Lone Survivor

Lone Survivor - Dir. Peter Berg (2013)

Operation Red Wing was a 2005 military operation in which a four man SEAL team stationed in Afghanistan was tasked with eliminating Ahmad Shah, a high-level Taliban target. The mission went tragically awry and only Marcus Luttrell survived to tell the tale. Another sixteen troops were killed when their helicopter was shot down during an attempted rescue. Along with novelist Patrick Robinson, Luttrell co-authored Lone Survivor: The Eyewitness Account of Operation Redwing and the Lost Heroes of Seal Team 10, his account of the undertaking, which was quickly optioned by writer/director/producer Peter Berg, who was coming off the box office flop of Battleship.

In Lone Survivor, Luttrell, a hospital corpsman, is assigned the mission along with team leader Lt. Michael Murphy (Taylor Kitsch), communications specialist Danny Dietz (Emile Hirsch), and sniper Matthew Axelson (Ben Foster). The SEALs are dropped into the mountainous Hindu Kush region, but are eventually spotted by an elderly goat herder and two young boys. The SEALs choose to release them, despite knowing the civilians will alert Taliban forces to their presence. Sure enough, they are on the run, severely outnumbered and outgunned.

With a title like Lone Survivor, there's little doubt left to the ending, even if you aren't familiar with the real-life events. However, it's the journey that's important and Lone Survivor takes us on one harrowing ride. The film begins innocuously enough as the protagonists enjoy their down time by discussing wedding gifts, kitchen tiles, and hazing the new guy. Once the action begins, it almost never lets up as the movie becomes an extended firefight.

Berg is no stranger to kinetic action as seen in 2007's The Kingdom, which helped him earn credibility with Luttrell. Berg drops you right into the thick of things without relying heavily on the shaky cam that so many American directors employ. Yes, there are handheld shots, but not enough to make you confused as to what's happening on screen. He makes you feel every bone breaking hit when the SEALs tumble down a mountainside. And Berg doesn't shy away from the gorier bits as a bullet rips through a man's body in slow motion.

The acting is on point, particularly the always intense Ben Foster. The leads are called upon to convey distinct personalities with very little material. Berg doesn't attempt to shoehorn in back stories for each character; he's only interested in the here and now.

This being a Hollywood production, Lone Survivor does embellish the events for dramatic purposes. The film sees Luttrell's unit facing an enemy force of over a hundred while military reports list the number as anywhere from a dozen to the thirties. While Luttrell found safe harbor in a Pashtun village, the climatic shootout against Shah and his men never happened.

Lone Survivor is a realistic and brutal portrayal of war. It's gripping and action-packed while remaining respectful to those who lived and died during the actual events.

Rating: *** (*****)

Contraband

Contraband - Dir. Baltasar Kormákur (2012)

Stupid 9/11 comments aside, I like Mark Wahlberg. As evidenced by this turns in The Happening and The Lovely Bones, he's not a nuanced thespian capable of heavy drama. But, he is an underrated comedic performer and a convincing big screen tough guy. Much like Vin Diesel or Jason Statham, Walhberg could be a more prolific action star if he found better roles. Instead, he's content for run-of-the-mill pictures like Shooter, Max Payne, and now Contraband.

Contraband is a loose remake of a 2008 Icelandic crime thriller called Reykjavik-Rotterdam whose star, Baltasar Kormákur is the director of the Hollywood version. Wahlberg plays Chris Farraday, a former smuggler who has gone legit and works as an installer of home security systems in New Orleans. Kate Beckinsale is his wife, also named Kate, and they have two sons together.

Kate's dumbass kid brother, Andy (Caleb Landry Jones), is still involved in the smuggling business. Now, he owes $700,000 to a violent gangster named Tim Briggs (Giovanni Ribisi) after tossing a shipment of cocaine into the water during a surprise customs search. Chris is forced to intervene when Briggs not only threatens Andy, but his whole family. Chris assembles a small crew on board a cargo ship in order to smuggle $15 million in counterfeit bills from Panama to pay off the debt.

Contraband is formulaic through and through. This is your basic "one last job" movie where the protagonist must pull off a big heist for a massive payday. Murphy's Law always seems to rear its ugly head and no plan ever comes off without a hitch. In Wahlberg's case, he has to deal with a crooked captain (J.K. Simmons) and a psycho crime lord (Diego Luna) who ropes him into an armored car robbery.

