An Acceptable Loss


Tika Sumpter speaks truth to power.

(2018) Thriller (IFC) Tika Sumpter, Jamie Lee Curtis, Ben Tavassoli, Jeff Hephner, Deanna Dunagan, Alex Weisman, Ali Burch, Clarke Peters, David Eisenberg, Alysia Reiner, Rex Linn, Carmen Roman, Henry Godinez, Tim Hopper, Rashaad Hall, Troy West, José Antonio Garcia, Peggy Roeder, Jin You, Patrick Mulvey, Jack Ball, Bella Wholey, Brittany Baker. Directed by Joe Chappelle

 

In this modern age, the government has thorny problems to wrestle with. How to deal with a threat which defies national boundaries but is just as deadly to its citizens as an attack on Pearl Harbor, for example. How does a nation react to terrorism without becoming terrorists themselves?

Libby Lamm (Sumpter) is part of an administration that had to face that question but her boss Vice-President Rachel Burke (Curtis) had no qualms about the answer. It has made Libby a social pariah, as her recommendation to the President (Linn) in her capacity as a security adviser led to a tragedy of 9-11 proportions. Libby is now in the academic sector, teaching an inflammatory political science course amid campus protests and drunken confrontations by self-righteous faculty members demanding to know how many people she killed.

Libby has chosen to write a book on her experiences, a book that the new regime, now led by the former Vice-President, desperately wants to see quashed. Libby, the daughter of a respected newspaper editor (Peters), is feeling a tremendous load of guilt and needs to write this book and have people read it in order to make some sort of emotional catharsis for herself. President Burke has sent oily Chief of Staff Adrian (Hephner), not coincidentally an ex-lover of Libby’s, to reason with her and bring her back into the fold but Libby is having none of it.

In the meantime creepy grad student Martin (Tavassoli) is breaking into Libby’s home and planting cameras in addition to stalking her in a way that says “terrorist” although in one of a series of plot twists we see that he’s much too academic for mere violence. In fact this whole movie is an endless series of plot twists, signifying nothing.

As potboilers go this one has its moments, particularly when Curtis is onscreen. There is an interesting concept in that Sumpter’s character is essentially a young Condoleezza Rice crossed with Jack Ryan which ought to be a delight for conservative moviegoers except that the rest of the film is essentially an indictment of conservative policies in the middle east which will no doubt get some eyes to rolling.

Chappelle and cinematographer Petra Korner seem to have made the conscious decision to overexpose the film, giving everything a nearly colorless, washed-out look. The effect is like watching a movie with your eyes dilated. I’m not so sure what prompted the look but it gets annoying after a while.

For the most part the acting is solid with Curtis setting the bar higher for everyone. She’s truly exceptional here, steely and completely sure of herself. She is confident in her beliefs and is quite frankly willing to do anything to support them and I do mean anything. She’s a cross between Dick Cheyney and…well, Dick Cheyney without the annoying heart condition. Her absolute certainty in her position puts Rachel above any moral concerns; it allows her to sleep at night knowing that anything done in service to her country is intrinsically the right thing to do, regardless of he consequences. It does bother me however that while Libby is considered a pariah as architect of the policy, the chief proponent of it (Burke) was elected President. The two don’t seem to add up logically.

The film suffers from a fairly bland script that utilizes a whole lot of dramatic reveals that don’t deserve the fanfare they’re given. The movie could have gone two ways – it could have been a standard direct-to-home video mindless thriller or it could have been a serious drama about how those in the corridors of power cope with their decisions when their decisions cost lives. Chappelle opts to go both routes which was too bad; the second half of the film which was the standard thriller is almost disappointing compared to the first half, the political drama which had a lot more potential. That’s a movie I really would have liked to see had they continued down that route.

REASONS TO GO: The film is a reasonably well-constructed thriller.
REASONS TO STAY: The colors are washed out throughout, looking like a drab attempt at noir or a bad day at the development lab..
FAMILY VALUES: There is violence and profanity.
TRIVIAL PURSUIT: Chappelle also directed Halloween: The Curse of Michael Myers. Curtis starred in four films in the series.
BEYOND THE THEATERS: Amazon, Vudu
CRITICAL MASS: As of 1/18/19: Rotten Tomatoes: 13% positive reviews. Metacritic: 38/100.
COMPARISON SHOPPING: A Clear and Present Danger
FINAL RATING: 6/10
NEXT:
Adult Life Skills

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The Ghost Writer


The Ghost Writer

A day at the office is no day at the beach for Ewan McGregor.

