Coming down from the surging adrenaline rush, I was trying to determine when was the last time an action movie made me feel the immersive, delirious highs that Mission: Impossible – Fallout offers in spades, and what I came up with 2015’s Mad Max: Fury Road. Simply put, this is the best straightforward action movie in three years. It’s the best Mission: Impossible movie in the series, which, if it hadn’t already, has assumed the peak position of the most consistent, most entertaining, and best action franchise in Hollywood. Allow me to explain how returning writer/director Christopher McQuarrie (Jack Reacher) makes an action movie that demolishes the competition.
Ethan Hunt (Tom Cruise) has been pulled back into spy action thanks to the lingering fallout (eh, eh?) of the capture of Solomon Lane (Sean Harris), whose followers, nicknamed The Apostles, have stolen three plutonium cores. It’s Ethan Hunt’s fault the nuclear cores got loose, and so he and his team, Luther (Ving Rhames) and Benji (Simon Pegg), must clean up after their mess. The CIA sends its own asset, the burly August Walker (Henry Cavill), to help oversee the mission and specifically Ethan Hunt, who must pose as a shadowy terrorist broker to maintain appearances with important figures in the criminal underworld. In order to get the nuclear parts, Ethan Hunt has to retrieve Solomon Lane and release him back into the open. Complicating matters further is Ilsa Faust (Rebecca Ferguson) who needs Solomon dead to clear her own spy debts.
Every action movie lives or dies depending upon its unique set pieces, often the first thing constructed by a studio and then the plot mechanics are ladled on merely as the barest of connecting tissue. They need to have stakes, they need to have purpose, they need to be memorable, and they need to be understood and develop organically. Mission: Impossible – Fallout could be taught in filmmaking schools about how to properly build action set pieces. They are brilliant. McQuarrie finds interesting ways to set them up, complicate them, and just keep the escalation going in a manner that still maintains the believability of the moment. Take for instance a foot chase where Ethan Hunt is trying to nab a bad guy through downtown London. Where McQuarrie pushes into the extraordinary is by having that foot chase on a multi-level terrain. Ethan Hunt has to chase after his target but multiple stories above the ground, and so he’s leaping out windows, jumping over rooftops simply to keep up. It’s a simple twist that takes what we’re familiar with and, literally, elevates it to new heights. Or take for instance the mission in Paris to capture Solomon Lane. At first it’s capture, then it’s flee police, then it’s flee another assassin. There are multiple stages to this sequence, each with a new goal, each with new complications, and each with new eye-popping stunts and escapes. The action finds natural points to progress, making smart use of the geography, and keeping different elements at play to come in and out to add more problems. This is how you do action right. As soon as the half-hour mark settles in with the arrival of Walker, the movie is practically nonstop in its set pieces until the very end. At a steep 147 minutes, this is the longest Mission: Impossible movie yet but it’s breathless in its execution.
Amazing set pieces that are cleverly designed is one aspect of a great action movie, but if you can’t tell what’s going on, what’s the point of all that cleverness? Fortunately, McQuarrie understands this and adheres to a visceral depiction of the action that creates gloriously immersive and pulse-pounding sequences. The set pieces are terrific, so it stands to reason the stuntwork should be terrific, and to make sure you appreciate the stuntwork, McQuarrie makes sure the photography highlights the verisimilitude. It’s a symbiotic (or as the Venom trailer tells me, “sym-BI-oat-ic”) relationship but when done correctly, as evidenced in this film, it’s the key to truly kinetic action sequences. Take for instance a parachute jump that marks the start of the second act. McQuarrie films it as a sustained long take, and as the camera plummets to the ground chasing after the two men, our brains can tell us that there is some special effects trickery to mitigate the dangers, but our senses are overwhelmed with the sustained illusion of tension. The fight choreography is equally up to the challenge. A bathroom brawl with Ethan Hunt and Walker and another man becomes a lesson in how many things can be smashed and what can be used as a weapon. A high-speed motorcycle chase through Parisian streets gets even more frantic when Ethan Hunt drives against traffic, and the scene becomes even more exciting when McQuarrie’s lens allows us to see the danger in all its glory.
