If you had told me that The Tax Collector was a parody of writer David Ayer’s hyper masculine, lurid, crime-ridden jaunts into the slums, police stations, and domestic lives of criminals, I would have completely believed you. We’ve been here before, with Ayer’s End of Watch, Street Kings, Harsh Times, Dark Blue, Training Day, even the fantasy-mingled Bright looked like an Ayer battleground of gangs, crooked cops, hypocritical politicians, and godly family men who someone can justify the heinous acts of violence they do. This time Ayer is following a pair of gangsters that make their monthly rounds to collect their dues from the other gangs. Their big boss, The Wizard, is rotting in jail, and a rival gangster, who also is literally a cannibalistic Satanist, takes the opportunity to make a violent power play. First off, this is nothing you haven’t seen before. It’s more bad men barking threats at those they feel are underneath their authority, then lots of driving banter meant to endear us to these bad men, and then professions of how much they love family or God. With the main villain being an avowed occultist, the battle-line takes on a biblical sense or good versus evil. The problem is that I didn’t care about a single character nor did I find them interesting. For a solid hour, we’re watching David (Bobby Sotto) and Creeper (Shia LaBeouf) go about their collections, argue about theology and diet, and reminisce. These guys are not interesting and more place setters for more compelling characters to be developed in later drafts that never took place. There’s a paucity of thrills and action and general tension to be had here. It’s shoddily paced. When things do pick up and The Tax Collector becomes a grisly revenge tale, the villains are so easily toppled, and in such unmemorable ways, that you understand why Ayer was putting all this off. During a bathroom brawl, the action stops for a pointless flashback to see Bobby in his martial arts class, but when he comes back he smashes a guy’s head with a toilet cover. That wasn’t a martial arts move he learned. It’s strange moments like that where The Tax Collector feels more like an old, incomplete screenplay Ayer had locked away in a drawer, a rough collection of his bombastic machismo crime thriller tropes that barely tops 80 minutes. The only passion on display is from LaBeouf, who reportedly got an entire chest tattoo for his character except his exposed chest is never clearly seen once on camera. I don’t even know why he wasn’t the main character. Bobby is boring as the humdrum hoodlum who wants out of the family business (Michael Corleone he is not). A late twist is meant to be revelatory but, beyond being predictable by the economy of characters, signifies little for Bobby. The Tax Collector is awash in the same grimy gangland stereotypes that have populated most of Ayer’s professional work, but rarely has his moral ambiguity, nihilism, and envelope-pushing “rawness” felt more like self-parody. This is a thriller bled dry.
Nate’s Grade: C-
Netflix has been fighting to get into the world of theatrical features. While its original series have met remarkable acclaim, Netflix still wants to draw filmmakers. There have been a few high-profile film buys like Brad Pitt’s War Machine, the live-action American Death Note, and it’s become Adam Sandler’s new home. Bright is a $90 million dollar fantasy film directed by David Ayer (Suicide Squad, End of Watch) and written by Max Landis (American Ultra, Dirk Gently). The big buzzy movie has been met with big derision from critics, some even referring to it as the worst film of 2017. After watching Bright, I think my friend Drew Brigner sums it up pretty well: “It’s not terrible, but it’s not great.” Slap that onto the poster, Netlfix.
In an alternate Los Angeles, humans exist side-by-side with fantasy creatures like fairies, elves, and orcs. Daryl Ward (Will Smith) is assigned a “diversity hire,” Jakoby (Joel Edgerton), the first orc on the force. Nobody wants to work with him. The humans are looking for whatever means they can of getting rid of the orc, and Ward’s superiors are looking for his assistance. Then one night on patrol, Ward and Jakoby come across a nightmarish crime scene. Bodies are burned in place. A woman is stuck in a wall. There’s one survivor, Tikka (Lucy Fry), an elf who has gotten hold of a magic wand. It so happens that magic wands are powerful weapons and only Brights can hold them. Word gets out about their discovery and every group in L.A. is after this powerful item. Ward and Jakoby have to escape gangs, orcs, corrupt cops, and an elf cult leader, Leilah (Noomi Rapace), who needs the wand to summon her Dark Lord back to dominate Earth.
For the first 48 minutes or so of Bright I was willing to give it a welcomed chance. The world building from Landis presented enough interesting wrinkles to keep me intrigued. The banter felt believable enough to fit into its desired genre. Edgerton (It Comes at Night) is engaging and charming as a good-hearted orc whose life’s dream is to be a police officer. He is viewed as a traitor by his own kind, so that makes us like him even more for what he’s willing to sacrifice for this precarious position. There’s a personal source of conflict between Ward and Jakoby that is introduced early for them to work through. There are magic police, which is kind of cool. The world feels lived-in with clever details even though it could have used more of that sense of living. Too often it feels like the only difference in this new L.A. are scattered creatures in different locales. Elves are the rich elite. Orcs are the poor and disadvantaged. I could have used more magical creatures in the mix. What about dwarves, wizards, dragons, anything? Still, Landis’ script was providing enough breadcrumbs to carry me along, building up to the wallop of finding the magic wand. It forces Ward to make a startling personal choice that will define the rest of the film. It took a while to get going, but I was still willing to give Bright the benefit of the doubt.