(2010) Thriller (Summit) Ewan McGregor, Pierce Brosnan, Kim Cattrall, Olivia Williams, Tom Wilkinson, Timothy Hutton, Eli Wallach, Robert Pugh, Desiree Erasmus, Daniel Sutton, Marianne Graffam, James Belushi, Kate Copeland. Directed by Roman Polanski

Politics make strange bedfellows with just about everything but particularly with art. Although we have an affinity for topical movies, political thrillers are often about as empty and soulless as…as…a politician.

The Ghost (McGregor) – who is never identified by name in the movie nor in the book that it is based on – is a talented and ambitious sort who has been waiting, none too patiently, for a plum job, the one that will get his career in gear. He finally gets it – former British Prime Minister Robert Lang (Brosnan) wants his memoirs ghosted. It seems that the old friend of Lang’s who had previously been working on the assignment had washed up on the beach, a victim of suicide or accidental drowning.

The Ghost ventures out to Martha’s Vineyard to Lang’s bunker-like complex which is in siege mode. Lang has been accused by one of his former ministers of being complicit of allowing prisoners to be tortured during an armed conflict begun during his regime. Obviously this makes the new book even more potentially lucrative and the Ghost is under pressure to finish the manuscript quickly.

Things are a bit strange though in the compound. Lang’s high-strung wife Ruth (Williams) is coming on to the Ghost, fully aware of the long-time affair her husband has been having with his assistant Amelia Bly (Cattrall). The original manuscript the Ghost has been hired to clean up and re-edit is under lock and key and may not be taken out of the office where the Ghost has been assigned to work.

And work he does, diligently. He soon discovers some contradictions and outright falsehoods in the manuscript. As he digs deeper to discover the truth, he finds out the shady dealings between Lang and a company called Hatherton. He also discovers some secrets that some would kill to make sure they remained secret. Now it’s not just a battle to meet a deadline; the Ghost must figure out a way to stay alive altogether.

Polanski is one of the best of his generation and creating an effective thriller. Chinatown and Rosemary’s Baby are just two examples of classic Polanski thrillers. This one, completed when Polanski was 76 years old, shows he hasn’t lost his touch. While it isn’t to the level of those just mentioned, it’s as good as any released by more contemporary directors.

Polanski manages to gather a strong cast around him. McGregor is a fine everyman hero, and while he seems far more passive-aggressive than the standard movie hero, he nonetheless is charming enough to carry his end of the water pole. The end carried by Brosnan, however, is much stronger. Brosnan who has mostly done affable and elegant action hero types (a la “Remington Steel”, James Bond and Thomas Crown) delivers one of his better performances ever here. He is both sinister and snake-like, clapping you on the back one moment and stabbing you in it the next. That dichotomy of charm and ruthlessness makes the character as fascinating a political figure as has ever been on the silver screen.

They are surrounded by a strong cast, including Hutton as the Ghost’s hyperactive agent and Wilkinson, an old classmate of Lang’s who knows far more about his chicanery than he lets on. Wilkinson in fact has few scenes but is in definite control of your attention whenever he’s on.

There are some twists and turns here. That is par for the course for a thriller, but few are telegraphed and none stretch the believability quotient. What Polanski does better than most directors is establish a mood, and he does so brilliantly here, making even characters seen in passing seem menacing and up to no good.

The movie didn’t do very well at the box office (see below), mostly due to Polanski’s arrest on a 34-year-old statutory rape charge and his subsequent fight to prevent extradition. I would imagine a number of movie-goers who might have ordinarily flocked to see this stayed away because of an unwillingness to support a rapist. I can understand the sentiment certainly but this isn’t a review of Mr. Polanski’s life but of a single film he created.

Political thrillers are hard to accomplish, particularly when they are as topical as this one is (the characters are extremely similar to former British Prime Minister Tony Blair, with other characters and entities – such as Hatherton substituting for Halliburton  – also carrying some similarities to people and things in the news). There is always the chance that in a very few years this will seem dated. However the movie is so well-crafted that long after the people and events that inspired it are forgotten, The Ghost Writer will hold up as a well-crafted, well-acted and well-written thriller.

WHY RENT THIS: Impressively tense. Fine performances from most of the cast but particularly from McGregor and Wilkinson.

WHY RENT SOMETHING ELSE: The payoff is a bit anti-climactic.

FAMILY VALUES: Some rough language, a bit of violence, a bit of sexuality and a smidgeon of nudity and a drug reference.

TRIVIAL PURSUIT: Although primarily set in the United States, Polanski was unable to film here due to his legal issues. Most of the movie was filmed in Europe except for a few second unit shots.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $60.2M on a $45M production budget; the movie lost money.

FINAL RATING: 7/10

TOMORROW: Buck