin’ Sherlock in my opinion.

What every action film has to nail are the action sequences – the car chases, the fights, the gun battles. Even if everything else doesn’t work a movie of this genre can be redeemed by its action sequences. For the most part, the sequences here are well put together, particularly the assault on the Russian mobster’s fortress-like apartment near the end of the movie. However, it also must be said that there’s nothing in the action sequences that particularly stands out.

While I admire producer/writer Luc Besson for leaving the mold of the first two movies and going in another direction, the one he took was a path too well-traveled by Hollywood. We’ve seen the hero framed for a murder he didn’t commit and then have to battle bad guys and cops alike to clear his name how many thousands of times, and frankly this doesn’t add anything to that tired old genre. However, it doesn’t disgrace itself either.

This is the weakest of the trilogy if only by a little bit but it still has enough going for it to be worth seeing if you’re into action movies and particularly the sort that Neeson tends to do. While so many of the twists here are horribly telegraphed and if you are unable to figure out who’s behind all this you really need a year or two of remedial movie watching, it still bears a bit of attention although chances are you won’t remember much of it twenty minutes after the credits start rolling.

REASONS TO GO: Nice action sequences. Neeson is a charismatic performer.
REASONS TO STAY: Very cliche story. Neeson beginning to show his age in some of the more physical aspects of the role.
FAMILY VALUES: There’s a little bit of strong language but mostly, lots of shooting, stabbing, punching, kicking and general mayhem.
TRIVIAL PURSUIT: Although Neeson uses a number of different firearms in the movie, he is a staunch advocate for gun control in real life.
CRITICAL MASS: As of 1/27/15: Rotten Tomatoes: 10% positive reviews. Metacritic: 25/100.
COMPARISON SHOPPING: Three Days to Kill
FINAL RATING: 6/10
NEXT: Oscar Gold begins!

Lucy


Lucy in the sky with data streams.

Lucy in the sky with data streams.

(2014) Action (Universal) Scarlett Johansson, Morgan Freeman, Min-sik Choi, Amr Waked, Julian Rhind-Tutt, Pilou Asbaek, Analeigh Tipton, Nicolas Phongpheth, Jan Oliver Schroeder, Luca Angeletti, Loic Brabant, Pierre Grammont, Pierre Poirot, Bertrand Quoniam, Pascal Loison, Claire Tran, Sifan Shou, Paul Chan, Laura D’Arista (voice). Directed by Luc Besson

What would it be like if we could be smarter? What kind of miraculous change in our lives would we be able to affect? What sort of secrets would we unlock?

The myth is that we only use 10% of our brains – according to Scientific American that’s simply not true. We actually use all of it, which debunks the science in this movie thoroughly. So, let’s play a game of “let’s pretend” that Besson’s assertion here is true, that we go through our lives only using 10% of our potential.

Hard-partying grad student Lucy (Johansson) might not even use that much. She hooks up with Richard (Asbaek), the sort of guy who would set off all sorts of alarm bells in any rational person but apparently that particular function of her brain is inactive. He is supposed to deliver a brief case to Mr. Jang (Choi) in a posh Hong Kong hotel but wants Lucy to do it instead. She is reluctant and they spend the first seven minutes of an 89 minute film arguing about it. Think of a movie starting with an old style Life cereal commercial “I’m not gonna try it you try it” “I’m not gonna try it – hey let’s get Lucy! She won’t like it! She hates everything!” “She likes it! Hey Lucy!”

 

Actually she is forced to do it when he cuffs the briefcase to her wrist and tells her that Jang is the only one who can remove it. Jang turns out to be a ruthless criminal and Richard, instead of saving his own skin, ends up being the first to exit stage left. Lucy is hustled up to a swanky suite where Jang has just finished murdering a couple of people, stepping over corpses and washing his blood soaked hands in front of an understandably panicky Lucy.

She is knocked out and when she wakes up, there is an incision in her tummy and she is told she is to be a drug mule, transporting a new drug called CPH4 which Jang’s suave English speaking flunky (Rhind-Tutt) assures her that the kids in Europe are going to love. However through a set of unforeseen circumstances, the bag of drugs begins to leak into her system. Lucy begins to learn at an amazing rate, develops powers of telekinesis and control of magnetic waves. She is able to wave her hands and have people fall asleep. The more of the drug that’s absorbed into her system, the more her powers develop. She goes from 20% to 30%, 30% to 40%.

She is easily able to escape from Jang’s thugs and makes her way to a Hong Kong hospital where she demands that the bag be removed from an astonished surgeon, doubly astonished when she shoots the patient he’s operating on dead, telling him “You couldn’t have saved him. The tumor’s already spread.” Even though there still remains about half a bag of the stuff, the damage is done. Lucy can feel her cells reproducing at an accelerated rate. She estimates she has about 24 hours before her body dies.

She flies to Paris to enlist the aid of Professor Norman (Freeman), an expert on the development of the human brain, as well as Parisian detective Del Rio (Waked) whom she brings aboard to protect her but also to nab three other drug mules sent by Jang to other European cities. She needs the drugs they are carrying to complete her work which is now essentially to download everything she knows, which is growing more considerable. As she inches towards 100% neither Professor Norman nor even Lucy herself knows exactly what’s going to happen.