However, it’s after the 48-minute mark that Bright begins its disjointed descent and never truly recovers, disassembling at an alarming rate. What follows is a series of poorly developed, poorly shot action sequences as the characters bump into one violent group after another. The interesting plot development gets put on hold and the weaker elements begin taking greater significance. It wouldn’t be a fantasy film without a great prophecy, which comes into bearing in the most contrived of ways. Speaking of contrived, there is a coincidental rescue late in the second act that made me loudly groan. Then there’s redoubling back to previous locations presumably to save money on set design. Once the movie sets things in motion for the mad scramble for the wand, it just feels like one unrelated sequence after another to keep our characters on the run. Even with the fantastical world building, you’ll be hard-pressed to muster genuine surprise. That’s because all of the later plot turns are readily telegraphed, like the coincidental save. We’re told that only a Bright can handle a magic wand and anybody else that touches it will explode. First off, why doesn’t this make the magic wand a defensive weapon if you know how rare Brights are? If you know idiots are going to have grabby hands, why not slide it toward your enemies? Regardless, knowing that dichotomy, you know one of the two main character will be revealed to be a Bright during a climactic moment, because why else have it? Anticipating payoffs isn’t necessarily a bad thing, but when you can anticipate all of them, then you’re in trouble. The most surprising aspect of Bright is how ultimately it’s still a formulaic buddy copy movie dressed up with some extra fantasy spectacle.
Another weakness that becomes more apparent as the film continues is the characters. Ward and Jokoby are pretty thinly sketched out with a few clarifying details. Ward is the lightly racist archetype who learns to accept his partner’s differences over the course of one long night. He’s pretty indistinguishable from the character Smith plays in the Bad Boys films. I suppose his prejudice and desire to better support his family is enough setup to question whether he’ll follow in the corrupt patterns of his colleagues. But after he makes his choice at that 48-minute mark, it’s like his character growth just stops. He still barks orders, he still quips one-liners, and he makes the big sacrificial gesture, but his character development is iced for a solid hour. Jakoby has more ground to cover and fairs somewhat better as the Jackie Robinson of the orc community. Except this guy seems way too inexperienced, clumsy, naïve, and simply not good at his job. In order to be the first diversity hire, I’m expecting this guy to have to go above-and-beyond to even be considered for a position. It reminds me of Shonda Rhimes quote where she says, as a black woman, “you have to be twice as good as them to get half of what they have.” I didn’t believe Jakoby was the best candidate for shattering that orc-sized glass ceiling. The harassment from the other cops can be painfully juvenile as well, like tacking on a stupid middle school-esque “kick me” sign to his back. He wants to make more of himself and because of that dream he’s shunned by his fellow orcs and distrusted by humans. That perspective should be far more interesting than what we get with Bright.
The supporting characters fare even worse as bodies given momentary activity. Tikka is merely a plot device and not a character. She doesn’t even speak until close to 85 minutes into the movie, and it wasn’t really worth the wait. A toaster could have replaced her and the plot would remain relatively the same. She is the definition of a prop. She has no personality, no agency, and no goal beyond keep the powerful thing away from the villain. Because she’s a Bright she’s one of the few who can wield the magic wand, but even those rare occurrences are underwhelming. If this thing is as advertised, a “nuclear bomb that grants wishes,” then why doesn’t Tikka just utilize it to destroy the villains once and for all or at least help Ward and Jakoby? Poor Fry (The Darkness) just gets yanked around from scene to scene, shivering and generally looking frail. She’s got some killer eyebrows though.
Noomi Rapace (Prometheus) doesn’t have much to work with as the chief villain, Leilah. She’s an acrobatic murder machine who wants to summon the Big Evil Thing of Old, and that’s about it. Rapace does have a naturally elfin-looking face, so it’s solid casting. The other characters, especially the various antagonists, are just slight variations on heavies. No real personalities. No dimension. They’re just a video game stage of slightly different looking goons to be cleared before the next stage. Maybe there’s a larger point about the similar darker impulses all races are tempted by, but I think that’s giving the movie more credit than it deserves.
On that front, the racial commentary of this alternate L.A. is muddled, to say the least. The orcs are obviously meant to take the place of lower-class African-Americans in this newfangled City of Angels. However, what does the movie do with this? The orcs are judged to be troublemakers, prone to violence, and generally subhuman, with several people holding a thousand-year-old grudge over the mistakes of previous orcs. Under Ayer’s murky direction, the orcs easily resemble the black and Latino gangs we’ve seen in many of his police dramas. They’re meant to be an underclass. What does that make black people? There’s a tone-deaf joke in the opening where Ward yells, “fairy lives don’t matter” before swatting the winged nuisance to its death. I guess racism against orcs has replaced all other forms of intra-human racism. Landis’ script takes a hot button issue and drops the ball on making the commentary meaningful. Just think about what Zootopia did with its racial allegory on predators and prey. They took a serious topic and had something to say about it. Landis takes a serious topic and ignores the greater potential. By the end of the film, it feels oddly like Landis just took an old buddy cop story concept and grafted some incidental fantasy elements onto it and called it a full day.
