Munich

Munich - Dir. Steven Spielberg (2005)

It goes without saying that Steven Spielberg is a filmmaker in a league of his own. His films have become essential components of our pop culture lexicon. For better or worse, the Hollywood blockbuster exists because of Spielberg and his comrade, George Lucas. Munich lightly mixes Spielberg's slam, bang, blockbuster techniques with the schmaltzy pap that he is, oftentimes, criticized for to create a powerfully, dramatic affair.

During the 1972 Olympic Games in Munich, operatives of the Palestinian terrorist group, Black September held 11 members of the Israeli team hostage. Two were killed in their quarters, the rest (plus, most of the terrorists) were shot during a botched rescue attempt. In response, Israeli Prime Minister Golda Meir (Lynn Cohen) called for swift retribution against those responsible and hands the task to her former bodyguard, Avner (Eric Bana). Avner heads a covert task force that includes: the gung-ho South African Steve (Daniel Craig); Robert (Mathieu Kassovitz), a Belgian toymaker turned bomb maker; the German Hans (Hanns Zischler), who handles false documents; and Carl (Ciaran Hinds), the man in charge of cleaning up any traces of evidence.

Avner believes in his mission (one that may take years) so much that he leaves behind his pregnant wife, who is close to giving birth. Ironically, Avner's own father (a fellow Mossad agent with a heroic reputation) was absent from his life due to duties of the state. Avner's father is mentioned, but never seen during the film.

This year's summer movie season began with Mission: Impossible III and Munich gives us a peek at real life subterfuge. Like Mission: Impossible, the Israeli government disavows any knowledge of Avner and his operation. That's where the similarities end as nothing is at all like the sensationalized worlds of James Bond and Ethan Hunt. Avner's targets aren't at all like the bad guys you'd see in True Lies. The first two on the hit squad's list are elderly, living posh lives in Europe. One is even a poet; it doesn't save him from being gunned down in his apartment building.

Confronting the man face to face, Avner and Robert find themselves freezing at the last moment. It's not quite the quick and clean kill they had planned. The same goes for some of their other assassinations. One bomb isn't powerful enough, another is too powerful, and another doesn't work at all. In a harrowing moment, the team nearly kills a young girl with a remote-controlled bomb hidden in a telephone.

More and more, Avner finds that his mission may not be as righteous as he originally believed. At one point, the Mossad team shares a safe house with members of the PLO due to an angered information broker. Avner discusses the struggle between Israel and Palestine and, for the first time, attaches a human face to the people that are supposed to be his mortal enemy. Avner questions the orders he is given, are they even killing the right men? He questions the futility of his actions. Each man they kill will be replaced by someone else. Each kill brings about a brutal response from the other side. Numerous bombings and hijackings leave hundreds dead. What's the point of it all?

Bana put in fine performances in Troy and Hulk. Here, he's given far better material and truly carries the film. His gaunt face and sunken eyes reveal how much his ideology has been shattered. Bana completes Avner's breakdown by channeling Gene Hackman in The Conversation, when he tears apart his room looking for the very explosive devices he had readily used earlier. The actors filling out Avner's team do well, but aren't given anything as meaty since their roles lean towards standard archetypes, rather than fleshed out characters.

Spielberg has quite the habit by tacking on a happy ending whether it's appropriate for the story or not. One can look at the ridiculous finale of A.I. to see this in full effect. Munich ends on a much more somber note with just a hint of pessimism. In contrast to Schindler's List, there is no clear cut line between the good guys and the bad guys. Munich is a world with shades of gray. Avner tensely confronts his handler, Ephraim (Geoffrey Rush), about the work he has done. The scene is made more powerful against the backdrop of New York City, the Twin Towers still standing tall. In the city that is supposed to be the ultimate melting pot, two fellow Jews cannot see eye to eye.

Video/Audio: (****)
The video is presented in 1080p with an aspect ratio of 2.35:1. Spielberg and cinematographer Janusz Kaminski deftly capture the look of the era with a slightly muted color palette. Nothing comes off to soft or too dark.

The audio is presented in DTS-HD Master Audio 5.1. The sound is excellent and highlighted by the somber score by John Williams. Set pieces involving gunfire and explosions work to accentuate the crisp dialogue.