Besson, who has written or directed some of the most compelling action films of the past 20 years (including The Fifth Element, District B-13 and The Professional) channels Stanley Kubrick a little bit here. He inserts mostly vintage clips of all sorts of things like animals mating, magicians creating illusions and cameras travelling through canyons and across endless oceans to denote the gradual increase in Lucy’s powers and knowledge. He is fairly liberal about it when he should have used it a bit more sparingly; it does get distracting and in a film this short feels like filler it doesn’t need, particularly when he could have used the time to build relationships.

Johansson has never been an actress who has played “smart” but this year with roles in Under the Skin as an alien with a superior intellect, and as the operating system in Her she has shown beyond a shadow of a doubt that she is more than an agent of SHIELD. The trouble is that once the drug enters Lucy’s system Johansson’s expression essentially doesn’t change and she speaks in an emotionless monotone. I’m not sure why it is that in science fiction that evolution of the human species seems to be that we move past our emotions. I would argue that our emotions would evolve along with our intellect but that’s another fight for another day.

The special effects are nifty, with Lucy able to see trees absorbing nutrients through their roots, or streams of data travelling from cell phones to the satellites above. Near the end of the movie she takes a journey backwards through time in a sequence reminiscent of the opening sequence of The Tree of Life only with a human element involved – Lucy meets the first known human ancestor, also named Lucy (not a coincidence with the names, that) – going all the way back to the Big Bang and before.

 

But for all the scientific gobbledygook, my favorite sequence in the film is the most human – a phone conversation between Lucy and her mother (D’Arista) in which Lucy tearfully tells her that she can remember everything – even things she shouldn’t have been able to, like the taste of her mother’s milk in her mouth. It is a sense of saying goodbye, and it is a poignant moment because Lucy knows that she will be evolving past the feelings shortly and not long after, departing this Earth entirely.

The movie is largely unsatisfying. We get Hong Kong-style gun battles and the car chases Besson is known for but little development in the way of the characters. Besson likes to move things along at a frenetic pace and that’s not a bad thing but we get no sense of human connection – other than that one scene I just described – between Lucy and the world so when that connection begins to drift away, there is no sense of loss. Certainly there is some fine eye candy but eye candy alone doesn’t make for a substantive and ultimately satisfying film experience. Besson is certainly capable of delivering on those sorts of films but in this instance he fell short.

REASONS TO GO: Nice premise and some nifty special effects.

REASONS TO STAY: Directing misfires. Johansson misused. Look ma, I’m directing!

FAMILY VALUES:  Violence, some of it disturbing, some drug use and sexuality.

TRIVIAL PURSUIT: Angelina  Jolie was originally cast in the title role but had to drop out due to directing commitments and Johansson was cast in her place.

CRITICAL MASS: As of 7/28/14: Rotten Tomatoes: 57% positive reviews. Metacritic: 61/100.

COMPARISON SHOPPING: Limitless

FINAL RATING: 5.5/10

NEXT: The Fluffy Movie

Brick Mansions


A pictorial representation of what is wrong with this movie.

A pictorial representation of what is wrong with this movie.

(2014) Action (Relativity) Paul Walker, David Belle, RZA, Gouchy Boy, Catalina Denis, Ayisha Issa, Carlo Rota, Andreas Apergis, Richard Zeman, Robert Maillet, Bruce Ramsay, Frank Fontaine, Chimwemwe Dave Miller, Bradshaw Anderson, Ryan Trudeau, Ron Lea, Danny Blanco Hall, Bruce Dinsmore, Carolina Barczak, Kalinka Petrie. Directed by Camille Delamarre

When Paul Walker passed away in November of last year, he had two films in the can and was in the midst of filming the seventh installment of the popular Fast and Furious series. He had a reputation for being one of the nicest and most compassionate guys in Hollywood, but had never really been able to move past a certain kind of role, mainly in action films and thrillers, that he played throughout his career.

Which is a shame. I would have liked to have seen him grow as an actor and I have no doubt he had that capability within him, but we’ll never know for sure. That’s what makes watching this movie which even by the standards of some of the turkeys he did was pretty awful.

In 2018 Detroit, the ghetto of Brick Mansions – once a sought-after address in the city but now overrun by drugs, gangs, crime and poverty – has been walled off and all services, including schools, hospitals and police patrols, removed leaving the citizens of that zip code to rot and fend for themselves.

Drug lord Tremaine Alexander (RZA) rules over his kingdom with an iron fist, although there are some chinks in his armor. One big one is Lino (Belle), a French-Caribbean who is a master martial artist and parkour runner who takes issue with Tremaine’s policies. Recently he’s pilfered some 20 kilos of drugs and destroyed them, which makes Tremaine none too happy. He sends his number two man, called K2 (Boy) to kidnap Lino’s girlfriend Lola (Denis) and hold her hostage basically to bring Lino back to the Mansions after Lino was arrested by a corrupt cop.

Undercover detective Damien Collier (Walker) also has a bone to pick with Tremaine. Collier’s father was murdered in cold blood by the drug lord and Damien has dedicated his life to bringing the all-but-untouchable criminal to justice. Having just taken down George the Greek (Rota), one of Tremaine’s main suppliers, he is offered the opportunity by the mayor (Ramsay) to go in and do some real good.

Apparently some of Tremaine’s men had ambushed an armored car that was transporting a neutron bomb – the kind that kills people but leaves buildings intact – and the ignorant Tremaine had accidentally armed it. The clock is ticking and in order to find the bomb and punch in the code to neutralize it, Damien will need someone who is familiar with the Mansions. And Lino just happens to be available.