Ayer doesn’t help matters by filming in his Suicide Squad-vision of drizzly grays, cool blues, lens flares, and lots of dim shadows. The very look of the movie is so downcast and the action sequences are too poorly developed and choreographed. The combat is very often close-quartered and the jumpy edits and slippery sense of geography make the brawls practically incomprehensible. The sequences don’t develop organic complications. It’s just the same concept over and over, get to that place, shoot the bad guys before they shoot you, repeat. The action also misses opportunities to connect with the character motivations and to derive mini-goals that can help spice things up. Bright has none of that. Even with the inclusion of magic and magical creatures! The best scene is an attack in a convenience store that gets closest to involving parallel lines of action with some organic consequences related to its specific setting. Otherwise it’s a lot of shootouts in locations you’ve seen in other grimy cop movies (alleys, warehouses, strip bars, etc).
Bright is the most expensive movie in Netflix’s history and they’re already reportedly developing a potential sequel. The world Landis has created has enormous potential. It’s unfortunate that it’s not realized in this first edition. It’s not as bad as some film critics have been harping about but Bright should have been much better. The characters are lacking, the world building feels unfulfilled, the narrative is predictable, the social commentary is simplistic, and the action sequences are dreary and unexciting. I think something like Bright might in the end be intended as a loss leader for Netflix, something they initially lose money on but ultimately draws in new subscribers. It’s almost the same cost for that canceled Baz Luhrmann series, The Get Down (at least got eleven episodes from that). Bright is an underdeveloped genre mash-up that might make you reach for a magic wand of your own, your remote.
Nate’s Grade: C
After watching the debacle that was Batman vs. Superman, I said it had killed my hope for the larger DC film brand. Thanks to writer/director David Ayer, and by extension Zack Snyder’s ongoing influence, Suicide Squad reconfirms every bad step they’re down on this bad road of anti-entertainment.
Amanda Waller (Viola Davis) is worried about national security in a world where a certain Kryptonian has upended our sense of priority. She wants to assemble a team of bad guys who can do some good. Rick Flag (Joel Kinnaman) is placed as the commander of a “suicide squad,” a black ops team of super villains that are injected with devices to make their heads go kablooey if they disobey. Among the ranks is Deadshot (Will Smith), a paid assassin who never misses, Harley Quinn (Margot Robbie), the former psychiatrist and lover to The Joker (Jared Leto), an Aussie named Boomerang (Jai Courtney), Diablo (Jay Hernandez), a guy with the ability to control fire, a human-crocodile hybrid named appropriately Killer Croc (Adewale Akinnuoye-Agbaje), and the Enchantress (Carla Delevigne), a thousands-year-old spirit inhabiting the body of Dr. June Moone, who also happens to be Flag’s girlfriend. Assisting Flag is Katana (Karen Fukuhara), a masked swordfighter with a tragic and mystical past. The Squad is thrown into harms way and have to work together as a group if they plan on surviving.
The tone and structure of the movie is like an unholy marriage of Stephen Sommers’ (The Mummy) sense of careless plotting and archetypes, mish mashing tones, and Joe Carnahan’s (Smokin’ Aces) sense of wanton violence, killer cool killers, and militaristic fetishism. It’s a problematic pairing of tone that almost sort of works in the opening twenty minutes as it sets up the various bad guys with their requisite little slices of backstory. Primarily Deadshot and Harley Quinn are the spotlight characters, and it helps that the two most charismatic actors play them. The first twenty minutes doesn’t exactly push the narrative forward in a meaningful way as it involves Davis digressing with an armada of high-energy flashbacks, but it’s almost forgivable. Her pitch to the government for a black ops team of super villains seems credible enough in this anxiety-ridden world, so Ayer has at least started off not quite well but well enough. And then it all goes downhill so fast into a vortex of suck and cannot recover.
It was at the first act break that I knew this movie wasn’t going to recover and get better. You see the advertising has been very secretive about who the true antagonist is for this movie, which is none other than the Enchantress. The introduction of this Jekyll/Hyde character and her power is initially interesting, though she certainly stands out in a world of meta-humans. The problem is that this character is obviously far more powerful than everyone else in the movie, as evidenced by Waller’s “show off” moment having the Enchantress teleport and bring back nuclear secrets from a hostile foreign nation. I think Ayer realizes this and so he quickly, and I mean quickly, positions the character as the Big Bad of the film. Dr. June Moone whispers the word “Enchantress” and she appears, and then she whispers it in her sleep and, oh no, the wicked witch lady is out and nobody seems to have any contingency for this. How has nobody thought about the risk of her accidentally saying this one word? Should she be sleeping with some sort of gag?
