Day 13


Colton comforts Rachel as an LAPD cop looks on.

(2020) Horror (Breaking Glass) Alex MacNicoll, G. Hannelius, Meyrick Murphy, JT Palmer, Martin Kove, Darlene Vogel, Shakira Ja’nai Paye, Jonathan Ohye, Harvey B. Jackson, Hollis W. Chambers, Jeremy J. Tutson, Bobby Milhouse, Lauren Donoghue. Directed by Jax Medel

We never really know what’s going on with our neighbors; we might see them to wave to as they get into their car or pick up their mail, but by-and-large we are completely clueless about what goes on behind those closed doors. Sometimes, it’s actually for the best that we don’t know.

Colton (MacNicoll) is a bored teen on summer vacation in the suburbs of L.A. who has been given the unenviable task of babysitting his bratty younger sister Rachel (Murphy) while his mom (Vogel) takes off on a two-week girl’s trip to Barcelona. Colton’s Dad took off a while ago, leaving the three of them to fend for themselves.

Colton’s buddy Michael (Palmer) is constantly trying to get him to come out and play as it were, but Colton has an unusually keen sense of responsibility for a kid his age, plus his interest has been piqued; the long-abandoned house across the street has been showing signs of life; lights flickering on and off in the darkness, shadows moving against the lights. He is a curious sort, so he spends a bundle of money on surveillance equipment and failing to find anything concrete, takes a walk over himself to investigate. There he finds Heather (Hannelius), who has just moved in with her foster father (Kove). He is instantly smitten by her but turns down his requests to go out with him; her foster father, it seems, is something of a disciplinarian.

As Colton continues to observe the house, it turns out that the foster dad is a lot more than just a disciplinarian and Colton begins to fear for Heather’s safety. He takes his concerns to the police, but they don’t believe him and he ends up with a restraining order taken out on him – perhaps the quickest in the history of California – by dear old foster dad. Colton becomes convinced that Heather is in imminent danger, but as it turns out he really has no idea of just what he’s up against.

Some critics have compared this to Rear Window and it’s true that there’s a superficial resemblance, but it ends there and it really isn’t a fair comparison; the Hitchcock film is a classic that delivers enough tension for several heart attacks and a fiendishly concocted plot that keeps the viewer guessing. It’s not fair to expect something like that from a low-budget indie film.

One of the swerves in the film (and this really isn’t too much of a spoiler) is that the movie goes from thriller to straight-out horror in the final half hour which might be a little wrenching for some viewers. It’s actually a good idea, although it has been done before, also with a teen protagonist.

Part of the biggest problem here is the character of Colton, who is very poorly written. He often does things that defy logic and common sense even for a teen – why, for example, would he be so interested in the house across the street that he is motivated to spend $600 on surveillance equipment (and where did he get the money, considering that he has no visible job). He bickers constantly with his sister and is always blowing off his friend Michael. He is clearly hung up on his father’s desertion, but never articulates it. That’s okay; teens rarely articulate things well, but for the purposes of the movie we need a little bit more fleshing out of Colton if we are to have a reasonable shot at identifying with him. MacNicoll, so capable in 13 Reasons Why, doesn’t have the experience yet to overcome this.

The movie doesn’t have a lot of special effects and those it does have are not very good. I do like the part of the film where most of the CGI shows up, but they aren’t necessarily the highlight. There is a decent twist, but it isn’t one you shouldn’t see coming. Veteran actor Kove, who cut his teeth as the villainous sensei of Cobra Kai in the Karate Kid movies (and the recent TV show) as well as in action movies like Rambo and TV shows like Cagney and Lacey.

It takes a long time for the movie to get going and once it does, it is admirably paced but by then, most viewers will have lost interest. These days, a filmmaker has to keep the pulse of the viewer pounding if they are to keep the attention of viewers who have far too many distractions in their lives as it is; you need to grab the viewer quickly and keep holding onto them until the final reel. Otherwise, you’ll get a whole lot of viewers tuning out before the final credits roll, and that is bad news for any film.

REASONS TO SEE: The ending is fairly nifty.
REASONS TO AVOID: The part of Colton isn’t particularly well-developed. Really slow in developing.
FAMILY VALUES: There is a fair amount of profanity, some violence and some disturbing and horrific images.
TRIVIAL PURSUIT: This is the first feature length film for Medel.
BEYOND THE THEATERS: AmazonAppleTVFandango NowGoogle PlayMicrosoftVimeoVuduYouTube 
CRITICAL MASS: As of 9/8/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: Fright Night
FINAL RATING: 4.5/10
NEXT: The Garden Left Behind

Safe House


Safe House

Denzel Washington is having a Morgan Freeman moment.