There's not much here to differentiate Contraband from the numerous pictures just like it. I do like that the hero is a smuggler rather than an overused profession like a bank robber or hitman. The bulk of the film is set on the cargo ship, which is another unique setting. Yet, Contraband doesn't delve deeper into either element. It's not interested in the intricacies of the smuggling trade, just generic shaky cam action sequences.

J.K Simmons is pretty much the best thing in the movie, bringing much welcomed humor to the role of the uptight captain. Giovanni Ribisi goes way over the top as a tatted up scumbag with a nasally voice. Ben Foster co-stars as Chris's best friend, Sebastian, who has also gone legit and is a recovering alcoholic. Foster is intense as usual, but with an understated quietness. There is a twist to his character that anyone can see coming a mile away. Finally, there's poor Kate Beckinsale. If you want to see her kicking ass, watch Underworld: Awakening. If you want to see Beckinsale in the thankless role of damsel in distress, see Contraband.

Contraband isn't a terrible movie, but it is indicative of the generic flotsam dumped by the studios during the uneventful early part of the year.

Rating: ** (*****)

Rampart

Rampart - Dir. Oren Moverman (2011)

"I am not a racist. The fact is, I hate everyone equally."

Screenwriter Oren Moverman made a strong directorial debut with 2009's The Messenger, a heavy drama with Woody Harrelson and Ben Foster as army officers charged with notifying families that their loved ones were killed in action. In my opinion, it was one of the best films of the year and netted Moverman an Oscar nomination for Best Original Screenplay and Harrelson one for Best Supporting Actor. Moverman and Harrelson have teamed again for Rampart, a gritty drama set during the Rampart scandal of the late-90's.

The LAPD became notorious nationwide for the infamous beating of Rodney King. They again rose to public consciousness following the uncovering of widespread corruption in the anti-gang unit of the Rampart Division. Charges included bribery, falsifying evidence, armed robbery, and drug dealing.

Amidst the chaos, we meet Officer Dave Brown (Harrelson), a former Vietnam vet, who sees the streets of L.A. as his new battleground. Rampart opens in a seemingly conventional manner with Brown berating a female trainee (played by Julian Schnabel's daughter, Stella) for refusing to eat french fries because she is on a diet. But, this is not a retread of Training Day. The rookie isn't seen again and the rest of the film becomes a trip into an urban Dante's Inferno with its protagonist descending deeper and deeper into the pit.

Dave Brown is definitely the bad cop. He has earned the nickname, "Date Rape Dave," because he allegedly murdered a business partner suspected of multiple rape. A former law student, he can cite obscure legal precedent off the top of his head. He failed the BAR exam, but it's obvious it wasn't due to a lack of intelligence. It seems Brown was more interested in cracking heads.

He's also the patriarch of an unconventional little family. Brown has two ex-wives (Anne Heche & Cynthia Nixon), who happen to be sisters and live next door to each other. He has a daughter with each of them and, with the exception of the youngest girl, they all hate his guts. When Brown fails to get in bed with one sister, he moves on to the next one.

Brown ignites another scandal after a hit-and-run collision that sees him chase the suspect and mercilessly beat him with his flashlight. The incident is captured on video and played endlessly on the news. Already under scrutiny, Brown is hammered by investigators from Internal Affairs and the D.A's office. Needing cash to support his family and his legal defense, Brown robs a high stakes poker game and kills an unarmed man, forcing him to cover up yet another crime.

The cast also includes: Steve Buscemi as the District Attorney, Ben Foster as a homeless vet, Brie Larson as Brown's angry teenage daughter, Ned Beatty as a retired cop and confidant, and Sigourney Weaver and Ice Cube as investigators against Brown.

Woody Harrelson really carries the film. Rampart is seen entirely from Dave Brown's perspective and Harrelson appears in every scene. Harrelson isn't afraid to make Brown a nasty and sometimes pathetic individual. Yet, he's charismatic and articulate so it's easy to see why he's able to bed a number of women night in and night out. It's too bad this great character wasn't given a more compelling story.

There's strong storytelling in the first half of Rampart, but the second half of the movie unravels. The narrative drifts into a series of plot threads that never seem fully formed. One subplot that doesn't go anywhere involves an on/off romance between Brown and a defense attorney played by Robin Wright. There's nothing of note here unless you want to hear Wright state that she likes to "suck cock."