Extras: (***)

The Blu-ray bonus features have been ported over from the 2-Disc Collector's Edition DVD and are presented in standard definition.

Introduction by Steven Spielberg (4:34) sees the director give us some quick thoughts about how he came on board the project and why it was important to him.

The Mission, The Team (13:10) is all about assembling the major players including the leads and screenwriter Tony Kushner.

Members of the cast and crew give their thoughts and remembrances of the terrorist attack in Memories of the Event (8:36).

Portrait of an Era (13:17) is a featurette about how the filmmakers recreated the look and locations of the 70's.

The On-Set Experience (14:24) features interviews with the cast and crew as they look back at filming some of the movie's most pivotal sequences.

The International Cast (12:41) looks at the worldwide casting net that was used to create the large supporting cast.

Editing, Sound, and Music (12:23) looks at the lengthy post-production process with Spielberg and Editor Michael Kahn discussing how they still cut the picture on film as well as a few words from legendary sound designer Ben Burtt.

Film Value: (****)
Normally, I'd complain about almost 3-hour runtime of the film. I think being able to view it at home and being able to pause, stretch, etc. made it easier to swallow. Munich does have some extra fat that could be trimmed away. Yes, I'd describe Munich as long. I'd also describe it as engrossing, thought-provoking, and one of the best films of 2005. Spielberg proves himself as a master of the medium and I shall forgive him for The Terminal and War of the Worlds.

Skyfall

Skyfall - Dir. Sam Mendes (2012)

It's been a rocky road for the Daniel Craig-era of James Bond. After the critically reviled Die Another Day, the 007 franchise was rebooted for a post-9/11, post-Jason Bourne world. Gone were the corny double entendres, goofy gadgets, and tongue-in-cheek tone. In their place was a Bond who would rather shank someone with a steak knife than kill them with an exploding pen. Casino Royale was one of the best Bond films since the early Roger Moore flicks The Spy Who Loved Me and Live and Let Die. Only Goldeneye, Pierce Brosnan's first outing as the iconic spy, comes close. However, the series almost fizzled out before it really got going with Quantum of Solace. The sequel suffered from script problems and a director with only a loose grasp of action sequences. Marc Forster was an experienced hand at smaller dramatic fare like Monster's Ball and Finding Neverland, but was clearly overwhelmed while directing his first blockbuster. It seems he's had similar problems with the troubled production of World War Z.

Skyfall rights the ship immediately with a thrilling chase through the streets of Istanbul. Bond is after a stolen hard drive containing the identities of undercover NATO agents embedded within terrorist organizations. Within the prologue, we get shootouts, a motorcycle race across the rooftops, vehicles blowing through a crowded bazaar, and Bond ripping through a train car with an excavator. A fistfight on top of a speeding train leads to Bond being accidentally shot by fellow agent Eve (Naomie Harris). He plummets into the river below and is presumed dead.

Bond returns months later following an explosion at MI6 headquarters. Raoul Silva (Javier Bardem), a malevolent figure from M's (Judi Dench) past has returned to wreak havoc for previous betrayal. Bond must also contend with another dangerous adversary: old age. Has 007 lost a step, especially when he's faced with a brilliant enemy who can kill with a simple keystroke?

Skyfall boasts one of the strongest pedigrees of any Bond film with Sam Mendes as director and Roger Deakins as cinematographer. It's wider in scope than anything Mendes has directed before, but he has a firm handle on intimate character moments as well as exciting action scenes. Mendes embarks on a globe-trotting adventure that traverses a floating casino in Macau, the London underground (where Silva tries to kill Bond with a subway train), and the bleak moors of Scotland. The most impressive sequence takes place in a gleaming skyscraper in Shanghai. There, Bond confronts a sniper on a floor with walls of glass where everything is shot in silhouette and bathed in a blue light from a digital billboard across the street. Mendes also gives Silva the grand entrance befitting such a flamboyant villain. The camera is kept static for one long take as Silva enters from the background and strides towards a captive Bond while giving a creepy monologue about rats fighting for survival. It gets stranger when Silva caresses Bond's thighs in an effort to unnerve the masculine secret agent.