Of course, the two men have differing agendas – Lino is much more concerned with getting his girlfriend back – and neither one trusts each other but given the firepower at Tremaine’s disposal and the high stakes they’re playing for, they will have to figure out a way to become a team if they are to rescue the girl, neutralize the bomb and capture the bad guy.

Writer-producer Luc Besson adapted this from District B-13 which also starred Belle, who happens to be one of the originators of parkour and still one of the best practitioners of the discipline. When Belle is onscreen, it’s magic and for those who haven’t seen him in the Besson film (and its sequel) this is a nice introduction to some of the amazing stunts that he can do.

Sadly, nothing in the rest of the film really holds up. Walker is at least somewhat charismatic, although he is given a character who mostly reacts to Belle’s actions. This is the kind of role that is normally in Walker’s wheelhouse and I think that he’s given a pass here mostly because of the situation, but were he still alive I think that the critics would have been much harsher. More on that in a minute.

The rest of the cast ranges from mediocre to just plain godawful. The plot has holes in it you can drive a dump truck through and the filmmaker needlessly gives the ending away in the very first scene. I could go on, but it would just be flogging a dead horse.

The French original is really much better – a better story, better acting and it still has Belle in it. Sadly for Walker fans, neither he nor Belle can save this film which fails in so many unnecessary ways. Remaking a film from another country doesn’t mean you have to dumb it down for an American audience, although sometimes it might seem that way.

The real tragedy of Walker’s passing is the wasted potential. He was well on his way to being a possible A-lister; just a couple of roles that took him out of the usual ones he did would have done it. There are critics who said that Walker had limited range and limited potential but I disagree. Some of his work in earlier films were pretty memorable. Unfortunately, films like this may well be his legacy. He deserved better.

REASONS TO GO: Great parkour action.

REASONS TO STAY: A disappointing American remake of a much better French film. Outside of Walker and Belle, the cast is uniformly horrible.

FAMILY VALUES:  All sorts of violence, gunplay and action, a fair amount of salty language, some sexual menace and quite a bit of drug content.

TRIVIAL PURSUIT: In reality Belle speaks with a thick French accent and he isn’t fluent in English. To make it more believable that he had been a long time Detroit resident, all of his dialogue was dubbed by Vin Diesel.

CRITICAL MASS: As of 5/11/14: Rotten Tomatoes: 27% positive reviews. Metacritic: 40/100.

COMPARISON SHOPPING: The Raid: Redemption

FINAL RATING: 4/10

NEXT: The Other Woman

The Transporter


Jason Statham's new workout regimen.

Jason Statham’s new workout regimen.

(2002) Action (20th Century Fox) Jason Statham, Qi Shu, Matt Schulze, Francois Berleand, Ric Young, Didier Saint Melin, Doug Rand, Tonio Descanvelle, Laurent Desponds, Mattheiu Albertini, Vincent Nemeth, Jean-Yves Bilien, Jean-Marie Paris, Adrian Dearnell, Alfred Lot, Audrey Hamm, Sebastien Migneau, Laurent Jumeaucourt, Christian Gazio. Directed by Corey Yuen

After having seen Jason Statham in such English gangster movies as Lock, Stock and Two Smoking Barrels and Snatch’d, even the most casual moviegoer can see that the man was ready to lead in his own movies. The Transporter gave him his first opportunity.

Frank Martin (Statham) is an ex-Special Forces commando who makes a comfortable living on the French Riviera as a kind of mercenary courier. He makes deliveries for shady personalities, no questions asked. In fact, Martin lives and works by a strict set of rules that cannot be violated.

During the opening sequence, when he is acting as the highly-paid getaway driver for bank robbers, he refuses to leave the scene because there is an extra person in the car. ”I’ve worked everything out by weight,” he tells the robbers calmly as sirens and alarms blare. ”The additional weight will get us caught.”

Eventually, everything works out and the film embarks on a breathtaking car chase choreographed by Michel Julienne (son of the legendary Remy Julienne). This eventually leads to another delivery job, this time of a package. While on the road, Frank violates his own rules when he notices that the package is moving; he looks inside. There, he finds a beautiful young Asian woman (Shu), bound and gagged in a garbage bag. Martin indifferently feeds her and gives her something to drink; then, after an ill-fated escape attempt, he delivers her to her destination.

That’s when the bad guys make their first mistake. They attempt to kill Martin, having realized that he has seen ”the package.” Martin, a top-notch martial artist and weapons expert, responds in spectacular fashion, leading to some terrific fight sequences choreographed by legendary Hong Kong martial arts fight choreographer Corey Yuen who is also a respected director in China.

Luc Besson, who produced and co-wrote the movie, has always specialized in taciturn, sullen anti-heroes who have the heart of gold revealed midway through the film. Martin is not really a bad guy; he’s just pragmatic to a fault. Statham nails him to a T making what could be a most unlikable character completely riveting.

Statham was much like Vin Diesel just after Pitch Black; he oozed tons of potential it would just take the right vehicle (in the cases of both actors, literally) to elevate him to star status. The Transporter is one of those hip movies that connect more with a cult audience rather than the mainstream. I found it surprisingly good, engrossing and refreshing in terms of its action scenes. Yuen and cinematographer Pierre Morel also make good use of the locations on the French Riviera, Paris and Provence.

While the supporting cast generally is less than stellar (although Berleand works well as the cop friend of Martin) and some of the direction is strictly of the MTV ”Look Ma I’m Directing” style, this is one of the more entertaining sleeper gems you’ll find out there. Stream it, rent it or borrow a friend’s DVD; if you love action films, you’ll be glad you did.