Moverman is struck with the sophomore slump that has befallen many independent filmmakers before him. Despite a magnetic performance by Harrelson, Rampart deals with issues, such as police corruption and their effects on the soul and family, that have been seen numerous times in film and television. The script feels like an entire season of The Shield condensed into an hour and forty minutes.

Rating: ** (*****)

The Mechanic

The Mechanic - Dir. Simon West (2011)

CBS Films is quickly carving themselves a little niche for old school action movies. Last fall, they released the 70's revenge throwback, Faster, with Dwayne "The Rock" Johnson. It was a marked departure from their first two productions, the medical drama Extraordinary Measures and the Jennifer Lopez rom-com, The Back-Up Plan. CBS follows up Faster with The Mechanic, a remake of the 1972 picture directed by Michael Winner and starring Charles Bronson. The original film was a warm-up for Winner and Bronson's more renowned Death Wish franchise. It did feature a classic 15-minute, dialogue free opening with Bronson preparing an elaborate set-up to kill his target.

This time around, Jason Statham takes on the role of Arthur Bishop, an assassin who kills his targets in intricate fashion to prevent anyone from knowing he was ever there in the first place. Bishop isn't your average thug, he's a high-class aesthete. He lives in an ultra-modern home tucked away in the bayous outside New Orleans and listens to Schubert…on vinyl, no less. Bishop and his best friend and mentor, Harry McKenna (Donald Sutherland, in an all-too brief role) are both in the employ of a shadowy organization that is nice enough to only murder unsavory folks like drug lords and arms dealers.

Everything changes when Bishop's boss, Mr. Dean (Tony Goldwyn), orders Bishop to take out Harry when it is revealed he has double-crossed the organization. He reluctantly pulls the trigger and winds up becoming the mentor of Harry's wayward son, Steve (Ben Foster). Steve is trained in the art of contract killing, but lacks Bishop's patience and discipline. His sloppiness sinks what should have been clean, simple jobs. Not to mention, there's that thing about Bishop killing Steve's dad.

The original Mechanic was a slight attempt at emulating the philosophical crime films of Jean-Pierre Melville. This new version doesn't even bother to engage on more thoughtful levels. So don't expect The Mechanic to come anywhere close to the existential hitman movie that The American was. The remake isn't about belly gazing and contemplations about solitude, it's all about explosions and bone-crunching fist fights. Sometimes that's not a bad thing.

The Mechanic is the prototypical Jason Statham actioner and fits nicely into his oeuvre alongside the Crank and Transporter franchises. Statham is probably the closest thing we have to a modern-day Charles Bronson. He has a steely gaze, a unique voice, and is wholly believable as a stone cold badass (though only Danny Trejo can match Bronson's craggly visage). No slouch in the intensity department, Ben Foster matches up well to Statham as his livewire protégé. You wonder if they ever have staring contests with each other or see who can grow the cooler looking stubble. There's no denying the film has a rather palpable homoerotic subtext riding through the narrative, especially considering there are no substantial characters of the female persuasion. The screenplay by Richard Wenk and Lewis John Carlino (who also penned the original) makes sure to undercut this by having Bishop frequenting the classy call girl with a heart of gold.

The action scenes are well done without descending into a seizure-inducing series of overly edited shaky camera shots. Two of the highlights include a brutal fight scene between Foster and a rival, 6'7 hitman and a rooftop shootout that ends with the protagonists repelling down the side of a skyscraper. The set pieces still tend to be a little too hyperactive; this is after all a Simon West movie. The story is clichéd and predictable with a late plot twist done in the laziest of manners. It does, however, contain a very funny one-liner uttered by Tony Goldwyn in which he menacingly declares to Bishop, "I'm going to put a price on your head so big that when you look in the mirror, your reflection is gonna want to shoot you in the face."

Rating: ** (*****)

The Messenger

The Messenger - Dir. Oren Moverman (2009)


There has been a spate of socially conscious films focusing on the war in the Middle East and the current socio-political climate. Rendition, Stop Loss, Redacted, Lions For Lambs, and Home of the Brave, to name a few. The majority of these films have flopped financially from audiences already inundated with these issues on the news. They’ve flopped critically due to filmmakers shoving their own agendas down the throats of whoever was unfortunate enough to sit through the picture. 2009 saw a pair of relevant films that won critics over and were certainly deserving of wider release. I’m speaking of The Hurt Locker, which has made its way onto dozens of “Best Of” lists and a sure contender for Best Picture at the Academy Awards, and The Messenger.