Bardem's performance rivals his chilling turn as Anton Chigurh in No Country for Old Men. Silva is flamboyant cut from the same cloth as Heath Ledger's Joker. Indeed, The Dark Knight served as an inspiration for Skyfall, which is ironic since the Bond movies partly inspired Christopher Nolan's take on Batman. Silva is a villain for the 21^st century who isn't out to conquer the world or steal its wealth. He has a vendetta against M, making his assault far more personal than Quantum, the clandestine organization that previously antagonized Bond. In stereotypical fashion, Silva has his secret headquarters on an abandoned island in the midst of a ruined city.

As a result, Skyfall reexamines the mythos of James Bond by making him more vulnerable and exploring his damaged psyche. Following the botched mission, Bond retires to paradise and drowns his sorrow with booze and meaningless sex. To paraphrase Sean Bean in Goldeneye, he silences the screams of the men he's killed with vodka martinis and finds forgiveness in the arms of willing women for the one she failed to protect. When he has returned, Bond faces his own mortality and the fact that he's a few steps off. There are even allusions to Bond's troubled childhood. Thankfully, the filmmakers avoid simplifying the complexities of Bond. They've expanded the character beyond just a dapper secret agent armed with a few quips and a Walther-PPK.

A recurring theme in Skyfall is the idea that the "old ways are best" with an undercurrent on the relevancy of the Bond franchise in the 21^st century. Silva's crusade has pulled MI6 out of the shadows and into the light where they face two other fearsome foes: public scrutiny and bureaucracy. Q (Ben Whishaw) is re-introduced to the series as a tech savvy youngster in the vein of Jesse Eisenberg. Although Q has an embankment of supercomputers, he prefers to equip Bond with a radio transmitter and the trademark Walther-PPK though it does use a biometric grip. There are jokes about the aforementioned exploding pen and ejector seats as a playful homage to the Bond of the past. The same goes for the opening credit song, "Skyfall" by Adele, whose soulful vocals are a throwback to the classics sung by Shirley Bassey.

The one weakness of Skyfall is its treatment of women who've always had it rough in the Bond series. It's almost tradition to have one tagalong Bond girl and one disposable Bond girl. The sidekick here is Eve who is revealed to be Miss Moneypenny. Rather than portraying her as a formidable agent, she's given a reverse character arc where she's taken from the field and put behind a desk. Hopefully, future films will not stick her in the tired role of secretary. To her credit, Naomie Harris is a great verbal sparring partner for Daniel Craig. The disposable Bond girl is French actress Bérénice Marlohe as the sultry Severine whose death is quickly disregarded.

Skyfall is a fitting way to celebrate the 50^th anniversary of James Bond. This is one of the best Bond films in decades and one of the best films of 2012.

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

Dream House

Dream House - Dir. Jim Sheridan (2011)

Dream House sure sounded like a dream project. At the helm was Jim Sheridan, the Academy Award nominated director of My Left Foot, In the Name of the Father and In America. The cast had serious star power with Daniel Craig, Rachel Weisz, and Naomi Watts in the lead roles. Yet, Dream House turned into a complete nightmare. Sheridan clashed frequently with producer James G. Robinson. Their disagreements centered on Sheridan employing an improvisational style that deviated heavily from the script by David Loucka. Response from test screenings was disastrous and extensive reshoots were required. Robinson and Morgan Creek Productions took control and edited the move themselves. A displeased Sheridan attempted to have his name removed from the credits. Dream House was eventually released with very little fanfare. There was no gala premiere, no press screenings, and the actors refused to promote the picture. It seemed the only good thing to come out of the film was the fact that Craig and Weisz fell in love on set and eventually married.

Craig is Will Atenton, a successful book editor in New York, who quits his job to spend more time with his family. He's just bought a new home in a sleepy, snow covered New England town. He hopes to live a quiet life with his wife, Libby (Weisz), and daughters Trish & Dee Dee (Taylor & Claire Geare). But, that doesn't appear to be in the cards. The townsfolk are on edge around Atenton, especially his next-door neighbor Ann Patterson (Watts), who is in a bitter custody dispute with her ex-husband Jack (Marton Csokas). After chasing off a group of goth teenagers partying in his basement, Will learns the previous owners of his happy house were brutally murdered. A man named Peter Ward allegedly killed his wife and daughters and was committed to an insane asylum. As Will digs further into the mystery, he may like what he finds.