WHY RENT THIS: Statham is showing why he would later become an action superstar. Beautiful French locations. Excellent action sequences.

WHY RENT SOMETHING ELSE: Look Ma, I’m Directing! Supporting cast could have been more help.

FAMILY MATTERS: Lots and lots of martial arts and automotive violence, along with a little bit of sensuality for good measure.

TRIVIAL PURSUITS: Frank’s car, a BMW 750i E38 is depicted as having a manual six-speed gearbox; in reality, the production version of the model never had one and the car in the movie is the only one produced to have such a gearbox. While some owners have made manual conversions using the gearbox from a BMW 850CSi E31, those cars are genuinely rare.

NOTABLE HOME VIDEO FEATURES: Despite the fact that there have been two different special edition DVDs and a Blu-Ray release, you won’t find anything beyond the same old commentary, making-of fluff featurettes, extended scenes and trailers so if you’re looking to purchase, keep in mind that there’s nothing here but the standard DVD/Blu-Ray features despite the “special” tags – and the corresponding price tag.

BOX OFFICE PERFORMANCE: $43.9M on a $21M production budget.

COMPARISON SHOPPING: Getaway

RATING: 8/10

NEXT: Short Term 12

 

The Family (2013)


Michelle Pfeiffer is en fuego!

Michelle Pfeiffer is en fuego!

(2013) Comedy (Relativity) Robert De Niro, Michelle Pfeiffer, Tommy Lee Jones, Dianna Agron, John D’Leo, Dominick Lombardozzi, Jimmy Palumbo, Stan Carp, Vincent Pastore, Jon Freda, Michael J. Panichelli Jr., Paul Borghese, Anthony Desio, Ted Arcidi, David Belle, Raymond Frnaza, Christopher Craig, Cedric Zimmerlin, Dominic Chianese, Oisin Stack, Sissi Duparc, Elba Sette-Camara. Directed by Luc Besson

You can choose your friends. Sometimes, you can choose your enemies. You can never choose your family however – and sometimes that might be just as well.

Giovanni Manzoni (De Niro) is an American living in France. Not just an American, however – an American from Brooklyn. And not just an American from Brooklyn – a mob boss from Brooklyn. You see, he ratted on the mob and has been taken into the witness protection program, hauling his none-too-thrilled-about-the-situation family along for the ride.

That ride has taken them from the Riviera to Normandy, shepherded by their very put-upon handler Stansfield (Jones) and his agents Di Cicco (Palumbo) and Caputo (Lombarozzi). Stansfield urges the family, now calling themselves the Blakes, to blend in but they’re having a hard time with it, as usual. Pretty wife Maggie (Pfeiffer) longs for good old American comfort food and when she asks the local grocer where the Peanut Butter is, he disdainfully tells her they don’t carry that sort of  thing there, then insults her in French to a couple of old biddy regulars at the cash register, not realizing she speaks French. Maggie doesn’t lose her temper however – she just improvises a bomb and blows up the store.

Pretty daughter Belle (Agron) is sweet as pie, but when a group of French guys drive her to the local park and make it clear that they expect her to put out under the impression that all American girls are sluts, she beats one of them to a bloody pulp with a tennis racket and takes their car. Industrious son Warren (D’Leo) quickly horns in on the black market pill and cigarette market at school, and attracts the ire of the school board while Belle attracts the eye of a callow young teaching assistant named Henri (Stack) to whom she wants to deliver up her virginity on a silver platter.

As for Giovanni, calling himself Fred, he masquerades as a writer which inspires him to write his memoirs which might not be such a good idea considering how much he knows. He also is frustrated with the quality of the town’s water which he traces back to an industrial plant on the edge of town, leading him to take extreme solutions in hand.

All of the Manzonis want nothing more than to go back to Brooklyn and resume the lives they once led but as it turns out Brooklyn is coming to them. Well-armed, as a matter of fact, and none to happy about their situation.

Besson is without a doubt the finest action director/writer/producer in France and his tutelage has turned out several other fine directors in the genre, such as Olivier Megaton. This is a cross between an homage to Martin Scorsese’s mob films (and Scorsese serves as a producer here) and a farce along the lines of Married to the Mob (which Pfeiffer memorably starred in). At times the two genres rest uneasily together but for the most part Besson keeps the balance between the two light.

This is the kind of role that De Niro has done a million times before and there is a familiarity to him playing this kind of character that gives the audience an easy in to the film. He has the good fortune to have Pfeiffer to play off of – the chemistry between the two is note-perfect and they make such a good team it makes me wonder why they were never cast together before (they actually were, in Stardust but shared no scenes together in that one).  Pfeiffer is regal here, a mafia princess with a fierce protective instinct, a touch of pyromania and a volcanic temper. She is every bit De Niro’s equal here which is a rare occurrence.

Agron, best-known for her work on Glee has a meaty role here and she sinks her teeth into it with gusto. Belle is a bit of a homicidal maniac under the veneer of a sweet girl next door. Her love for her family is fierce but she, like the rest of her brood, is a more than a little sociopathic and more than a little out-and-out crazy.

There are plenty of action scenes but it is the farce that works best here, the fish out of water scenes that have the ugly Americans trying to make things work with the even uglier French. Sure, there are plenty of stereotypes here (I’m sure there were lots of Italian-American societies cringing at their portrayal here) but it’s all in good fun and not meant to be taken seriously. As entertainment goes, this isn’t half-bad. If you have no plans to catch it in theaters, it might well be a good fit on home video instead.