The Mission: Impossible franchise has been notable for its insane stuntwork but also, chiefly after the second installment, its edict to practical effects and maintaining the believability of its reality. It’s still movie spy shenanigans and globetrotting adventures, yes, but the moment-to-moment thrills feel like they’re really happening. The Fast and Furious franchise has gained great acclaim for the bombast of its physics-defying spectacle, and the Mission: Impossible franchise seems to have gone purposely in the opposite direction. It’s real Tom Cruise jumping off that building, it’s real Tom Cruise riding through traffic on a motorcycle, and it’s real Tom Cruise falling and climbing up a speeding helicopter during the thrilling finale. Cruise has had a death wish when it comes to throwing himself into the high-wire stunts of his franchise, but even at 56 years old he’s still at it, essentially trying to commit suicide on film for all of our amusement. Cruise is one of the few remaining movie stars and his commitment is without question.
This is also the first Mission: Impossible film that feels like the characters matter. It’s a direct continuation from the previous film, 2015’s Rogue Nation, bringing back the (somewhat lackluster) villain, the newest spy counterpart/potential love interest, the CIA and IMF brass, and the essential supporting team members from prior engagements. Because of this it feels more like what happened previously was establishment for a new story building upon that foundation. Rather than starting all over, the characters find ways to deepen their relationships, and the film opens up Ethan Hunt as a character and the toll his duty takes on those closest to him. There are some nice quiet moments that examine these characters as actual people. Several complications are as a direct result of personal character decisions, some good and some bad. I was joking with my pal Ben Bailey beforehand about wondering whether they’d find a way for Ving Rhames to matter, since he hasn’t been much more than “a guy in the van” for four movies, and by God they make him matter. They make each team member matter, finding moments to give them, mini-goals they’re entrusted with. During the dizzying helicopter chase in the finale, supporting players are left with their own task. Luther has to defuse a bomb but doesn’t have enough hands. Benji has to find something valuable in a very needle-haystack situation designed to torment and waste precious time. Ilsa is at cross-purposes for most of the film, not wanting to harm her fellow allies but also being given her own orders to prove her loyalty and protect her future. All of this comes to a head and it makes the parts feel as important as the whole. That’s great storytelling.
Let’s talk about that million-dollar mustache of Cavill’s. It was a year ago that Justice League re-shoots required Cavill and the Mission: Impossible team refused to allow their actor to shave his mustache, thus leading to that unsettling fake baby lip Superman was sporting in a majority of his scenes in the haphazard Justice League film. I just read an AV Club interview with McQuarrie where he for the first time discusses the whole mustache brouhaha and apparently Paramount estimated that it would have cost them three million for the effects to uphold Cavill’s upper lip continuity. Warner Brothers refused to pay up and so went down that ill-fated CGI mustache-removing route. It was shortly afterwards that Cruise shattered his ankle in a roof-leaping stunt (that is in the finished film and advertisements) and the production had to shut down for a month. If only Warner Brothers had waited, perhaps we all could have avoided this mustache mess.
Mission: Impossible – Fallout is a new highpoint for the best action franchise going in movies today (I’m still waiting for a third Raid film, Gareth Evans). The set pieces are memorable and unique, leading from one into the next with exquisite precision and thought. The action sequences are stunning and shot with stunning photography, highlighting the stunning stuntwork by the best death-defying professionals. It’s the first Mission: Impossible movie that doesn’t climax at its middle; in fact there’s a pretty obvious reveal that feels like it was going to be a late Act Three twist, but McQuarrie recognizes the audience thinking ahead, and there’s like a whole other exciting 45 minutes after. The stakes are better felt because the characters matter and are integrated in meaningful ways. This is the most I’ve enjoyed Henry Cavill in a movie (with possible exception of another spy movie, Man From U.N.C.L.E.), and you know what, his mustache works too. While the vertigo-inducing Burj Khalifa sequence is the best set piece in the franchise, Fallout has everything else beat at every level. Mission: Impossible – Fallout is a reminder that there are few things in the world of cinema better than a properly orchestrated, properly filmed, and properly developed action movie operating at full throttle. This is one of the reasons why we go to the movies, folks. See it in IMAX if possible. Soak it up.
