3 Days to Kill (2014)
Luc Besson has long been a household industry when it comes to action movies, especially in the last ten years. The man has had his hand scripting, producing, and sometimes directing the Transporter films, Columbiana, Lockout, District B-13 and its soon-to-be released American remake Brick Mansions, The Family, and most popular of all, the Taken movies. Besson’s got his fingers in just about every Parisian action movie. But with a prevailing influence there is also the challenge of keeping things fresh. It’s easy to fall back on formula, which is precisely where 3 Days to Kill finds itself stuck.
Ethan Renner (Kevin Costner) is one of the top spies for the CIA, but a rare and terminal medical condition has taken him out of the field. He seeks out his ex(?) wife (Connie Nielsen) and their teenage daughter (Hailee Steinfeld), a girl he’s mostly sent messages on her birthday as the extent of his parental involvement. While living in Paris with his family, the mysterious Vivi (amber Heard) promises a radical drug treatment to extend Ethan’s life, but in return she needs his help killing some notorious terrorists in town.
We’ve all seen this movie before. In fact we’ve probably seen something similar enough produced by Luc Besson just in the last year or so. The formula is worked over and only the most die-hard action junkies will walk away fully satisfied. The plot is predictable from start to finish, short of the comic flourishes, and has all the trappings you’d expected with a simple middle-of-the-road genre picture. It’s a major surprise that the action sequences are lackluster and unimaginative. With Besson as co-writer, and McG as director, I expected at least a few sequences that would stand out from the crowd, some inventive takes on the action genre. Alas, it’s the same old shootouts, car chases, and the like. I’m not a huge McG fan but I can at least credit the man for his visual style, which, despite the quality of the films, was evident in Charlie’s Angels and Terminator Salvation. With this movie, you would never be able to tell that a former music video stylist directed this. There is no trace of style outside a brief series of shots inside a Parisian tattoo parlor/club that provides some PG-13-approved partial nudity. It’s workmanlike direction with few images or compositions that rise above ordinary. Like most of 3 Days to Kill, the visuals are disappointingly bland and drably familiar.
There are also sizeable plot holes that jump out immediately. I’m not even talking about the usual action film clichés, like the good guys being expert sharpshooters, etc. First off, the name implies a remote time period, a natural opportunity for a ticking clock. He’s got three days to kill the bad guy… or else. But the movie never really provides an or else, nor does it really justify the title. Why does Ethan need three days to kill the bad guy? He’s spending three days watching his daughter, but that’s it. We’re given no real sense of urgency and the characters, the spies, don’t ever seem to sweat or panic. Ethan spends most of the second act bonding with his teenage daughter, teaching her how to ride a bike, and so on. These are not the actions of a man with a ticking clock. Then there’s the premise that Ethan has a rare cancer that requires a rare treatment that only Vivi offers. Ethan injects himself with this magic substance and it seems to do the tick, that is, unless his heart level gets too high. Then he starts to hallucinate and collapse. So there you have it, the plot of the Crank films now with a French polish. The problem with this scenario is that it ONLY happens during the most stupid of times. Instead of Ethan’s heart rate getting too high in the middle of deadly shootouts and speeding car chases, it’s generally when he’s one-on-one with an unarmed bad guy. Even with this, apparently drinking alcohol will slow down his heart rate. Knowing this, why doesn’t Ethan carry a flask of liquor on his person at all times then? He’s supposed to be a professional!
Despite the overwhelming mediocrity and formula-laden efforts, there are a few surprising and effective notes in 3 Days to Kill. The humor, Besson’s tongue-in-cheek genre riffing, is spry and involving enough that I wish the film had followed this tantalizing angle and become an all-out comedy. Ethan’s attempts to balance watching his daughter with his spy hijinks bears well developed comedic moments. Take for instance an informant that Ethan is intimidating for vital intel. His daughter’s phone call interrupts the scene, and she says she needs a recipe for spaghetti sauce. It just so happens the informant is an actual Italian, and so Ethan puts him on the phone. The informant recognizes that the longer he talks the longer he might live, so he draws out relating the recipe, and keeps mentioning how much he truly loves his mother and how she has no one else to take care of her. It’s a small scene but it’s clever and a nice twist on the formula. There’s another humorous scene where Vivi and Ethan debate the difference between beards and mustaches, since she told him to kill the guy with one and not the other. Ethan also forms an offbeat relationship with another informant, a limo driver named Mitat (Marc Andreoni), that becomes so casual, he knowingly helps himself into Ethan’s car trunk, requesting to be back before 4 PM since that’s when his daughters get home. “I can’t promise anything, but I’ll make an effort,” Ethan says before slamming the trunk shut. This is the kind of stuff the film needed more of, well-crafted asides that punctuate how silly spy movies often are. If only the film just wanted to be funny.
I think Besson and his coterie believed that Heard’s (Paranoia, Machete Kills) character was a constant source of comedy, but she’s really a hollow pinup, a video game avatar come alive. There is no character here, which may be part of the jape, because she’s all style and moody, pert sexuality. She just sort of appears whenever the movie needs a dose of sex appeal (sorry Costner fans). I think her aloof and calculating manner is meant to be taken as comedy. She’s brusque but without any real sense of joy. Not to take anything away from heard; she is a woman of stellar beauty, but just having a sexy gal make droll quips while dressed in a corset isn’t the stuff of comedy but fetish.
I have enjoyed Costner’s (Jack Ryan: Shadow Recruit) late spate of film roles and even enjoyed Mr. Brooks. But he’s all wring for this film, which looks like a modern Liam Neeson vehicle that he wisely passed on. Costner is convincing as a no-nonsense authority, but he’s not ready to take that Neeson-sized step into AARP action star. He sounds like he has a frog permanently lodged in his throat, or they filmed the entire film during a month where Costner was getting over a furious case of step throat. Perhaps he was doing his best Harrison Ford impression. Whatever the case may be, it’s not exactly winning, and while the actor sells the comedy bits easier, the badass moments lack the real punch the movie needs. Steinfeld (True Grit, Ender’s Game) has a nice rapport with Costner and she doesn’t overplay the teenage outbursts. Her character starts to grow a more intriguing dimension when she seems to possess her father’s traits, but she’s too quickly funneled back into being a helpless damsel to shriek and cry.
When it comes to 3 Days to Kill, there isn’t enough new to justify or even enough effectively entertaining to justify your valuable time. Now, if your time is less valuable, say disposable, and your expectations are low, then perhaps you’ll find a serviceable amount of entertainment in this formulaic action thriller. When the most exciting part of your movie is the comic relief, then maybe it should have been time to start over.
Nate’s Grade: C