REASONS TO GO: Wry sense of humor. De Niro, Pfeiffer and Jones are all stellar.

REASONS TO STAY: Kind of cliché. Predictable.

FAMILY VALUES:  There’s some violence, plenty of bad language and some sexuality.

TRIVIAL PURSUIT: At the film society debate attended by Jones and De Niro, the wrong movie is sent and they instead view Goodfellas which De Niro starred in.

CRITICAL MASS: As of 9/25/13: Rotten Tomatoes: 32% positive reviews. Metacritic: 44/100

COMPARISON SHOPPING: Analyze This!

FINAL RATING: 6/10

NEXT: The Missing Person

District 13: Ultimatum (Banlieue 13 – Ultimatum)


Hair or no hair? Which is more badass? I can't decide!

Hair or no hair? Which is more badass? I can’t decide!

(2009) Action (Magnet) David Belle, Cyril Rafaelli, Philippe Torreton, Daniel Duval, Elodie Yung, MC Jean Gab’1, James Deano, Laouni Mouhid (La Fouine), Febrice Feltzinger, Pierre-Marie Mosconi, Johnny Amaro, Pascal D’Amato, Guy Amram. Directed by Patrick Alessandrin

Justice doesn’t come easy. It isn’t just handed to you. It must be fought for, and everything put up in risk for. Sometimes it takes time; sometimes it doesn’t come at all. But it won’t come without a fight.

The slums of Paris have become a war zone with five different gangs vying for ultimate power after the fall of a powerful gang lord. An indifferent government has essentially pulled the police out of District 13 after the events of District B13 and promises to improve things in the embattled district have fallen by the wayside with a change of administration.

Leito (Belle), an agile traceur (which is literally a practitioner of parkour) has become disillusioned with the broken promises and seeks to be a one-man agent provocateur, blowing up walls and leading cops and gangs on a merry chase in the streets of the district.

Capt. Damien Tomaso (Rafaelli) has taken down a drug lord all by his lonesome, using his martial arts skills to save an invaluable Picasso painting in the process. He goes home to his girlfriend only to wake up to an arrest warrant. Puzzled, he allows the DISS officers to take him to prison but being Tomaso he puts in a call to his friend Leito first.

Leito in the meantime has gotten hold of some damming video that shows officers of the DISS gunning down French police officers and leaving their bullet-riddled cars in District 13 for the gangs to be blamed. Walter Gassman (Duval), head of the DISS, we discover is in bed with Harriburton, an American multinational that is looking to raze District 13 and building luxury condos.

The weak-willed French president (Torreton) is inclined to give the order to evacuate the district and send in the bombs, but Leito and Tomaso have other plans. They’ll fight their way through gangs, corrupt cops and an uncaring French bureaucracy to get the President’s ear – or they’ll die trying.

Okay, that all sounds a bit preposterous – and it is – but you don’t go see an action movie because of its intricate plot do you? Well, you should – a movie with a good story well-told is always better than one without – but a lot can be forgiven due to the amazing action sequences. Producer Luc Besson, the godfather of European action films, pulls out all the stops here. The thing to remember here is that these stunts are being pulled off as you see them – no wires, no CGI. It’s pretty amazing stuff.

While neither Rafaelli or Belle are particularly great actors, they do have plenty of screen presence, enough to fill out most action star requirements. Rafaelli, a shaven head martial artist is a cross between Vin Diesel’s brooding sexuality and Jet Li’s agile grace; he is from the Clint Eastwood school of acting where lines are sparingly spoken and when they are, growled.

Belle is one of the originators of Parkour and at 35 is in marvelous shape. In District B13 his stunts dominated; Rafaelli is featured more here but when Belle is onscreen your breath is automatically held. He moves with grace and assurance, king of the jungle in an urban landscape. Both Belle and Rafaelli have enough to be action stars in the States in a just world. For now, they’re essentially objects of cult affection by discerning action junkies who don’t mind plowing through a few subtitles (although the cut released here is dubbed) to get their share of action goodness.

The plot is pretty weak and the ending aptly described by the San Francisco Chronicle‘s Amy Biancolli as a steaming pile of huh. There is some validity to the complaints about the somewhat haphazard plot points that kind of clunk up the movie but the frenetic action sequences more than make up for this. In a year where the action films have largely been lame, this gem sits in wait for discerning action fans to discover. If this sounds like you, you need to give this one a shot.

WHY RENT THIS: Amazing martial arts and parkour stunts. Belle and Rafaelli are charismatic.

WHY RENT SOMETHING ELSE: Falls apart in the third reel. Political satire loses something in the translation.

FAMILY VALUES: There’s a bit of violence, some bad language and drug usage.

TRIVIAL PURSUIT: David Belle didn’t practice most of the stunts so that he could give the action a sense of freshness and improvisation so most of what you see him doing he’s doing for the very first time.

NOTABLE HOME VIDEO EXTRAS: There’s a production diary as well as a music video from French hip-hop artist Alonso.

BOX OFFICE PERFORMANCE: €13.1M on a €12M production budget; the movie probably lost money at the box office.

COMPARISON SHOPPING: The Fast and the Furious

FINAL RATING: 6.5/10

NEXT: Prince of Egypt

Taken 2


Taken 2

Maggie Grace doesn’t react well to the critical pasting her latest film has taken.