Nate’s Grade: A
Documentary filmmaker Laura Poitras won an Oscar for her 2014 film Citizenfour that followed Edward Snowden in his last hours as a free man. It was exciting, insightful, and had an exclusivity that made it a must-watch for a pertinent political issue. Apparently, she made that movie in between work she had already started on a feature documentary about Julian Assange and Wikileaks back in 2011. Risk, the finished product years in the making, is clearly no Citizenfour. The one selling point it has is its exclusivity, being trusted alongside Assange and recording all sorts of personal footage. Except what we end up getting is meaningless stuff like Assange getting a haircut and being interviewed by Lady Gaga. Strangely, the most compelling moments of the documentary occur off screen or are hastily cast aside in voice over by Poitras. The filmmaker herself was drawn into the story when she started having a sexual relationship with one of the head Wikileaks guys, a man who she later says was abusive to her friend and was accused of being sexually abusive to others. That angle should have been the focal point of the movie, a filmmaker acknowledging she’s lost her objectivity and questioning the motives of the men who might have good ideals but not be good people. There aren’t any new insights into Assange or Wikileaks or its fallout, and its connections to the 2016 presidential election hack, which would provide the film with a spark of relevancy, are haphazardly addressed in a truncated closing ten minutes. There really isn’t a compelling reason for this documentary to exist, and the reasons it should have don’t materialize. Go watch Alex Gibney’s Wikileaks doc or Poitras’ own Citizenfour instead.
Nate’s Grade: C
Forgive me the indulgence but please hear me out on this peculiar observation. In 2005, Brad Pitt stars in a movie where his onscreen wife may be a spy and he may need to kill her, and his marriage to Jennifer Aniston ended shortly thereafter. Flash forward over ten years and Pitt is starring in another movie where his onscreen wife may be a spy and he may need to kill her, and his marriage to Angelina Jolie is now coming to a reported end. Obviously there are extenuating circumstances in something so personal as relationships, but if I was Pitt’s agent, I think I might advise against all future projects that even come too close to this cursed storyline. Allied wasn’t worth it, pal.
In 1942, Max (Pitt) and Marianne (Marion Cotillard) are husband and wife and also spies for the British government. They’re enjoying life back home with their infant daughter Anna when Max gets some startling news. His superior officers are investigating whether Marianne is secretly a German spy. He is to learn for himself what is real and if she is indeed a spy Max is ordered to kill her or he himself will be executed for treason.
Allied already starts dangerously when the majority of its opening act is set during WWII Casablanca, setting up an unwinnable comparison. We’re meant to watch these two secret agents go about their clandestine operation and fall in love. One of those things happens. Oh sure, for the purposes of the plot, Max and Marianne fall in love, but no member of the audience is going to believe what they see. Pitt and Cotillard have anemic chemistry together and their characters are too stilted to draw us in (rumors of an onset romance between the stars seem unfounded by the results on screen). They achieve their first act mission, get their kill, but they don’t really encounter complications. It all proceeds just a little too easily and we fail to get a sense of their capabilities as spies. They practice the cover of husband and wife but only in superficial appearances that come across more like Marianne chiding Max (“A real husband would offer his wife a cigarette first”). I recognize that these people are spies and thrown into danger but we need to invest in them as characters if the rest of the movie is supposed to matter, let alone their relationship together. There are no supporting characters of importance. Lizzy Caplan (Masters of Sex) pops up as Max’s lesbian sister and you’d swear she’d have some significance, but nope. When Max is investigating Marianne, it never feels like the pieces are coming together. Rather it feels like we’re just getting new pieces, some lucky and some less so. The plotting feels too disjointed and arbitrary. Screenwriter Steven Knight (Eastern Promises, Peaky Blinders) is one of the best working in the industry, especially when it comes to crime thrillers and naturally drawing out tension. I expected more from him with Allied, but then that will be a trend with several aspects of this mediocre movie.