It's difficult to discuss the plot of Dream House any further without spoiling everything. That's assuming you haven't seen the trailer, which revealed practically the entire movie. Not that it really matters; the story is so trite and unoriginal that you will see every twist coming. For one thing, Elias Koteas is in the movie. When has Elias Koteas ever been cast in a role where he wasn't a creepy guy?

Despite all the finger pointing, there's plenty of blame to go around. First there's the hacky screenplay by David Loucka, whose most notable credit was as a co-writer on the Whoopi Goldberg comedy, Eddie. It's a safe bet that A-list talent like Craig, Weisz, and Watts signed on to work with Jim Sheridan. However, I don't think his version would have been that much better than the final product.

Dream House seems like the Exorcist prequel all over again. Not surprisingly that was also produced by Morgan Creek. Paul Schrader directed the original picture before the studio hired Renny Harlin was brought on to direct a retooled version. They were both eventually released into theaters and were both critical and financial flops.

Sheridan's cut may have been incrementally better than the theatrical version, but it surely couldn't have been on par with his best work. This isn't the same Sheridan who directed In America. It's the Sheridan who directed Get Rich or Die Tryin.' Sheridan is more than capable of telling personal stories about Irish immigrants, but he's not up to handling slick Hollywood fare.

Dream House might be Daniel Craig's worst performance ever. Perhaps, Craig was less than enthused about returning for reshoots and couldn't be bothered to give it his all. Sort of like Harrison Ford being forced to read the stilted narration for the theatrical cut of Blade Runner.

Dream House consists of so many half-baked contrivances that you'd think it was made by someone who went through M. Night Shyamalan's dumpster. The backstage drama during the production was far more compelling than the actual movie. This is an ineptly made thriller lacking in atmosphere or suspense.

Rating: * (*****)

The Adventures of Tintin

The Adventures of Tintin - Dir. Steven Spielberg (2011)

Under the pen name Hergé, Belgian illustrator Georges Prosper Remi has become a renowned artist for his long-running comic strip, The Adventures of Tintin. The series was published from 1929 until 1976 and spawned numerous radio plays, theatrical productions, and even a few live-action films. The most faithful adaptation was an animated series that aired on HBO from 1991 to 1992. Though incredibly popular throughout the world, Tintin has yet to garner a strong fanbase in the United States. One American fan, the character did win over is Steven Spielberg, who was unaware of the comics until a critic compared Raiders of the Lost Ark to Tintin. During the 80's, Spielberg got the rights to the original stories and a seal of approval from Hergé himself, but a movie didn't become a reality until now. Spielberg tag teams with Peter Jackson for this big-budget romp that utilizes the latest in motion capture technology to bring to life a script written by Steven Moffat (showrunner for Doctor Who) and the team of Edgar Wright & Joe Cornish (Scott Pilgrim vs. The World). The film is based on three prominent Tintin books, The Crab with the Golden Claws, The Secret of the Unicorn, and Red Rackham's Treasure.

The Adventures of Tintin opens with a fantastic title sequence done in the style of Saul Bass and reminiscent of the title sequence to Spielberg's Catch Me If You Can. The credits are set to a jazzy score by John Williams and encompass an entire adventure of its own. From there, we meet Tintin (Jamie Bell), an intrepid boy reporter as he gets a portrait done in a busy marketplace. Spielberg cleverly transitions from Hergé's trademark ligne claire (or clear line) style to the 3D mo-cap animation by showing us the artist is Hergé. He hands the old school version to the new interpretation and we are off.

Tintin purchases an intricate model of a 17th-century warship known as the Unicorn. No sooner is it in his possession when an American named Barnaby (Joe Starr) and a sinister collector known as Ivan Ivanovitch Sakharine (Daniel Craig) attempt to buy it from Tintin for exorbitant amounts of money. He refuses to sell and soon finds his apartment burglarized and Barnaby murdered on his front doorstep. These events lead Tintin and his faithful dog Snowy on a globe-trotting quest for missing treasure. Along the way, they befriend the blustery Captain Archibald Haddock (Andy Serkis) whose ship has been commandeered by Sakharine and his henchmen. Turns out, Haddock's ancestor was the captain of the original Unicorn before it went down following a battle with the notorious pirate Red Rackham (also played by Craig).