(2012) Action (20th Century Fox) Liam Neeson, Maggie Grace, Famke Janssen, Rade Serbedzija, Luke Grimes, Leland Orser, Jon Gries, D.B. Sweeney, Kevork Malikyan, Alain Figlarz, Ergun Kuyucu, Alex Dawe, Luenell, Olivier Rabourdin. Directed by Olvier Megaton

 

There is an old saying – let sleeping dogs lie. This is particularly true when said sleeping dog is a former CIA operative with a particular set of skills that tend towards the mayhem-inducing.

Bryan Mills (Neeson), the said ex-company operative, wants nothing more than to be a dad. He is trying to help his daughter Kim (Grace) get her driver’s license after two failed attempts. After all, when you live in L.A. you gotta have wheels. Especially when you were kidnapped by Albanian sex slavers in Paris and had to be rescued by your Dad who put half of Albania in the ground to do it.

Of course, even these lowlifes have parents, brothers and sisters who mourn their loss (yes, despicable white slavers have parents too). One in particular, Murad Krasniqi (Serbedzija) is about as scummy as the ones Bryan slaughtered and it is him who declares that he will get “justice” which in this context rhymes with “blengeance.”

Bryan, who these days is a security consultant, is protecting a powerful potentate visiting Istanbul. Just before he leaves, his ex-wife Lenore (Janssen) who will henceforth be referred to as “Lenni” since that’s what Bryan calls her, is upset because a planned trip to China with her new husband got canceled because…well, her new husband (and about to be new ex-husband) is a dick. Bryan, a sweet hearted sort, offers to fly Lenni and Kim out to Istanbul where they can vacation once his job has concluded.

At first it doesn’t look like it’s going to happen but Lenni and Kim decide to surprise Bryan by showing up anyway and thus the family vacation starts. At first there is a bit of sight-seeing and a little more matchmaking – Kim really wants her parents to get back together again, despite her overprotective dad busting in on a make-out session between her and her somewhat too-polite-to-be-true boyfriend Jamie (Grimes).

Unfortunately, nothing ruins a family vacation than a bunch of Albanian thugs kidnapping the family for the purpose of making the father watch the mom die slowly and selling off the daughter into sexual slavery like she was supposed to be in the first movie. However, apparently Murad didn’t see the first movie or he’d know that messing with Liam Neeson is tantamount to asking for your ass to be kicked and having everyone within a three mile radius gunned down.

I really liked the first Taken. Not only did it establish Neeson as an action star, it was one of French action film producer Luc Besson’s best films yet (and remains so to this day). It was hyper-kinetic and even though there was a bit of suspension of disbelief overload (which also exists here) it was a fun piece of action entertainment.

Here while Neeson continues to take center stage (as he should) there’s more emphasis on his family than before. Janssen’s Lenni goes from uber-bitch to sympathetic character and the sparks fly between her and Bryan. Also, Grace’s Kim goes from being whiny and helpless to capable and skillful. She drops grenades on people and drives like Remy Julienne during a particularly fine car chase sequence.

The action sequences are strangely not quite up to the level of the first film, although the car chase comes close. I will say I like Serbedzija as the villain over the mostly disposable and faceless Albanians from the first film.

However while pretty good, this isn’t great and the first film was great. Certainly Taken 2 will not disappoint action fans and those who love the genre should be urged to go see it if they haven’t already (and given the box office numbers it appears that they have). There is certainly enough to warrant interest in an already proposed third film in the franchise. Hopefully Taken 3 will find someone else besides Neeson’s family to take however.

REASONS TO GO: Neeson one of the most dependable action stars today and Grace steps it up a notch. Nice Istanbul locations.

REASONS TO STAY: Action sequences not quite as kinetic as first film. Stretches believability in places.

FAMILY VALUES: Lots and lots and lots of violence, as well as a bit of sensuality.

TRIVIAL PURSUIT: The budget was triple the one of the first film (from $26M to $80M) and seems to have been worth the uptick in cash as the film is doing big time box office and has already gotten a green light for a Taken 3.

CRITICAL MASS: As of 10/17/12: Rotten Tomatoes: 21% positive reviews. Metacritic: 45/100. The reviews have been mixed to bad.

COMPARISON SHOPPING: The Tourist

ISTANBUL LOVERS: Many of the exteriors were filmed in Istanbul, a beautiful and squalid city that rarely gets the screen time it deserves.

FINAL RATING: 6/10

NEXT: Cold Weather

Lockout (2012)


Lockout

There can never be too much fog on a space station.

(2012) Science Fiction (FIlmDistrict) Guy Pearce, Maggie Grace, Peter Stormare, Lennie James, Vincent Regan, Joseph Gilgun, Jacky Ido, Tim Plester, Mark Tankersley, Anne-Solenne Hatte, Peter Hudson, Nick Hardin, Dan Savier. Directed by James Mather and Stephen St. Leger

 

When the President’s daughter is stranded on a space station full of psychotic criminals, that can just ruin your whole day, especially when you’re a top government agent falsely accused of espionage and murder. Or at least, so goes the popular thinking.

That’s the kind of day Snow (Pearce) is having. No first name by the way – just Snow. He’s got a briefcase that the CIA wants badly, particularly director Langral (Stormare). He’d watched Snow murder a friend and fellow agent with his own eyes and take a briefcase of secrets away for sale to the…well, whoever the Americans are battling with in 2079.