Here’s the problem with this premise: it’s too limiting. Either Marianne is a spy or she isn’t, and if she isn’t that makes for boring drama. You’re stuck so more and more obstacles have to be put in place to merely delay the inevitable reveal because that’s all the movie had. A solution could have been an Act Two break that revealed Pitt’s character to be the real spy, allowing the audience to reflect back on his action with a new lens of understanding. The crux of Act Three would then be Max’s moral dilemma of whether he turns himself or whether he frames his wife and in doing so erases evidence against himself. It would be a far more challenging and ethically murky scenario than a rather rote finale where the characters follow their predestined paths. I also think summary execution of a spy is a waste considering the value of covert information or even posing as a triple agent. I think the entire story should be told from a different perspective (okay, now spoilers). Little Anna is far too young to know what happened to her mother and I imagine there will need to be a cover story even for the official cover story. My pitch would be tell this story in the mid 1960s when Anna is now in her early twenties and discovering the larger world. She starts to come across testimony or nagging pieces of evidence that contradict her father’s story of what happened to Marianne, and her death now seems very mysterious. As she uncovers the old evidence she learns that her own parents were spies, a truth that had been kept from her, and all the evidence points to dad being the killer. The Act Three confrontation between harried father and daughter would then reveal the actual truth and that Marianne took her own life out of guilt and a desire to spare her husband punishment from his remorseless superiors. The lie was meant to comfort but now it discombobulates a family and a woman’s understanding of her parents and her relationship to them (end spoilers). Doesn’t that sound like a better version of Allied, dear reader? I certainly think so.
Director Robert Zemeckis (Flight, The Walk) is such a skilled craftsmen but this movie just gets away from him. You sense his urge to insert effects sequences into what should be an ordinary period thriller, and so we get distracting sequences that either rip you from the reality of the movie or might make you titter unintentionally. Max and Marianne’s coupling scene involves having sex in the front seat of their stranded car in the middle of a sandstorm. It would have been far more effective and possibly erotic if the camera had merely stayed in that confined space and let the building passion bubble over, all while the light becomes more and more faint from the sand storm, adding all sorts of sensual lighting opportunities with obfuscation and shadows. Instead, Zemeckis has a rotating camera shot that goes on for about a minute steady without cuts and zooms in and out of the car, inside and outside the dusty sand storm. It stops any sensuality from building. Another example if that Anna is born during the Blitz, and yet again instead of being in a small space and leaving more up to the imagination, Zemeckis and his special effects team have to recreate the air assault which increases the melodrama in a bad direction. Zemeckis has never really done a straight thriller and I can feel his flagging interest as he searches for special effects sequences to hold onto as some sort of anchor. I don’t think his skillset was the right balance for this story and the execution it needed to prosper.
It really doesn’t feel like Pitt (The Big Short) wants to be in this movie at all. Rarely have I seen this lethargic a performance from usually one of the most reliable actors in Hollywood. Part of it is the withdrawn and conspicuous nature of his spy character but it’s more than that. I don’t know if he feels like he understands his character or is that committed to the script, and so it feels like he’s just coasting and waiting for the end. It reminded me of the disastrous Oscar hosting duties from a sleepy James Franco and an overcompensating Anne Hathaway. Cotilard’s character is the gregarious and charming one, and so it feels like she has to do all the heavy lifting to compensate for the dearth of Pitt’s performance. Cotillard can be a brilliant actress with powerful instincts down to her very marrow, as last evidenced in 2014’s devastating and humane drama of personal desperation and dignity, Two Days, One Night. She has to play the more active role, first as the charmer and then as the mystery. She works much better as the charmer. I don’t think either actor knew fully who their characters were and stumbled forward.
Allied is a strange movie where the director, the star, and the screenwriter each didn’t seem to know what movie they wanted to make. Each major participant, short of a game Cotillard, doesn’t even seem like they want to be here, as if this was a school assignment that they’re doing the minimal amount of work to fulfill a requirement. Allied just feels like one of those big studio misfires where nobody was on the same page. The story lacks characters to connect with and complications that feel connected to them and their circumstances. The plot follows the path of least resistance and arrives at its predetermined destination right on time, to the monotony of its audience. Pitt’s somnambulist acting makes the movie and his lead character harder to enjoy. There’s a definite lack of intrigue with this premise and its ultimate execution. I expect better from Zemeckis, Pitt, and Knight, and I’m sure they’ll deliver with their next projects. In the meantime, skip Allied since it certainly feels like the cast and crew weren’t in alliance.