The uncanny valley usually rears its ugly head whenever motion capture is employed. Said valley is the point in which simulated human beings become creepy because they failed to replicate the real thing. While it slips into the valley every now and then, The Adventures of Tintin soars over that unsettling realm. The animation is beautifully rendered and richly detailed with characters that are expressive and smoothly brought to life.

Jamie Bell stars as the plucky reporter, who, ironically, is never seen in front of a typewriter or shown turning in a story. The biggest criticism levied at Tintin is that he is bland. Tintin has always been something of a cipher as Hergé intended for the reader to project themselves onto the protagonist. Hergé wisely surrounded his hero with a colorful cast of supporting characters, the most beloved being Capt. Haddock. He is brought to life by a remarkable performance from Andy Serkis, the Lon Chaney of motion capture. Everything hinges on Haddock because he is the heart of the film and Serkis does not disappoint. He is pitch perfect as the quick tempered and generally soused sea captain, who responds to outrageous situations with nonsensical expressions like, "Blistering barnacles!" And a Tintin adventure wouldn't be complete without the bumbling Scotland Yard detectives Thomson and Thompson played by Simon Pegg and Nick Frost. Yet, the most interesting character in the movie has to be Tintin's wire fox terrier, Snowy. The little pooch isn't just adorable; he's preternaturally intelligent and sometimes smarter than his own master. Snowy gets some of the film's best scenes, such as a chase sequence through city streets and dodging traffic after Tintin is abducted by the villains.

Tintin is marked by several spectacular action sequences. This is Spielberg's first foray into animation and the genre has freed him from physical limitations. The highlight of Tintin is another chase scene with Tintin, Haddock, and Snowy in a motorcycle with sidecar riding through a multi-tiered Moroccan village. Done as a single uninterrupted take, the set piece is one of the year's best as the camera glides through the air while controlled chaos sweeps through the town. Tintin also features a battle at sea that rivals anything in all four Pirates of the Caribbean movies and a large-scale duel involving two construction cranes. Spielberg doesn't forget to add a touch of humor to the proceedings with Looney Tunes-inspired gags and a sly Jaws reference with Tintin's trademark pointy hair serving as the shark's fin.

The Adventures of Tintin isn't the game changer one might expect from Steven Spielberg and Peter Jackson. It's not deeply nuanced cinema, but it is an exceptionally fun boys' adventure in the way Kingdom of the Crystal Skull should have been. Tintin began its international run in October where it's done gangbusters, but has performed anemically stateside. Still, the numbers are enough to make the sequel (The Calculus Affair?) with Jackson as director a strong possibility.

Rating: *** ½ (*****)

Cowboys & Aliens

Cowboys & Aliens - Dir. Jon Favreau (2011)

Cowboys & Aliens has one of those high-concept titles that tells you exactly what you're going to get. Just like Snakes on a Plane had snakes on a plane, Cowboys & Aliens has cowboys and aliens. It should have been a cool mish-mash of Western and sci-fi genres, but, again, like Snakes on a Plane worked better as a joke on paper. Based loosely on a graphic novel published by Platinum Studios, Cowboys & Aliens had all the makings of a successful summer blockbuster. It had two renowned leading men together for the first time in Daniel Craig and Harrison (James Bond and Indiana Jones!). It had a talented director with a proven track record in Jon Favreau (Iron Man). Steven Spielberg, Ron Howard, and Brian Grazer were among the producers. Credited screenwriters included Roberto Orci & Alex Kurtzman (Transformers), Damon Lindelof (Lost), Mark Fergus & Hawk Ostby (also of Iron Man), and Steve Oedekerk (Kung Pow: Enter the Fist), who was attached to write and direct way back in 1997. Hmm…okay that last one was odd, but you can hardly hang the film's failures on a singular man.