Enchantress steals the other ancient idol containing the spirit of her brother, which is just hanging around for some unknown reason, and the two of them are distraught that mankind, which once worshiped them, has moved on. They’re going to destroy the world by making a vague world-destroying machine, which basically comes across as a giant energy portal. The brother becomes the primary villain, a giant heavy with dumb tentacle weapons, and the two of them take human beings and turn them into a faceless army of disposable soldiers thank to the power of Enchantress kissing them. It’s at this point that the movie reminded me of Sommers’ Mummy Returns sequel where the goofy tone and careless development swallowed the movie whole, shrugging and saying, “What more did you want from us?” The villains are quasi-Egyptian gods who want to destroy the world. The last act finally positions the Enchantress as the one to topple, and our anti-heroes are attacking her with guns and baseball bats. It’s just laughable and not in the good way. The entire Enchantress as villain storyline is a swirling CGI mess and her army of faceless henchmen inspire no interest or dread.
You would rightfully think that a movie about a ragtag team of kooky anti-heroes would be darkly comic and have a whimsical sense of fun, much like what James Gunn achieved with Guardians of the Galaxy. I walked out of Suicide Squad dumbfounded and muttering to myself, “How… how do you screw this up?” I think the movie has confused snark with humor. There is precious little that comes across as funny. The characters have some one-liners but that’s about it, and they grow tiresome after a while. Suicide Squad is a classic example of trying too hard; it’s all empty posturing and posing, asking for plaudits about how edgy this cut-and-dry PG-13 movie must be with its mall Goth aesthetic and irreverent sense of good and evil. It tries so hard to be edgy that you can see the onscreen flop sweat. Case in point: the avalanche of music selections. In the first ten minutes or so it feels like there is one needle-drop music selection mere seconds after another, and Ayer chooses a mixture of artists for their on-the-nose lyrics. “You Don’t Own Me” for Harley Quinn especially, “Come Baby Come” just for a scene involving a bat with the choice lyrics, “swing batter batter batter,” a cover of Nirvana’s “Lithium” because it has “friends in my head” as a lyric, “Sympathy for the Devil” for many obvious reasons, “Spirit in the Sky” when the gang is airborne, “Seven Nation Army” when the gang is put together, and so on. If there were a handful of on-the-nose music selections, it would be passable, but it’s almost like the overzealous music director worked overtime to provide as many selections as possible to cover-up the movie’s empty sense of fun.
No character symbolizes the film’s ethic of trying too hard more than Leto’s (Dallas Buyers Club) rendition of the Joker. Admittedly Heath Ledger’s performance was iconic and cannot be replicated, but Ayer’s script doesn’t even justify the character’s presence. There is no standout or memorable scene with the Joker to help signify just what kind of character he is, how he’s far different and more dangerous than your everyday psychopath. If you called this guy a different name you would swear it’s a different character because they fail to make his inclusion meaningful. We see Joker in flashbacks relating to Harley Quinn, and it’s in these short moments that the character plays best, in particular a high dive into a vat of chemicals all in the name of twisted love. Through Harley, we get a fleeting sense of a Sid and Nancy sort of courtship that could be interesting. However, alone, Leto’s Joker is a wash, intimidating guards with lackluster “crazy talk” and maniacal giggles. There’s a shot of him lying on the ground surrounded by a carefully constructed circle of weapons. It’s a small moment but it makes him seem more OCD than scary.
Joker’s storyline is trying to free his girl from prison, but the larger problem is that Harley Quinn is a worse character when she’s with her “puddin'” Mr. J. She loses her independence and just becomes arm candy and settles into The Girlfriend in Short Shorts. She elevates him and he drags her down. That’s a direct problem with characterization. The Joker is a distraction to the other characters and his small scenes tracking her down do not excuse the detour. Leto snarls and struts but it feels over conscious and dull. There is a better way to use the Joker: make him the target of the Squad. That pushes Harley Quinn directly into the center of the story and provides plenty of internal conflict for her to wrestle with her tortured psyche and sense of adoration for a man who had tortured her and abandoned her. That would be more interesting. In the Snyder universe, we have a Batman who has no compulsion against killing his enemies, so why the hell is the Joker still alive to terrorize? It seems bizarre that Affleck’s Batman would let this guy go unless the fan conspiracy theory that the Joker is secretly a disturbed Jason Todd, a former Robin, was accurate. That would make the character instantly more intriguing and provide some needed depth to what is a shallow character that is all exaggerated attitude. He’s the worst modern Joker but not the worst part of the movie.
The characters are just not that interesting and the far majority of the Squad teammates are meaningless background players. Killer Croc, Boomerang, Slipknot, and Katana are utterly useless in this movie. They fill out space and kill some faceless bad guys, but their plots could just as easily been attached to the other Squad members. Katana in particular is another one that feels like she’s been pulled in from a different movie entirely. She’s introduced as this killer assassin and Flag says, offhand to the point of hilarity, that her sword captures the souls of the men it kills. There’s a later moment where she’s swearing her love to the trapped soul of her husband in the glowing blade, and I just couldn’t hold back and started laughing. I’m sure this point is directly taken from the comics, but it’s thrown in without any care, any setup, and its tone is directly conflicting with the snarky nogoodniks. Diablo is given a boring and predictable arc but he at least has a dollop of characterization outside “zany” or “menacing” because he wants to not use his fire-starting powers. These characters just don’t matter to the story, and the actors aren’t given anything close to resonant character moments to make them matter to us. The Batman cameos are completely superfluous as well. There’s no reason that our criminals couldn’t have been brought in from other circumstances. Batman also has a creepy moment where it seems like he’s forcing himself on Harley Quinn to give her mouth-to-mouth resuscitation. It’s such an off-putting and curious moment I kept waiting for Bruce Wayne to wake from another dream sequence.