Nate’s Grade: C
After the indifferent reception of its 2012 spin-off, original super spy Jason Bourne (Matt Damon) and director Paul Greengrass (Captain Phillips) are back and it feels like everyone is falling into familiar paces. The titular fourth film in the franchise (excluding Bourne Legacy) is easily the weakest (excluding Bourne Legacy) and the seams of the formula are starting to show. Once again an ally has intel to expose some sort of secret and illegal government conspiracy that ties into a revelation about Bourne’s past, and once again this ally is killed as the Act One break to spurn Bourne onward, and once again there’s a secondary assassin working for the morally murky government agency head, and once again there’s a signature car chase sequence, and once again there’s a final choice Bourne needs to make about what kind of person he wants to be given his new perspective on his old killin’ ways. The frantic Greengrass staple camerawork and editing can make just about anything bristle with some energy and suspense, but rarely was I fully feeling what was happening onscreen (except for the caveat of admiring how attractive Alicia Vikander’s face looks on the big screen). Short of the final car chase through Vegas with a SWAT truck barreling through traffic, the action sequences are pretty routine and unmemorable. The foot chases and fisticuffs, a hallmark of the franchise, feel slightly blasé in their development. The action isn’t bad but it feels more than a bit staid. The stakes aren’t as high and maybe that’s because it feels like there is little more to reveal about our hero’s hidden past. Is the next movie going to divulge the long lost secret that he never paid a parking ticket? Tommy Lee Jones makes an enjoyably crusty adversary. Vikander has just enough of an angle to provide more substance as a character than the typical agency analyst reciting exposition. The film ends with some promise of looking forward rather than back, and I hope that further adventures with Jason Bourne (excluding Bourne Legacy) stray a little more from the well-worn formula and provide better reasons for this spy to come out of his hiding.
Nate’s Grade: B-
Not as outlandishly crazy as the Fast and the Furious series, not as beholden to tradition as the Bond series, the Mission: Impossible series doesn’t get the same notoriety but I’d declare it the most consistent and best action franchise going today. Each new film is a distillation of their director’s strengths, keeping things fresh, and the mainstay is Tom Cruise in prime action hero mode and risking his life like a madman. While not as dizzyingly entertaining as 2011’s Ghost Protocol, Rogue Nation is another fun and action-packed spy thriller with terrific and memorable set pieces. The plot involves Ethan Hunt (Cruise) and his team on the run, again, as their agency is shut down for its reckless methods. A rival agency known as The Syndicate is plotting political assassinations, so Hunt and his team (Simon Pegg, Jeremy Renner, Ving Rhames) must work along the fringes to save the day. The newest addition is Swedish actress Rebecca Ferguson as a mysterious ally and antagonist for Hunt. She’s smart, formidable, and not treated as a romantic interest or overly sexualized (progress). After Alicia Vikander’s superb performance in Ex Machina, and now Ferguson’s steely turn, it’s quite a booming year for Swedish imports. The series’ star is still Cruise and his cavalier treatment of his 50-year-old body in the pursuit of the daredevil stunts. The opening with Cruise attached to the outside of an ascending cargo plane is a stunning image jolted by the charge of realism. An underwater vault break-in is wonderfully developed. The snazzy car chases, motorcycle chases, and foot chases all benefit from Cruise being front and center. Say what you will about the man but he’s a movie star. The biggest problem with Rogue Nation is much like Ghost Protocol in that it peaks in the middle. The last act takes place entirely in London and it just can’t compare with what came earlier, which leaves the movie lumbering to a close with its rather substandard villain. Even with a less than stellar conclusion, Rogue Nation is another entertaining, fun, and thrilling action movie that would be the best the summer has to offer if it weren’t for the highs of Mad Max. Nate’s Grade: B+