Cowboys & Aliens opens with an unidentified man (Craig) awakening in the desert with no memory of who he is or where he came from. There's also a bizarre bracelet attached to his wrist. After killing a trio of assailants, he makes his way to the small town of Absolution where we learn he is a wanted outlaw named Jake Lonergan. The whole town lives in fear of local cattle baron, Col. Woodrow Dolarhyde (Ford), whose sniveling son, Percy (Paul Dano), has also arrived to drunkenly shoot up the place and bully the barkeep Doc (Sam Rockwell). When the Colonel learns Percy and Lonergan have been arrested, he rides into Absolution with the intent of taking them both. Just as the six-shooters are about to be drawn, mysterious lights flash in the sky. The aliens have arrived on crab-like vessels destroying everything below and snatching up innocent people left and right. Among those taken are Percy, Sheriff Taggart (Keith Carradine), and Doc's wife Maria (Ana de la Reguera). Lonergan discovers his bracelet is actually an advanced weapon capable of detecting the aliens and destroying their ships.

Lonergan and Dolarhyde reluctantly form a posse to rescue their people and stave off the alien invasion. Among their group include Doc, Dolarhyde's Native American servant Nat Colorado (Adam Beach, the Sheriff's grandson Emmett (Noah Ringer), the gruff reverend Meacham (Clancy Brown), and a mysterious woman named Ella (Olivia Wilde). Eventually they are all forced to team up with a tribe of Apaches and a band of ruthless outlaws in a final showdown with the extraterrestrials.

The film starts with a strong first act mimicking all the standard tropes of the Western with the taciturn hero and Mexican standoffs. Favreau does his best to ground the story in some semblance of reality even after the outlandish introduction of space invaders. Then, things start going off the rails. The momentum built up at the beginning drops into a second act lull as the plot takes its time to develop its thinly drawn characters. The narrative is clumsily dotted with flashback sequences of Lonergan's fuzzy past. Ford is initially cast against type as a gruff and slightly racist antagonist, but he's Harrison Ford and can't stay that way the whole movie. He's significantly softened with two cheesy subplots of Dolarhyde acting as a surrogate father to Nat and Emmett. The movie also gets taken down a notch with the early loss of Paul Dano, who served as an excellent whipping boy to Craig's Lonergan. Despite her insane gorgeousness, Olivia Wilde appears only as a functionary character to deliver helpful exposition and act as a deus ex machine to defeat the aliens. Also wasted are great character actors like Keith Carradine, Walt Goggins, and Clancy Brown.

Favreau is a solid director with a knack for handling large ensembles, but he's not the flashiest when it comes to action. His finales (both Iron Man movies, for example) tend to build up strong and then fizzle out towards the end. Cowboys & Aliens suffers from an anti-climatic finish as the final battle between the humans and aliens becomes monotonous and easily forgettable.

While classic Westerns like The Searchers served as inspiration, Cowboys & Aliens (with its wooden dialogue and silly plot contrivances) recalls the B-movie productions of Roger Corman. There is an underlying irony beneath the pedestrian narrative about our nation's history of genocide and Manifest Destiny, but don't think for an instance this movie is an allegory for American imperialism. Cowboys & Aliens isn't a game changing genre bender. It is summer entertainment. Mindless escapism in its purest form.

Rating: ** (*****)

Defiance

Defiance - Dir. Edward Zwick (2008)

James Bond, Sabretooth, and Billy Elliot team up to fight Nazis and save Jews. Sounds like a movie to me.

Comic book artist Art Spiegelman (author of the Pulitzer Prize-winning Maus) coined the phrase ‘holo-kitsch’ for the sentimentalizing of the Holocaust in the popular media. There’s been a recent spate of films centered on the Holocaust and World War II from big-budget spectacles (Valkyrie) to arthouse fare (The Reader) with each one focusing on a single individual within the scope of a larger story. Defiance falls into the first category with plenty of action, pathos, and a cast of name talent. It tells the little-known story of the Bielski brothers who protected over 1200 Jews from the Nazis while hiding in the Belorussian forest.

Daniel Craig takes the lead as the eldest brother Tuvia. He and his younger brothers Zus (Liev Schreiber) and Asael (Jamie Bell) discover their parents have been murdered by the local police chief, a Nazi collaborator. They find their youngest brother Aron (George Mackay) hidden in the barn and look for refuge in the forest. There, they come across dozens of other Jews also hiding from the Germans. Soon, dozens grow into hundreds as everyone looks to Tuvia for guidance in their makeshift community. They build shelters and make some sort of life for themselves with a few of the men taking on “forest wives.” While Tuvia is primarily concerned with protecting those under his watch, Zus has a burning desire for vengeance. The brothers bitterly part as Zus joins up with a regiment of Russian soldiers in their strikes against Nazi forces.