I think back on Captain America: Civil War again and how the filmmakers were able to deftly integrate a bevy of heroes and make them matter, giving each one a small moment to be fleshed out, providing arcs, and incorporating them in exciting and satisfying ways into combat that would let them show off their stuff. Suicide Squad is not that.
There isn’t one good action sequence in this whole movie, and with the Enchantress army of monster goons, it starts to feel like an extended episode of the Power Rangers but with an oversight of firearms. What’s the point of bringing in a bunch of weird characters with super powers if all they get to do is one gunfight after another? Once the Squad lands in Raccoon City, er, I mean whatever city ground zero is, the movie is one long slog to eventually confront the Enchantress. It’s one abandoned street filled with goons to get shot down after another. Repetition settles in and Ayer doesn’t use the opportunity to have his characters do something fun or different. The action doesn’t excite and the characters don’t excite, and everyone trudges, head down, to their dire destination in the sky. It feels like a shadowy warzone without a clear objective, direction, or understanding of the threat. There is one interesting aspect of the action that’s never developed as it should be, and it’s the Squad’s vulnerability to losing Flag. Not only does he have the control to make their heads burst, if he is killed in action then the Squad dies too. Deadshot realizes that the team has to defend Flag and out-rightly rescue him a couple of times. It reminds me of a video game escort mission but Ayer never really does much more than having his characters recognize this dynamic. As much thought is put into the action as put into the antagonists, which is to say little. Some of the action is so poorly edited and choreographed that I just hit my head against the back of my chair and waited for it to be over.
There are a few bright spots in the film, mostly provided by the lead actors. Smith (Focus) is still one of the world’s most charismatic actors even if he’s saddled with the rote “I wanna see my daughter” storyline to humanize his remorseless assassin. Smith relishes his anti-authority figure and settles into a comfortable and appealing groove. Robbie (The Wolf of Wall Street) is delightful and her character’s zany non-sequiturs are more often funny than grating. You can tell Ayer is also a fan, as his camera lovingly oogles her body. It’s a performance that whets your appetite for more Harley Quinn that the movie doesn’t seem to be able to deliver, especially when it starts to go down a route that presents her almost sentimentally. Davis (The Help) does a fine job selling her badass tough guy moments as the leader of the program. I don’t quite buy the “government/jailers are the real bad guys” angle the movie consistently presents to elevate its Dirty Dozen. The “worst of the worst” can’t be all that bad considering we’re working under the mandate of a mainstream PG-13 rating. They’re villains with gooey centers and moral codes.
It’s not at the punishing level of disaster that Batman vs. Superman wrecked, but this is a movie that is plenty bad, and not in the good way, or the fun way, just in the bad way. Even things that should be saving graces for a comic book movie about antiheroes, the fun personalities and visuals, are lacking. Ayer doesn’t know what to do with his overabundance of characters once he gets them assembled and he doesn’t have the visual dynamism of a Snyder. Ayer has talent with writing machismo characters and can even be a fine director of action as he proved with the sturdy WWII tank movie, Fury. It certainly feels like this movie got away from him. If this is trying to be an over-the-top B movie, it fails. If it’s trying to be a flashy and stylish diversion, it fails. If it’s trying to be a subversive take on super heroes, it fails. It just doesn’t work. It wants to thumb its nose at super hero movies and dance to its own anarchic, nihilistic beat, but you never believe the movie’s own convictions. It feels like empty posturing, confusing attitude and costuming for edge. It felt like some film exec pointed at Guardians of the Galaxy and said, “Make us one of those.” The sad thing is that Batman vs. Superman wasn’t good but it was at least ambitious, having to set up multiple franchises, serve as a sequel and reintroduce Batman. Suicide Squad had to do considerably less with the easy task of making a group of crazy anti-heroes as popular entertainment, and it flounders. It’s going to be a long wait until 2017’s Wonder Woman, the next DC movie in their larger plan to compete with the Marvel big boys, and the howls from dissatisfied moviegoers will echo until then, providing a pessimistic landscape for every new scrap of footage and trailer. Remember that the Suicide Squad trailer looked mighty good too and the actual movie is well and truly awful. Sometimes the packaging is the best part and sometimes it’s the only part.