Melissa McCarthy’s meteoric comedic rise hasn’t been without its missteps, mainly the complaint that she seems stuck in a rut playing aggressively weird and foul-mouthed characters that are growing tiresome. McCarthy is never better than when teamed with her Bridesmaids’ director Paul Feig, and Spy is a welcomed return to form for a great comic actress who relishes being outlandish. The best part of the film is that it’s a character-centric comedy, with McCarthy as Susan Cooper, a CIA agent who works as a handler, the voice on the other end of the earpiece, guiding her partner the handsome Agent Bradley Fine (Jude Law). When Fine is compromised on a mission, Susan unexpectedly finds herself in the field to track down some very bad people. McCarthy does get to be vulgar, but fortunately it’s only one persona she adopts as a mask, and it’s cleverly utilized. Feig’s screenplay makes sure to find different comic beats as it goes, rarely repeating itself and, like any good action movie, finding twists to further develop conflicts. Part of what’s so enjoyable about Spy is how comic scenarios will evolve while staying true to the characters and the central conflict. Also, Feig acquits himself more than well with the film’s semi-slick action photography. The supporting cast is nicely tied into the story and matter and each actor has material to cut loose, none more than Jason Statham (The Expendables) as a hilariously boastful and incredulous agent. His boisterous chest-beating about his past deeds are some of the film’s funniest moments. Consistently funny, witty, and mildly progressive with its heroine, Spy is a vehicle that makes perfect use of McCarthy’s talents and then some.
Nate’s Grade: B+
A welcome addition to the Marvel Cinematic Universe, the second Captain America film brings the square superhero to our modern-day and presents a complicated national setting where the enemy is the U.S government. The challenge with a Captain America (played by Chris Evans) movie is just how outdated his whole sensibility seems, an irony-free nationalistic hero. Smartly, the filmmakers have pushed his loyalties to the test, and the movie transforms into something along the lines of a Jason Bourne thriller, where the government is hunting down a rogue fugitive. It’s certainly the most timely superhero film since 2008’s The Dark Knight, and the political commentary on the NSA spying and drones is a welcome big screen subversion. But the action is still what people come for and in that the Winter Soldier is quite an entertaining movie. Directed by the Russo brothers, known mostly for their comedy work in TV like Community, the movie packs quite a punch with a variety of action/thriller sequences, each well staged and well developed. My favorite might be Nick Fury under assault and desperate to escape in his car from overwhelming enemy forces. An opening sequence rescuing hostages on a boat serves as a great reminder why Captain America is indeed so super. The movie does have some issues but nothing so large as to derail the enjoyment. First off the villain is way too obvious, but also the movie lets the U.S. government off the hook, falling back on a select evil group that has been undercover perverting the government. Secondly, the Winter Soldier of the title is one plotline that doesn’t feel needed or well integrated. It’s another super soldier for Cap to combat and this guy has a mysterious link to our hero. It feels like one plotline too many, a story that deserves better attention on its own. Still, Captain America: The Winter Soldier is an engaging, thrilling, intelligent, and altogether entertaining addition into Marvel’s sprawling cinematic canvas.
Nate’s Grade: B+
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
Pretty much more of the same, RED 2 feels too safe, too breezy and light-hearted, and while still fun in spots, you garner the impression that what was once sufficiently silly has gone overboard. The jokes feel flat and the characters aren’t properly integrated, especially Helen Mirren and a vengeful hired killer (Byung-hun Lee). The villains are a tad bland, but we’re here for the wacky retired special agents, so it’s forgivable. However, the good guys feel like they’d rather be elsewhere. Too much of the story is taken up by the frustrating Bad Girlfriend Plot wherein our hero Frank (Bruce Willis) is harangued by his girlfriend, Sarah (Mary-Louise Parker). I’m not even saying that her character is nagging or shrewish or anything like that, but the movie treats her like she’s dragging him down. We’re also treated to many comedic setups of Sarah trying her hand as a spy to mixed results. Parker is actually the best part of the movie, and maybe because she’s the only character that gets to do something different. RED 2 lacks the visual style of the first film and, inevitably, the freshness of its cavalier old fogies. The action is passable but is that really the adjective you want for a movie? I don’t know what more I was expecting since the first RED felt like a well-executed lark, but at least it had enough style and an impish attitude to leave me entertained. Its sequel is likeable but mostly trying to get by on your good feelings for the last movie.