He manages to get it in the hands of Mace (Plester) before getting arrested. He gets a nice beating from a thug named Rupert before finding out he’s got a one-way ticket to MS-One, the maximum security low Earth orbit prison where prisoners are kept in cryogenic sleep for the duration of their sentences.

Now, the President’s daughter Emilie Warnock (Grace) happens to be on MS-One at that very moment on a fact-finding mission to determine the validity of rumors that prisoners are being abused which when you think about it is kind of bizarre – how do you abuse someone who’s frozen?

As it turns out, a somewhat overeager Secret Service agent (Ido) disobeys prison rules and brings a gun into an interview with a prisoner who’s been awakened just for the purpose and of course he manages to secure it from the agent and get free, setting loose all the other prisoners in the process.

Alex (Regan), a Jeffrey Dean Morgan look-alike, is the leader of the little revolt (his little brother Hydell (Gilgun) is the scumbag who set the others free) and he doesn’t realize that he has the president’s daughter at first being a little bit out of touch with the political landscape. Cryonic suspension will do that to you. That’s an advantage the powers-that-be know won’t last forever. They need to send someone up there to fetch her – but the prison is well-defended. An army couldn’t get in there without killing everyone in it – but one man…one man…

Guess who that one man is? Just call me Snake…I mean, Snow. Yeah, remember him from three paragraphs ago? That guy. His boss Shaw (James) doesn’t believe a word of the whole espionage and murder thing, thinks that the only guy for the job is Snake…I mean Snow. So why not send him in there? Of course, he’s got a prison full of psychotic rapists, murderers and psychopaths but that’s not unlike a session of Congress no? Anyway, he agrees to go when he discovers Mace has been caught and sent to MS-One…sounds like  Microsoft app doesn’t it? Anyway, Snake…I mean Snow has another reason to head up there other than to rescue the progeny of the man who is sending him to jail. Well, figuratively.

This is the latest from producer Luc Besson (whose The Lady which he directed is in limited release even as we speak) and more along the lines which he’s traditionally associated with – taut action films with genre leanings. This is on the sci-fi lines. Besson came up with the idea and turned it over to St. Leger and Mather who make the most of it.

One of the brightest ideas was to cast Pearce. He is clearly having fun with his role as the wise-cracking Snow, delivering quips as easily as a sci-fi James Bond. Snow is more of a Snake Plissken type – that just keeps coming up doesn’t it – he’s not nearly as suave as the British superspy, but he makes up for it with easygoing self-confidence. This could easily be a franchise character, although the box office numbers don’t really justify it to date. However, since the movie was so inexpensive to produce (only $40 million at the box office gets it to profitability and it hasn’t been released in many overseas territories yet) being shot as it mostly was in Serbia, well, could still turn out okay.

The movie borrows liberally from a number of sources, including the aforementioned (well afore-referred to) Escape from New York as well as dozens of other prison break movies and sci-fi actioners. There is even a clever underhanded reference to Escape director John Carpenter’s early cult film Dark Star (kudos if you get what it is) near the end of the film, making this a semi-homage to Carpenter; if Michael Myers had popped up in a mask among the prisoners it might have made for a perfect Carpenterama.

That’s all forgivable. IF you’re going to steal, steal from the best I always say. However the plot makes some pretty laughable leaps in logic, defying physics and common sense (who would have a gunfight in a space station? one stray bullet can really suck). The infuriating thing is that with a little imagination, the writer/directors could have easily stuck to their internal logic and made for a more exciting movie – or even a movie that made more sense.

Don’t get me wrong though – the reason to see this movie is because it’s fun and action packed and this one is those things. It has a terrific lead – who knew that Guy Pearce could be a great action hero? – and an attractive Maggie Grace in the heroine role. It won’t make any top ten lists and it might not even stick to your memory for more than an hour or two, but you’ll have fun while you’re watching it and that’s really all you can ask for from a movie like this.

REASONS TO GO: Pierce has great fun with what could easily have been a cliché role. Fun and entertaining.

REASONS TO STAY: Some terribly long leaps in logic. Borrows a little too heavily from other films.

FAMILY VALUES: There is quite a lot of violence and a fair share of bad language. There are a few sexual references but nothing sexual per se.

TRIVIAL PURSUIT: The brothers are named Alex and Hydell. Lee Harvey Oswald used the alias Alek Hidell at one time.

CRITICAL MASS: As of 4/23/12: Rotten Tomatoes: 35% positive reviews. Metacritic: 48/100. The reviews are pretty poor.

COMPARISON SHOPPING: Fortress

INTERNATIONAL SPACE STATION LOVERS: The Space Station gets its own cameo appearance in the film which may cause a bit of consternation.

FINAL RATING: 6/10

NEXT: The Salt of Life

The Lady (2011)


The Lady

Michelle Yeoh is living in the golden age.

(2011) Biographical Drama (Cohen Media Group) Michelle Yeoh, David Thewlis, Jonathan Raggett, Jonathan Woodhouse, Susan Wooldridge, Benedict Wong, Flint Bangkok, William Hope, Victoria Sanvalli, Danny Toeng, Nay Myo Thant. Directed by Luc Besson

 

One of the most compelling political figures in the world today is largely unknown in the United States, yet she has won the Nobel Peace Prize and is iconic in Asia and Europe for her courageous stand against the repressive military junta which rules Burma (or Myanmar as they like to call it) with an iron fist. Her name is Aung San Suu Kyi and her story has been one waiting to be told.