Nate’s Grade: C-
Why haven’t there been more tank movies? We have a slew of war films in all shapes and sizes and yet there are hardly any movies from the unique point of view of the battle-tested tank crew. Perhaps it’s the claustrophobic shooting conditions and limited breathing room, but then both of those are usually assets to the submarine sub-genre, and we got plenty of movies set primarily in less-than-spacious submarine quarters. Maybe it’s the sheer cost, since a submarine can be replicated with a model and a tank requires its own onset crew just to get exterior shots. Then there’s the issue of just watching close-ups of people looking through telescopes, squinting, and pulling triggers. I don’t really have a working hypothesis to explain the paucity of tank movies from Hollywood but now there’s at least one mainstream effort on the big board.
Fury follows the brave men of the titular tank that’s traveled from Northern Africa to France and now Germany in the dwindling days of World War II. Norman (Logan Lerman) is the new guy, replacing a fallen comrade on Don “Wardaddy” Collier’s (Brad Pitt) crew. The average life expectancy on a tank was only a handful of missions, but under Collier’s leadership his squad has defied the odds. Now the presence of a rookie puts all their lives in danger especially so close to the end of the war.
Writer/director David Ayer (End of Watch, Sabotage) delivers a meat-and-potatoes kind of war film, a movie that knows what it’s doing and how to satisfy its audience but rarely steps outside of this mission to resonate further. There’s a requisite pathos and air of contemplation to the proceedings, especially with the conflict of Norman’s innate goodness getting in the way of killing soldiers, armed and unarmed, in the line of duty. What does it take to be a soldier? Can you still recover as a man or does one have to shut off those elements of concern, the quibbles over moral actions that would otherwise haunt. In one sense, it’s a little contrived that the new recruit has to be so green to the battlefield that everything needs to be taught to him including the us vs. them mentality of war. On the other hand, it provides an ongoing source of conflict that leads to some striking moments, like when Collier literally forces Norman’s hand to get him his first kill. Much like Saving Private Ryan once it settles down, the movie progresses as a series of vignettes that showcase a variety of consequences and realities of the war. Naturally some are more engaging than others, but for the majority Fury holds your attention nicely. Ayer’s direction of action is astute and a tank-on-tank battle is wondrously taut thanks to the stubborn and fascinating tactics of tank warfare. I just don’t know how all these guys can make out whose order is for whom with all the other noise going on.
It’s during the concluding act where the movie abandons most of its sense of realism to completely double down on exaggerated action movie heroics, and it’s unnecessary. Beforehand, we’ve been treated to this crew and their town-by-town escapades, watching them come together but also watching them deal with the vagaries and lasting traumas of war. And then it suddenly shifts gears and becomes a last stand movie where our small crew in one immobile tank has to take on, literally, 300 Nazi soldiers. Ayer makes a specific point of clarifying them as Nazi S.S. men and not your casual German soldier. Pitt and company all decide to stay and fight valiantly rather than hide, and so we’re treated to their preparations for what is sure to be an Alamo in a tank. It then just becomes a rote action movie where they fire into the smoke, more Germans keep coming, and we just patiently watch them run through their last remaining desperate options for defense. Ayer doesn’t falter with his depiction of the action or the logical nature of his plot beats, though I don’t know why they didn’t keep more of the gun ammo in the tank. There’s a repetition and expectation of casualties with this section, perhaps intended to magnify their sacrifice and heroism but it feels too forced. The movie was working perfectly fine prior to this new shift in tone. Now we have Germans that are plainly idiotic, with poor marksmanship, and who can’t just wait out the tank. They have rocket-propelled weapons and the tank only shoots in one direction. The ending action assault still works as an entertaining barrage of blood and violence, but if you were liking Fury for what it was then be prepared to be a little disappointed.
What really hooked me with the film was an extended sequence that doesn’t even involve the tank at all. Stopping to regroup with their company in a small, bombed-out German town, Collier and Norman enter the home of two women, Irma and Emma. Initially the scene plays out like they’re scouting for any hiding soldiers, so there’s an initial carryover of tension. Then the gentlemen stay and the scene transforms organically into something more interesting. The scene is allowed to linger, and we see a different side of Pitt’s tank captain. The women set up a dinner and there’s a moment of reserved calm. Norman and the youngest German woman get some privacy, much to the knowing approval of the other two older adults in the room. Then just as their little scene has reached serving time, the other members of the tank storm the room, drunk and confused. They came seeking to deflower Norman with an ugly prostitute they each had a turn with. Their eyes settle on the young, much prettier women, the food about to be served, and you can feel the resentment starting to build, the old conflicts and tensions sneaking back into the scene, particularly a sneering Jon Bernthal (Wolf of Wall Street), who relishes being hostile. You don’t know where this is going to go. Are they going to make a fuss? Will they mistreat the German civilians, maybe even assault them, and if so how will Collier and Norman respond? What will they say about the appearance of preference with these civilians than with their tank company? How far will this go? I am not kidding when I say that for a movie with plenty of war violence, this was the tensest scene in all of Fury. It plays out so naturally, leisurely, but every moment pushing forward and building in tension. It’s a shame then how Ayer decides to conclude this entire episode, glibly turning these women from characters into a cheap plot device. Until then, though, it’s a 12-minute oasis from the genre machinery of war movies.