Nate’s Grade: C+
The James Bond franchise, one of the most enduring of all time, has been open to criticism since it came back in a big way with 2006’s Casino Royale. Fans have started to whine that the Bond movies are no longer the Bond they remember, and they’re probably right. In 2006, the producers decided to go back, reboot the series, and introduce a more grounded Bond, a man with more demons than quips. This backlash to a successful reboot seems so funny to me, especially considering the dubious nature of these older Bond movies. Can we all just take a moment and objectively admit that half of the Bond movies are absolutely awful? Skyfall is the third in the new Daniel Craig Bond era, and it’s received universally ecstatic reviews. It’s a fine work, surprising and satisfying in equal measure, but it’s no Casino Royale for me, but what can be?
James Bond (Craig) is recovering from a serious injury after a fellow agent, Eve (Naomie Harris), accidentally shoots Agent 007. In her defense, he was atop a speeding train battling a baddie and her boss, M (Judi Dench), ordered her to fire. In the weeks that follow, Bond is struggling to adapt. He’s lost a step physically and now has to deal with his own doubts. Naturally, this isn’t the most opportune time for crises of faith. MI6 is under attack by one of their own, a former agent turned powerful techno-terrorist named Silva (Javier Bardem). The man has a serious grudge against M and is exposing MI6 undercover agents to punish her. After an attack at MI6 HQ, the agency is left scrambling and sends Bond out to nab Silva, even if Bond isn’t physically ready to return to field duty. Silva is determined to kill M and destroy the agency that left him for dead.
While Skyfall is indeed a good Bond movie and worlds better than 2008’s Quantum of Solace, it still cannot meet the rapturous applause it’s receiving among critical circles. It starts off strong with a nifty action sequence in Istanbul (the go-to action setting for 2012). Bond is chasing a bad guy, and we go from foot chase to car chase to rumbling on top of a speeding train. And there are natural complications that take advantage of geography! When Bond hops on the train, he climbs into a construction crane to fight back, smashing open the back of the train car. It’s a terrific opener that gets things starts briskly, and the sexual chemistry between Craig and Harris (28 Days Later) is palpable. Then the movie pretty much deflates in the second half. There’s a build-up to the villain and his master plot, but once that plot is revealed the film can’t live up to the hype. There are enough plot elements that feel important but eventually get discarded. Here’s a minor example: Bond is given a handgun programmed to his palm print, so it will only fire with Bond wielding it. It’s the only gadget in the movie, so you’d expect it to be utilized in a significant way. One nameless thug uses it then gets eaten by a Komodo dragon. That is it. Seems like an awful waste of funds for it to be thrown away so casually.
The last act has a protracted finale in Scotland, exploring Bond’s ancestral home and his tragic backstory. I’d like to think the insights we’re offered are important but I don’t believe they are. Bond was an orphan (the best recruits, says M) and Albert Finney (Big Fish) was his quasi-father figure/caretaker. It’s not enough to compensate for the slack pacing and encroaching boredom present. The good guys are holed up in an estate, waiting. And that’s what you want in a Bond movie, let alone any action film, for the heroes to sit and wait. An action movie should be building to a climax of intensity, thematically as well as plot-wise. Skyfall is that rare Bond film that flirts with coming undone; each passing action sequence seems less interesting than the one before.
With Mendes directing and Roger Deakens, the greatest working cinematographer, at his disposal, this has to be the best looking Bond movie. The shot compositions are often stunning, making fine use of the visual space and the balance of light and shadow. There are even some shots that might remind you of Mendes previous films like American Beauty or Road to Perdition. Added with some above average action, it makes the thrills an even better sight. There was a fight sequence in a Chinese high-rise almost completely in unbroken silhouette, with the neon tentacles of advertisements dancing in the background. It’s a wonderful image. Even when the movie was losing me at points, I could at least admire the visuals. I was worried that Mendes would not have a deft feel for action. After all, another indie director mostly known for dramatic work, Marc Foster, helmed Solace. That selection did not work out so well, though the script was notably weak. Mendes, on the other hand, can stage some pretty exciting action sequences with judicious editing, allowing the audience to follow along with ease. He’s not exactly a knockout when it comes to constructing action sequences, but the results are more than adequate for a guy whose last two movies were Away We Go and Revolutionary Road.