Director Edward Zwick is familiar with films about the personal conflicts in a time of war or struggle. Looking at his body of work, Glory, The Last Samurai, Blood Diamond, you can see similar themes running throughout them. From a technical standpoint, there isn’t much wrong with the picture. The film is well crafted and well acted. The cast is superb. Craig with his piercing blue eyes is the foundation for the film. The guys from Knocked Up will be happy to know he again plays a Jew who kicks some ass. Much like Wolverine, Schreiber plays the more violent-minded brother who displays rare moments of sardonic wit. Their characters are painted as real people with flaws rather than superheroes. In one harrowing scene, Tuvia looks for revenge against the police chief who murdered his parents. He kills the man, but is also forced to kill his sons while the man’s wife watches and begs to be killed as well. It’s not at all the satisfactory sense of closure he had hoped for.

Where the film fails is through its by-the-numbers approach to storytelling. There are the usual Hollywood flourishes that have been added to make the story more cinematic. Zwick goes for the most melodramatic shots when possible as if he were fishing for Oscars. Daniel Craig gives the obligatory inspirational speech while astride a gleaming, white horse. The director even goes for a Godfather moment, intercutting between Asael’s wedding with Zus and the Russians attacking German troops. It makes Defiance a good movie, but not a great one.

Rating: ***

Quantum of Solace

Quantum of Solace - Dir. Marc Forster (2008)

"The first thing you should know about us…is that we have people everywhere."

It may be three years since Casino Royale, but its floridly titled sequel, Quantum of Solace takes place only minutes after the conclusion. Bond interrogates Mr. White to gain more information about the ruthless terrorist organization known as Cobra…er…Quantum.

The major complaint from the majority of critics and viewers has been that the latest Bond movie doesn’t feel like a Bond movie. My reply, is that such a bad thing? This is a grittier, nastier 007 with little time for cheesy puns and room service caviar. There’s plenty of globe-trotting, but no chance to partake in the lush scenery. Bond is more action hero-y than ever before, cutting down bad guys one after another. Would I l have liked a Bond who was less with the blunt and more with the cunning & guile? Yes. Much like, the Batman reboot we saw the ultimate fighting machine Batman before we got the detective skills.

The second piece of criticism comes is how the new Bond film apes the Bourne franchise. The fights and rooftop chases look like they came right out of the Greengrass helmed pictures. Not surprisingly, Bourne editor Richard Pearson and stunt coordinator Gary Powell both worked on Quantum as well. The film opens with a breakneck car chase. Breakneck because you’ll probably snap yours trying to follow the muddled action. The studio took a chance on hiring director Marc Forster better known for more intimate films such as Finding Neverland, Stranger Than Fiction, and The Kite Runner. Forster isn’t as flashy as Martin Campbell, but he gets the job done. No more, no less.

Quantum also borrows heavily from past Bond pictures. Bond goes rogue on a mission of vengeance (Licence to Kill). There’s a side story involving the lead Bond girl also on a quest for revenge (For Your Eyes Only) while another ill-fated Bond girl meets her maker after being dunked in oil (Goldfinger).

Craig continues to be a perfect blend of the past iterations of Bond though he isn’t as charming as he could have been. At one point, he drops his friend’s body into a dumpster ("He wouldn’t care."). Judi Dench as M finally gets some scenes she can really chew on. Mathieu Amalric looks the part of a super-villain with his scrawny frame and bugged-out eyes, but his Dominic Greene never feels like the larger-than-life threat he should be. Even less memorable is Olga Kurylenko who makes the least interesting love interest for 007 since Tanya Roberts. Her whole subplot feels forced into the proceedings, as if they couldn’t go one film without a woman tagging along on Bond’s adventures.

What we have is essentially Casino Royale Volume 2. While Casino clocked in as the longest Bond film, Quantum has the shortest runtime. Taken on its own, Quantum of Solace is a fun action movie that’s missing a few ingredients to really heat things up in the kitchen. The rebooted Bond films are best viewed back-to-back as one epic.

Rating: ***