The other aspect where Fury falters is when it comes to fleshing out the characters in that dangerous tin can. With war movies the characterization can often get lost in the shuffle of violence and messages, so there’s something of a sliding scale; if you can get one good sequence, perhaps one solid insight into a character that opens them up as more than “Hispanic Gunner” or “Vaguely Southern Religious Marksman” then you call yourself fortunate. The characters don’t stray far from their archetypical orbits: the rookie, the hotheaded one, the Bible-quoting philosopher, the commander who hides his fear and… the Hispanic Gunner (sorry Michael Pena). The assembled actors do fine work with what they’re given, but so much of the part is reactionary to off-screen, out-of-the-tank action. Pitt (World War Z) has a stolid clam that commands leadership but boy does his character lack a personality. He’s just settled into that authority figure role. Shia LaBeouf (Nymphomaniac) gives a performance with enough edge, the emotions just peaking through during key moments, to leave you wanting more, both from the character and the actor. Lerman (Perks of Being a Wallflower) is suitably wide-eyed and out of his element early, finding his requisite spine and becoming a “man” over the course of the film. It works as a point of view entry into this world though his character can come across as naive and then later also unjustly criticized. After two hours with this crew, you won’t be fighting back too many emotions as they make their last stand and their numbers dwindle.
Fury is a fairly gritty, bloody, and sturdily entertaining World War II action thriller that is unwaveringly serious for a solid two acts until an all-out assault into over-the-top action movie land for its final, admittedly enjoyable, conclusion. It decides to just skimp out on the characterization so as to spend more time pumping up the virtues of tone and action. The film never bored me, and during stretches it was riveting with suspense and a gritty realism, all before retreating back to archetypes and Hollywood standoffs. For long stretches it’s a series of vignettes but there are moments that rise above, which cut through the carnage and stay with you. Ayer’s direction of action is rather impressive and this is easily the finest work behind the camera for the famous screenwriter. In many ways, Fury is a no-nonsense throwback to World War II war movies, with a similar no-nonsense pack of characters. An older audience will definitely find the movie appealing. It does more than enough well to recommend but just don’t expect the next Saving Private Ryan in terms of lasting impact. Still, give me more tank movies, Hollywood.
Nate’s Grade: B
David Ayer has written seven movies and directed three, and almost all of them have followed the Los Angeles police department. The man wrote a character that got Denzel Washington a Best Actor Oscar, and from there it’s been all cops all the time, some dirty, some noble, but all residing in the LAPD. I suppose Ayer knows what he does best and is sticking to his wheelhouse. End of Watch is Ayer’s newest tale featuring one of the protagonists recording his activities on the force to put together for a documentary. And with that flimsy excuse, we have ourselves the first found footage cop drama.
Officers Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pena) are two young police officers patrolling the mean streets of Los Angeles. Rather than dark and brooding, these guys are often quick with a joke and get along peachy. That doesn’t mean they don’t take their jobs seriously, and we watch them take down suspects, save children from burning buildings, and discover horrible mass slayings by Mexican cartels. During their off duty time, Taylor is dating a spunky woman (Anna Kendrick) whereas Mike has a wife (Natalie Martinez) and children of his own. The guys are honorable cops and run afoul of the local gang leader Big Evil (Maurice Compte), a man with connections to those dangerous cartels.
The best reason to watch End of Watch is the ebullient yet natural chemistry between Pena (World Trade Center) and Gyllenhaal (Source Code). These guys really come across like partners that have been through thick and thin. Their interaction is arguably the best part of the movie, watching two guys who defy cop movie stereotypes. First off, neither is naïve or world-weary; they’re idealistic but grounded. Both men get to be complex individuals, each funny, each warm, each flinty when called upon, each dealing with the heavy toll of protecting and serving, each an honorable police officer trying his best. These guys feel like real-life partners and not just Movie Partners, and that is a great testament to Ayer’s script and the performances by Pena and Gyllenhaal. I also appreciated that the guys are presented as co-leads; I would have assumed Gyllenhaal was going to anchor the movie. These guys really love one another and you understand their camaraderie. The actors went on ride alongs for a solid five months before shooting, and that must have been an invaluable tool for an actor because these guys are so natural with one another. They can bicker but it’s mostly playful, and the dialogue feels authentic and crisp. The performances are measured and meaty and we emotionally invest in these characters and fear for their welfare. These guys are great together and so you worry that we may not see them both live by the end credits.
These guys are such pals, you’ll start to ask yourself, “Hey, shouldn’t there be like some conflict some time?” For almost tow full acts, we are immersed in police procedure details, routines, mundane realities, with the occasional burst of action. Except it takes until the very end of Act Two before there’s a real conflict, one that lasts beyond an individual sequence. These guys are so chummy, so lovingly buddy-buddy, so there’s no tangible conflict between the two of them. The LAPD seems mostly supportive despite some paranoid warnings that do not bear fruit. Even the local thug, Big Evil, doesn’t prove to be an active threat until the Mexican cartel pays him to kill our lead cops (the cartel also wants an expense report of the hit). But this threat doesn’t emerge until well into the film, so much so that the plot feels rather aimless, like we’re on one eternal ride along with our boys in blue. It’s a good thing I enjoy their company.