For the previous Craig entries, it feels like the movies have borrowed more from Jason Bourne than Bond. They’ve gone for a grittier, darker, more realistic portrayal. Skyfall takes a very interesting angle with the character, showing a Bond coming to terms with his physical limitations. It’s a Bond that has to confront his most nefarious foe: aging. Mallory (Ralph Fiennes) tells the agent that the whole spy business is “a young man’s game.” In the old days, you needed men with lairs in volcanoes and giant doomsday lasers. Now you can send the world into irreversible chaos with a laptop. Skyfall is at its most engaging when it confronts the old world of spies and the scary new world of technology. Can the Queen and MI6 compete or will they be left behind? Bond and his organization must confront their limitations and mortality, and this added dimension of vulnerability makes the series far more emotionally resonant.
Here’s my main problem with the villain: it’s a bait and switch affair that leads to unfulfilled potential. Silva has been spoken of with such awe, a man who could bring governments to their knees with the click of a button. He’s made out to be this dangerous cyber-terrorist genius. So what happens for the second half of the movie? He chases people around and shoots guns. It’s like Skyfall completely forgets what made their villain special. Bardem gives a flamboyant performance with an extra dash of actorly nuttiness, but it’s nowhere near the memorable menace of 2007’s No Country for Old Men. That’s an unfair comparison, I know, but where the movie really starts losing it is when Silva loses it. He becomes just another garden variety psychopath, though one with a creepy oedipal complex. Psychopaths do not work in the James Bond universe. Agent 007 needs a foil that is smart, not crazy and a mad genius rather than mad. I recognize that Silva’s psychological shambles is meant to be a sign of the potential fate of all agents, let alone agents that are given up by M. That doesn’t mean you abandon all the traits that make the villain who he is. The problem with Silva, despite a rather jarring monologue about the effects of surviving a cyanide capsule, peaks with his first appearance. He has a grand entrance and places Bond in a very precarious position, forcing him to confront his physical failures. That’s the villain I want to see. And the awkward handsiness of Silva will also lead many to question whether he’s gay, which wouldn’t matter if the movie wasn’t so clunky.
It also feels like Skyfall may be the conclusion to this incarnation of Bond. I know Craig has been signed for two more films, and that’s great news as he’s fully made the character his own at this point, but the movie seems to setup the Bond we’re better acquainted with. We started from scratch with Casino Royale and now the familiar world, with the reemergence of familiar characters, is coming into focus. The scenes with the new Q (Ben Wishaw), a gangly whiz kid, are enjoyable and they contribute thematically to the old vs. new/age vs. youth conflict at heart. This feels like a transition film, meant to pass from the bruising realism into the polished pyrotechnics of the franchise’s past. There’s a reason the famous gun barrel shot happens to conclude the movie, because by the end of those 142 minutes, it now feels like the formation of James Bond has completed. There are also plenty of in-jokes and references for Bond aficionados to lap up. Even the (lackluster) title song by Adele is in the vein of the old Shirley Bassey numbers.
While not living up to the exultant hype machine, Skyfall is certainly a good Bond movie, though not nearly good enough to be in the conversation of the best. The action starts strong but is prone to diminishing returns especially as the movie transforms into a more ordinary action thriller. The most memorable sequence is in the opening, which isn’t a very good sign for the rest of the movie. It’s still a suitable action movie, and one that pays closer attention at character for a character that’s lived for 50 years in various film incarnations, but just because it pays more attention to character doesn’t mean it does it well. Perhaps I’ve just become spoiled after the artistic and commercial heights of Casino Royale. This is still an entertaining movie that often looks great and has some great actors doing suitable work. We’re still far and away from the loonier Pierce Brosnan episodes, so there is that. I imagine audiences will be more favorable than I am and make Skyfall the most successful James Bond film in history. That’s fine because it feels like, with everything established, that we’re about to hit a new and exciting phase with Craig’s version of the character, and that will leave me shaken and stirred.
Nate’s Grade: B