Ben Foster stars as Staff Sgt. Will Montgomery who is sent home after being injured in Iraq. He returns not to a hero’s welcome, but to a sparsely decorated apartment, finding some catharsis listening to loud heavy metal music. His girlfriend, Kelly (Jena Malone), has moved on with her life and plans to wed another man.

With his tour of duty almost up, the Army assigns him to the Casualty Notification Team. Alongside Capt. Tony Stone (Woody Harrelson), a recovering alcoholic who narrowly missed seeing action in Desert Storm, SSgt. Montgomery has the unenviable task of informing family members that their loved one was killed in action. The Notification Team treats their duties the only way they can…with military precision. They are to get in and get out. They refer to the family only as NOKs (Next of Kin) and are not allowed to make physical contact at all. They follow a script that is specific in the language used. Soft terms like “passed away” or “no longer with us” are not to be spoken.

It is an emotionally draining job for SSgt. Montgomery still struggling with the traumatic experience that took him off the battlefield. The team’s heartbreaking news is met with inconsolable sadness or even blind rage. Montgomery and Stone are taken aback when the widowed Olivia Pitterson (Samantha Morton) reacts with surprising stoicism. She manages to hold it together and even shakes their hands, knowing the difficult position they are put in. SSgt. Montgomery disobeys orders and begins spending time with Olivia and her son.

Writer/director Oren Moverman previously co-wrote Todd Haynes’ Bob Dylan-inspired I’m Not There and once served in the Israeli army. The Messenger is his directorial debut and is an assured first effort that heralds the arrival of a filmmaker with plenty of potential. For the notification scenes, Moverman abstained from the rehearsal process and didn’t inform his leads who they would meet or how they would react. He allows the camera to observe unobtrusively. If there is camera movement during these sequences, it’s slight and almost documentary-like.

The acting is strong all around with Ben Foster bringing his usual intensity and Woody Harrelson deftly blending his flair for the comedic and the dramatic. Samantha Morton shines in her role as the newly widowed Olivia. It’s a subtle, low-key performance. She hits all the right notes without resorting to the melodramatic histrionics of the usual Oscar bait performance. Morton has proven to be one of the best actresses of the past decade her roles in Minority Report, In America, Control and even her cartoony portrayal of Mary, Queen of Scots in the bombastic Elizabeth: The Golden Age.

The Messenger isn’t concerned with pushing a pedantic, political agenda for the left or the right. The film is all about the human element which is why it succeeds.

Rating: ***

Pandorum

Pandorum - Dir. Christian Alvart (2009)


The cheesy critic in me is tempted to simply write, “Pandorum? More like Pan-Bore-Em,” and leave it at that. Pandorum was produced by Paul W.S. Anderson so I think it’s obvious to say this won’t be an existential examination of space travel as seen in 2001, Sunshine, or Solaris.

Pandorum opens sometime in the future as Corporal Bower (Ben Foster) and Lt. Payton (Dennis Quaid) awaken from suspended animation aboard a spaceship. Both men suffer from amnesia, a side effect of hyper-sleep, and have no idea who they are, where they are, or what their mission is. The ship is also suffering from power failure and they cannot raise the current crew on duty. As Bower explores the vessel, he discovers the ship has been infested by feral aliens who have been feeding on the other crew members.

As with Anderson’s Resident Evil movies, Pandorum features an ass-kicking female character with a funny accent. This time, it is German-born actress Antje Traue as Nadia, a genetics researcher charged with cataloguing the species preserved on the ship. I’m not exactly sure how a biologist knows martial arts and Parkour, but it’s one of the film’s least silly conceits.

Pandorum blatantly rips off several sci-fi and horror films like Alien, Dawn of the Dead, and even Anderson’s own Event Horizon. The creatures bare a resemblance to those in Neil Marshall’s The Descent, clad in the leather fetish outfits of The Road Warrior. Christian Alvart directs the film with the same crappy techniques that plague the majority of action films today. Pandorum is filled with shaky camera sequences and extreme close-ups edited together in a rapid, slipshod manner making it almost impossible to make out what’s going on.

Rating: *

3:10 To Yuma

3:10 To Yuma - Dir. James Mangold (2007)

Has none of the gritty realism of The Proposition or artsy existentialism of Seraphim Falls or The Assassination of Jesse James. But, that's just fine for this action-packed, gun-slinging affair.

The genre archetypes of hardened outlaw and emasculated frontiersman are dusted off and given a renewed lease on life.