(2012) Action (Universal) Denzel Washington, Ryan Reynolds, Vera Farmiga, Brendan Gleeson, Sam Shepard, Robert Patrick, Fares Fares, Liam Cunningham, Nora Arnezeder, Joel Kinnaman, Ruben Blades, Jenna Dover, Stephen Rider, Tracie Thoms, Sara Arrington. Directed by Daniel Espinosa

 

Some people are just naturally badasses. Take Chuck Norris for example. He’d kick you in the tush just as soon as look at you. Or how about Jet Li. Not only can he out-fight you, he can out-think you as well.

Tobin Frost (Washington) is a lot like that. He’s a legend in the CIA – a master manipulator, a world-class assassin and one of the guys you’re thankful is on our side. Except he isn’t on our side anymore. He left the Company and has spent the past 15 years selling our secrets to anyone who’ll buy them.

Matt Weston (Reynolds) wants to go places in the CIA but he’s stuck staring at four walls all day as the housekeeper for a CIA safe house in Cape Town. He spends most of his days making love to his girlfriend (Arnezeder) and lying to her about what he really does for a living, and nagging his handler David Barlow (Gleeson) about getting a field position which is what he really wants to do.

So when a team led by the gravelly Daniel Kiefer (Patrick) comes in bearing Frost, one of the most wanted men in the world, Weston is understandably surprised. He is even more surprised when a well-armed hit team led by the ruthless Vargas (Fares) blows in their doors and proceeds to execute everyone in the House – with the exception of Weston and Frost who have fled.

On the run with nowhere safe to go, Weston calls his superiors back at the CIA. Barlow knows that Weston is above reproach but Analyst Catherine Linklater (Farmiga) has her suspicions. Deputy Chief Harlan Whitford (Shepard) isn’t sure who to trust but seems to be giving Weston the benefit of the doubt.

Alone with one of the most dangerous men on Earth, chased by unknown assassins who want him dead and unable to trust the CIA since there had to be a leak that gave the Safe House away, Weston must figure out what’s going on, what secrets Frost is carrying with him that so many people want him dead and how to get out of this cluster fu…um, mess alive.

Frost is a part tailor-made for Denzel. He’s smart, he’s super-cool as well as super-bad, and enigmatic. He’s not the most likable guy you’ll ever meet but he is also disillusioned by some of the horrible things he has to do. To my mind, this is his best work since American Gangster – and not coincidentally, the most fleshed-out part he’s had since then.

Reynolds, known for being a touch on the light side, actually holds his own here which is a bit of surprise. This is really his first all-dramatic role (even his action hero roles have a comedic element to them) and he holds his own with one of the best actors of his generation. That’s a pretty impressive feat and watching this movie I really am re-assessing my opinion of Reynolds’ range and consequently the potential longevity of his career. This is not a star-making role for him so much as a star-potential declaration role. He is one role away from becoming one of Hollywood’s biggest stars.

Espinosa, despite his Latin name, is actually Swedish and he has been one of those directors that is much better-known by studio people than by the American moviegoing public (although he is well-acclaimed in Sweden where he has a couple of highly regarded action films under his belt). He pulls off the action sequences very nicely, particularly a thrilling car chase through Cape Town and a rooftop chase through one of the ghettos of Cape Town.

With all this going for it, this should have been a big summer blockbuster but the reason that it’s sitting here in February is simply because the story isn’t anything to write home about. It’s all about deception and lies in the CIA with double and triple-crosses galore, every one of them telegraphed a mile off. It doesn’t keep you on your toes with its twists and turns so much as keep you on a familiar mountain road.

This isn’t a bad movie, don’t get me wrong – it’s just fairly predictable. It does what it does nicely without really taxing too much of your grey matter and there are some visceral thrills not to mention the opportunity to see one of the very best doing what he does best. For the record, I think this is an enjoyable way to kill a couple of hours at the movies – which may sound damned by faint praise but to my mind is a pretty decent compliment.

REASONS TO GO: Washington is at the top of his game and Reynolds surprisingly keeps up. Some nicely done action sequences.

REASONS TO STAY: The script is pretty rote and doesn’t really offer anything new to the genre.

FAMILY VALUES: There is a whole lot of violence and a whole lot of bad language.

TRIVIAL PURSUIT: The script was originally set in Rio de Janeiro but was switched to South Africa for security concerns.

CRITICAL MASS: As of 2/23/12: Rotten Tomatoes: 54% positive reviews. Metacritic: 52/100. The reviews are as bad as they get.

COMPARISON SHOPPING: The Bourne Identity

CHAMELEON DENZEL LOVERS: The actor adopts a Spike Lee look for some of the film and a clean-shaven look harkening back to “St. Elsewhere” for other parts of the movie, and even a bit of American Gangster thrown in.

FINAL RATING: 6/10

TOMORROW: The Green Mile