The Debt (2010)


The Debt

Sam Worthington takes aim.

(2010) Spy Thriller (Miramax/Focus) Helen Mirren, Sam Worthington, Jessica Chastain, Tom Wilkinson, Ciaran Hinds, Jesper Christensen, Marton Csokas, Romi Aboulafia, Brigitte Kren, Istvan Goz, Morris Perry, Jonathan Uziel, Iren Bordan, Katya Tompos. Directed by John Madden

The thing about the truth is that it is rarely what we think it is. Often we are told one thing and the truth is quite another. Sometimes knowing that truth doesn’t set us free however; sometimes the knowledge of truth shackles us for a lifetime.

Rachel Singer (Mirren) is a retired Mossad agent who bears the scars of her vocation both literally and figuratively. Her daughter Sarah (Aboulafia) has authored a book about her career, particularly concerning a daring raid into East Berlin that was performed by a three-person team in 1965 in order to retrieve a Nazi war criminal. Although it didn’t end up well, Rachel emerged from the raid as a national heroine.

In 1966, Rachel (Chastain) was the junior member of the team which included team leader Stephan Gold (Csokas) and David Peretz (Worthington). They are in East Berlin to extract a former Nazi War criminal – Dieter Vogel (Christensen), the so-called Surgeon of Birkenau who performed hideous experiments on Jewish concentration camp residents and bring him to Israel to stand trial for his war crimes.

He is masquerading as an ordinary OB-GYN, so Rachel and David pose as a man and wife unable to have to date. The plan is set up meticulously with an escape route marked for them. However the plan misfires and they are forced to bring their prisoner back to their East German apartment while they try to find a way back home. Unfortunately, Vogel manages to escape his bonds and after a fierce struggle in which Rachel is scarred for life, she shoots him dead rather than let him escape.

But was that the whole truth? When Rachel’s ex-husband Stephan (Wilkinson) tells her that information has surfaced that puts everything she’s built in her life in jeopardy, she will be forced to take a journey to make things right, not only for herself but for her daughter, her team and her country.

John Madden is best known for directing Shakespeare in Love but he does pretty well in the taut spy thriller genre. There are some scenes that literally had me on the edge of my seat, cliche as that might sound. Of course, it doesn’t hurt that he has quite a cast to work with.

Mirren is one of the top actresses in the world at the moment and one of the finest of all time when all is said and done. She is one of the main reasons to see this – as always her performance is letter perfect. She plays Rachel as a woman haunted by that secret and embittered by the way her life has turned out. Her only saving grace is her daughter Sarah who is now getting sucked into the lie.

The rest of the cast is pretty impressive as well. Chastain, who has had a couple of exceptional performances already this summer in The Tree of Life and The Help adds a third (although this movie was shot well before the other two). Her character is as naive as Mirren’s version is worldly and jaded. She is certainly flawed, but her dedication is unquestioned.

Worthington gets a role here that plays to his strengths as an actor and runs with it. His David is cold, shut-off and haunted by the specter of the War in which is family was decimated. He is guarded and closed off, which Worthington can do well.

Wilkinson is another veteran actor who has a complex role to fill and he does it admirably. His character is crafty, devious and infectiously charming while Hinds, who plays the older David, is thoroughly haunted and destroyed, his expression one of a man who doesn’t expect anything in life but misery.

The problem with the movie is two-fold. For one thing, the 1966 and 1997 versions of the characters don’t really resemble each other and when it comes to Csokas and Worthington, it is easy to confuse them with Wilkinson and Hinds (who resembles Csokas more than Worthington). For the record, here are the correct pairings: Wilkinson (1997) and Csokas (1966) as Stephan, Hinds (1997) and Worthington (1966) as David and of course Mirren (1997) and Chastain (1966) as Rachel.

It also must be said the ending is a little bit hoary, although I must admit there was at least some tension in the scene, enough that it made it entertaining. The movie itself harkens back to the cold war thrillers of the 60s in many ways, although I have to admit it’s a pale echo of some of the better examples of the genre. Still, given the performances and the tension, I can recommend it without reservation for most audiences.

REASONS TO GO: Great cast. Some well-thought out taut moments.

REASONS TO STAY: Ending is unsatisfying. Not easy to match 1997 versions of 1966 characters.

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

TRIVIAL PURSUIT: One of two movies that was distributed by Miramax whose release was delayed due to the purchase of the company by Colony Capital. The company eventually made a distribution deal with Focus.