Her father, Aung San had been a leader in the fight for Burmese independence from the English and had been moving to take the country into democracy when he was assassinated in 1947. He was and still is revered in Burma and his daughter Suu Kyi (Yeoh) lived in exile, in England where she had since married a bookish professor at Oxford, Michael Aris (Thewlis). They had two children together; Kim (Raggett) and Alexander (Woodhouse).

In 1988, Suu Kyi’s mother got seriously ill following a stroke so she journeyed back to Burma to be with her mom. At the time, the country was smack dab in the middle of the 8888 Uprising which was being brutally repressed by the government. Suu Kyi saw soldiers shooting unarmed students and doctors and was horrified by the carnage. In the meantime, students and professors at the local university, heavily involved in the uprising, saw Suu Kyi as a symbol of her father and for democracy and were eager to get her involved. Reluctantly at first, she began to take part in the protests.

Her one or two week trip would stretch out as the Uprising went on. Suu Kyi became the symbol the students hoped she would be and the people began to rally around her. Finally, when the government allowed the elections Suu Kyi’s National League for Democracy demanded, they were shocked to discover that the NLD had won 392 seats in Parliament against only 5 for the reigning government, with Suu Kyi the new Prime Minister of Burma. That could not be allowed and the government voided the election.

The detestable Sein Lwin, the head of the military dictatorship, knew he couldn’t kill her outright; her father was a martyr and he was trouble enough. Killing Suu Kyi and making a martyr out of her as well might be too much for even his well-armed soldiers to control. He needed to break her spirit and make her a non-factor.

That job is charged to Win Thein (Thant), an ambitious and fiendishly clever Colonel. He placed the erstwhile Prime Minister under house arrest, confining her to the lovely lakeside home where she’d grown up, where she had last seen her father alive and where her mother eventually passed away. Most of her colleagues in the NLD were imprisoned or disappeared entirely.

She endured the loneliness of her imprisonment, surrounded by trigger-happy guards who’d like nothing better than to see her dead. Michael, knowing how precarious her safety was, initiated a nomination for a Nobel Peace Prize for his wife, which she won in 1991. Unable to attend, her son Alexander gave a moving speech in her absence which she heard over a battery-operated radio despite attempts of her guards to prevent her from hearing it.

However, in 1998 her husband Michael discovered that he had terminal prostate cancer. Suu Kyi was now presented with a horrible choice; return to Oxford to be at her husband’s side and never be allowed to return to Burma (effectively negating the work and suffering they’d done for democracy in Burma over all those years) or remain under house arrest, knowing she would never see her husband again.

Suu Kyi is one of the most courageous people of our time and her story is one that has needed to be told. It has, in fact appeared onscreen in John Boorman’s Beyond Rangoon as well as the recent documentary They Call It Myanmar. However, this might be the most ambitious film about her yet. French filmmaker Besson, mostly known for the action movies he’s produced (including The Fifth Element, Taken and the recent Lockout) goes out of his comfort zone here.

The result is spectacular. Using his long-time cinematographer Thierry Arbogast he captures some beautiful images of the countryside (some of which was filmed illicitly by Besson himself during a visit to Myanmar) as well as of the people. Many of the extras were Burmese and during segments in which Suu Kyi was giving speeches, filming had to be stopped because the extras were crying.

Much of that is due to the performance of Yeoh. This was a role she was born to play and she gives Oscar-caliber work here. It is in my opinion the best performance of her career and that’s saying something about an actress who is one of the finest ever produced in Asia. She captures Suu Kyi’s inner strength and grace, as well as her fierce resolve. It doesn’t hurt that Yeoh has a very strong resemblance to the real Suu Kyi.

Thewlis who has done some fine work of his own, is never better than he is here. His Michael Aris is an academic with a heart of gold; well-read and as committed to the cause of democracy in Burma as his wife is. His sacrifice is as almost as great as hers, although he at least had the succor of family around him. Thewlis gives him a bit of a stiff upper lip but never fails to keep the man’s inner warmth close to the surface.

This is a powerful movie and the testament to it was the expressions of the people who had seen it on the way out of the theater – these were the expressions of people who had been deeply moved and many faces were streaked by tears. While there were times I felt the focus was too much on Michael and the boys, the end result is that this movie is about a portrait in courage Kennedy would have approved.

For some reason, critics have been giving this film a shellacking, including some that I have respected over the years. One went so far as to call the film “fawning” and compared it unfavorably to They Call It Myanmar which I haven’t seen yet and I’m sure is a fine film on its own, but they are different fruit entirely. This is one in which I say don’t listen to the critics and go and experience it for yourself. It’s a powerful, moving cinematic experience that shouldn’t be missed.

REASONS TO GO: Yeoh gives a bravura performance, quite possibly the best of her stellar career. Authentic and powerful.

REASONS TO STAY: Could have focused less attention on Michael and more on Suu Kyi.

FAMILY VALUES: There is some violence and a few disturbingly bloody images.

TRIVIAL PURSUIT: Besson constructed the set of Suu Kyi’s home to near-perfection, using photographs and satellite images for accuracy. He even set the home so that the sun rises through the same windows as they do in Suu Kyi’s actual home.

CRITICAL MASS: As of 4/22/12: Rotten Tomatoes: 38% positive reviews. Metacritic: 44/100. The movie inexplicably has received poor reviews.

COMPARISON SHOPPING: Burma VJ

BURMA LOVERS: While much of the movie was filmed in Thailand (particularly the scenes set in Rangoon), some of the footage was taken in Burma as well.  

FINAL RATING: 10/10

NEXT: Lockout