Here’s why I speculate why Ayer chose to tell his story through the guise of found footage. I don’t out rightly see it as a cash grab, Ayer’s attempt to repackage something old with something new (that is quickly becoming something old). Ayer is not particularly dogmatic about the found footage approach; often we’ll get first-person angles, gun POV angles, or just general angles that could not have been captured through the found footage mechanics. I think Ayer chose this route because he felt it afforded him greater latitude to craft a realistic depiction of the daily grind of the embattled LAPD officer. This approach allows Ayer more freedom to flout cop movie clichés we’ve become well accustomed to. There are no wildly mismatched partners, no long gun heroics, and no long-suffering personal relationships. Though I find it extremely unbelievable that the LAPD would be so casual and blasé about an officer recording his activities and internal workings. That seems like an open invitation for a lawsuit or a subpoena especially if a criminal attorney gets wind. To a degree, the found footage edict works and the authenticity of End of Watch is never in question, but it also seems like Ayer’s convenient go-to excuse when you’re looking for that missing conflict. It is a fictional movie after all.
The visceral nature of the camerawork, and the extra emotional attachment we feel for the leads, makes for some pretty nail-biting suspense, though only after the cartel issues their hit. The movie teases you with a gutsy ending, one that exemplifies the men’s sense of brotherhood in arms and the fatalistic prospect of protecting the City of Angels. It felt fitting and poignant. I was surprised that Ayer was taking an audience in this direction… and then he didn’t. The film chickens out and gives us a miraculous plot turn that also reinforces the Hollywood pecking order of racial significance. It’s a misstep and one that costs End of Watch from being more emotionally resonant.
As a side note, I’m not a prude when it comes to the use of salty language. Films that reflect certain realities should not curtail the way people genuinely speak. Some people just have filthy mouths. However, the profanity level in End of Watch is off the chart, notably concerning the character of Big Evil. I am dead certain that every second or third word out of this guy’s mouth is some variation of the f-word. If you catalogued all of his dialogue, I bet over 75% of total words would be profanity. It starts to get ridiculous and even funny when you hear nothing but the same three words during an angry outburst. And this is no David Mamet or Kevin Smith poetic composition of vulgarity and the profane; this is just lazy dialogue, like Ayer told his actor that, when in doubt, let loose a litany of f-bombs. Perhaps Big Evil would be less evil if people just helped him with his limited vocabulary.
End of Watch is an involving police procedural with some gripping moments of tension thanks to the stellar performances from its pair of police officers, Pena and Gyllenhaal. Ayer’s found footage motif gets some visceral excitement out of an old story, but what really sucks us in are the emotional bonds we’ve forged with these two men over the course of an hour. That makes the danger feel very dire. The movie feels like a bromance at times. I wish Ayer hadn’t pulled back from his more dour ending but it’s not enough to spoil what is an above average genre film with a spiffy new visual polish. I don’t know how many films Ayer can keep cranking out about the LAPD but as long as he pays due attention to character, and gives us the occasional break from the ubiquitous antihero with a badge, then at least he’ll keep making compelling genre cinema.
Nate’s Grade: B
This is a wildly overwrought and sleazy drama is hoping to come across as edgy but everything is so overdone. It fulfills all the requisite elements of the modern crime picture; double crosses, forlorn anti-heroes, bloody violence, but Street Kings misses the mark big time when it comes to any nuance. Every beat of this murky, convoluted dirty cops mystery is plain and obvious. If you cannot guess within minutes who the eventual culprits will be then you haven’t seen enough movies. Every character is a cliché of a cliché, every unrestrained actor is constantly speaking in nothing but exclamation marks, and the dialogue is some of the worst I’ve heard all year. Keanu Reeves is a listless leading man who is blank and lifeless, unable to wrestle the dark and complicated emotions needed for a “cop on the edge” role. I can practically feel Forest Whitaker’s spittle every time he speaks. Street Kings feels like a route retread of rogue cop pictures, which are director David Ayer’s specialty. It wants to shine a light on the seedy underbelly of the law but it can’t stop from feeling like a lobotomized version of L.A. Confidential (Note to Ayer: Jay Mohr + mustache = an arrangement that benefits neither party).
Nate’s Grade: D
Denzel Washington won an Oscar for this? Instead of Malcolm X? For THIS?! Yes he gets to huff and puff as he plays against type as a dirty cop, but is this reason alone to give an Academy Award to such a forgettable and collectively implausible film? Ethan Hawk, his co-star, is actually better in the film. All I can say is right actor, wrong movie. It’s like rewarding Kevin Spacey for Pay It Forward over the other screamingly better movies. It doesn’t make sense. There are plenty of hip-hop stars making cameos or small roles (Dr. Dre, Snoop, Macy Gray) but most of the time Training Day feels like tired and dead air especially as the contrivances begin to pile onto one another the longer this day goes. And Denzel is huffing and puffing but the house still stands. Man, the voters must really have not wanted Russell Crowe to win.
Nate’s Grade: C-