HOME OR THEATER: Works just as well at home as it does in the theater.

FINAL RATING: 7/10

TOMORROW: Columbiana

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The Fog (2005)


The Fog

Driving Miss Daisy, this ain't!

(2005) Supernatural Horror (Columbia) Tom Welling, Maggie Grace, Selma Blair, DeRay Davis, Rade Serbedzjia, Kenneth Welsh, Adrian Hough, Sara Botsford, Matthew Currie Holmes. Directed by Rupert Wainwright

One of the most underrated of John Carpenter’s movies was his follow-up to Halloween, 1980’s The Fog. Although there were cheesy elements to it (heck, that wasn’t uncommon for any horror film of the era), it still was a genuine creepfest and still gives me the chills whenever I watch it even now, a quarter of a century later.

When they announced the remake of it, I wasn’t terribly enthusiastic. I’ve found most of the horror movie remakes of classic ’70s and ’80s scare flicks to be uneven at best – few have really done little more than to update the stories for a more modern audience. I didn’t hold out hope for much better from this.

Antonio Island is celebrating the centennial of their founding, but there is a terrible secret harbored by the remote Northern California seaport and it is born on the fog. Nick Castle (Welling), a charter fishing boat operator, has to put up with a ne’er do well first mate named Spooner (Davis) and a boat that has seen better days. Still, they manage to make ends meet, but while on a charter their anchor dredges something up from the bottom – artifacts of a bygone age that have been at rest for a hundred years.

Back on shore, Nick is surprised to encounter an old flame, Elizabeth Williams (Grace) walking to town from the pier. She had left suddenly five years ago without really resolving things between them, and he had been hurt by it. He was just now beginning to get involved with the pretty single mom DJ Stevie Wayne (Blair) but now he is torn.

In the meantime, Spooner has taken out Nick’s boat to party with a couple of bikini clad girls and Nick’s cousin Sean (Holmes). But a heavy fogbank is headed their way unbeknownst to them, and moving against the wind. Before you can say “bad things are going to happen,” bad things happen.

Spooner survives the mayhem, but is considered primo suspect number one for the murder of the other three. His story is completely whacko about ghost ships and fog banks, so his friend Nick goes out to find out what’s going on. He and Elizabeth discover a startling truth – that the town was founded on blood money stolen from a colony of lepers who were then burned alive on the ship that they thought was going to take them to a new home. That kind of thing can piss a ghost off.

The effects are much more sophisticated than in the original fog, but then again they don’t use nearly as many effects as you would think they might, director Wainwright wisely allowing the natural setting of the fog-shrouded town to create an atmosphere of creepiness that carries the film. The problem is that the characters are a bit faceless. Welling is a good-looking lead, but he doesn’t really carry the film like you think he might. He does better in his role as Clark Kent in “Smallville,” but here he seems a little bit passionless.

Grace and Blair are both lovely to look at, but Grace is given not a lot of character by the script; she exists mainly to move the plot along. Blair has a bit more to chew on as a character, and takes advantage of it. I’ve always wondered why we don’t see more of her in the movies – she was certainly marvelous in Hellboy.

There are a lot of plot holes in the script – for example, they clearly state that they are celebrating the hundred year anniversary of the town’s founding, and they clearly link the founding of the town to the nefarious acts with the lepers, but they also clearly state that those events took place in 1871 and it is even more clear that the movie is set in contemporary times, not in 1971 which would be accurate. Whoops.

Still, despite all that, I liked the movie, I liked the atmosphere that was created, I liked Blair and I really liked the climax of the movie. It’s certainly far from perfect, but it’s a nice evening’s entertainment, particularly if it’s a dark and stormy evening. 

WHY RENT THIS: Atmospheric to the max. Blair is a particularly good performer and easy on the eyes, as is Grace.

WHY RENT SOMETHING ELSE: Weilling is unaccountably bland. Cheese factor a little high for modern horror fans.

FAMILY VALUES: There’s plenty of violence, a little sensuality and enough bad language to be…bad.

TRIVIAL PURSUIT: Debra Hill, the co-writer of the original movie and given a producer’s credit here, died shortly before filming began.

NOTABLE DVD FEATURES: There is a nice feature on the special effects which show how good-looking effects can be accomplished on a tight budget.

BOX OFFICE PERFORMANCE: $46.2M on an $18M production budget; the movie made money.

FINAL RATING: 6/10

TOMORROW: Country Strong