Showing posts with label Donna Murphy. Show all posts
Showing posts with label Donna Murphy. Show all posts

Saturday, August 18, 2012

The Bourne Legacy

The Bourne Legacy - Dir. Tony Gilroy (2012)


Continuing a franchise without its lead actor isn't always a wise choice, most of the time the decision yields nothing more than a forgettable piece of direct-to-video cinema. But, Universal is treating its Bourne series like gold since the original trilogy raked in close to a billion dollars in box office revenue. The studio kicked in a big budget and signed up an A-list cast to compensate for the loss of Matt Damon and Paul Greengrass.

Despite its troubled production, The Bourne Identity was a hit and updated the spy genre into a gritty, real world setting. The film's success certainly played a role in rebooting the Bond franchise since Die Another Day (which also came out in 2002) was derided for its overuse of CGI and silly contrivances like invisible cars. Neither Damon nor Greengrass were that keen on returning for a fourth picture so the directorial reins were given to Tony Gilroy, who co-wrote the script with his brother, Dan. Rather than rebooting the series or ignoring the events of the previous films, The Bourne Legacy is a side-quel that takes place simultaneous to The Bourne Ultimatum.

In case you missed it, Jason Bourne is running roughshod in Manhattan and threatening to expose Treadstone, a CIA black ops program involving illegal activities and assassinations. Retired Col. Eric Byer (Edward Norton) is the shadowy government official in charge of all the various cloak and dagger operations, including Treadstone's sister program, Operation Outcome. In order to protect themselves, Byer orders the elimination of Outcome's assets and anyone else who may have damaging knowledge. This leads us to one of their best and brightest, Aaron Cross (Jeremy Renner), who narrowly escapes a UAV while training in the Alaskan wilderness. Unlike the psychological manipulation of Treadstone, Outcome utilizes genetic engineering to gift its foot soldiers with enhanced abilities, both physical and mental. Think of a modern day Captain America with the side effect of requiring regular doses of pills (chems) to keep the enhancements permanent.

After losing his supply of chems, Cross seeks the aid of Dr. Marta Shearing (Rachel Weisz), who has also escaped an attempt on her life. One of her co-workers (Zeljko Ivanek) is given the Manchurian Candidate treatment and coldly guns down his colleagues with Dr. Shearing the only survivor. The globetrotting adventure cuts between the boardrooms and control centers of the CIA to the streets of Manila as Cross and Dr. Shearing search for the drugs our hero desperately needs.

Tony Gilroy has done a seamless job weaving The Bourne Legacy into the mythos that was previously created. Gilroy's directorial style is a meshing of Limon's and Greengrass's. Thankfully, Gilroy's shaky cam isn't as nauseating. The workplace shooting is one of the most effective sequences in the film. It would be chilling enough without the context of current events. The other action scenes are pulled off in gripping manner. The opener will recall The Grey as Cross evades a hungry wolf and a missile strike. Another tense set piece sees Cross rescuing Dr. Shearing in her remote home from a CIA kill squad. The most exciting and frenetic action is reserved for the third act as the protagonists run along the rooftops and crowded streets of the Philippines.

Gilroy falters in the actual story. Those who haven't seen the earlier Bourne films will be lost as much of the first act almost recaps the major plot points of Ultimatum in an effort to establish the timeline for Legacy. We get brief cameos from familiar faces like Scott Glenn, Joan Allen, David Strathairn, Albert Finney, and Corey Johnson while introducing new characters such as Norton's Col. Byer and Stacy Keach as the latest in a long line of gravelly voiced authoritarians. There is also a lot of exposition and techno-babble about the intricacies of Outcome. The script is at its weakest when attempting to sketch out the lead characters.

Jeremy Renner is more than capable of succeeding Matt Damon. He brings the same quiet intensity to the role of Aaron Cross as he did to his conflicted bomb diffuser in The Hurt Locker. Unfortunately, his motivations aren't as interesting as Jason Bourne's. Bourne was all about discovering his true identity and finding redemption when he learns he wasn't that nice of a guy, sort of a serious take on the Total Recall concept. Bourne is also concerned with bringing his puppet masters to justice. Here, Cross knows exactly who he is and is primarily occupied with self-preservation. He is motivated by finding more meds. In a take on Flowers for Algernon, we learn that Cross dreads what will happen should he lose his mental faculties. Before joining Outcome, his IQ was so low that his army recruiter had to fudge the numbers to meet minimum requirements. This is an intriguing twist that is never fully developed. The same can be said for Dr. Shearing. Rachel Weisz gives a strong performance, but the character is merely the damsel in distress. She's there to be rescued by the hero, then tagalong for the ride until they fall in love. The most fascinating element about Shearing is her participation in the grey area of human experimentation. She seems willfully ignorant about the sinister implications of her work. Again, this is glanced over. The relationship between Cross and Shearing actually isn't as interesting as the brief relationship between Cross and an unnamed Outcome agent played by Oscar Issac. The agent runs a safe house on the training grounds where Cross finds respite. Isaac is reticent about opening up to the talkative Cross and both men are constantly sizing up the other in subtle fashion.

The Bourne Legacy eventually fizzles to an anticlimactic conclusion that obviously leaves room for a Cross-led sequel while leaving the door open for Damon's return. Legacy just doesn't do enough to expand the mythology of the Bourne franchise and the results are an entirely conventional action pic.

Rating: ** ½ (*****)

Wednesday, December 1, 2010

Tangled

Tangled - Dirs. Nathan Greno & Byron Howard (2010)


Disney hits the big five oh with Tangled, their 50th feature length animated film released in theaters. They've released dozens of classics and some that should be forgotten (Treasure Planet, Chicken Little). Tangled may not rank among Disney's greatest efforts, but it's a fun film for the young and old.

Tangled is Disney's version of the famous fairy tale by the Brothers Grimm. You might be wondering why the House of Mouse didn't simply call it the more recognizable Rapunzel. Chalk that up to the ad wizards. Disney felt their previous picture, The Princess and the Frog, underperformed at the box office because boys didn't want to see a movie about princesses. Considering the studio reportedly spent a whopping $260 million on the picture, they definitely want to get their money's worth. So the marketing division put the focus on the dashing male lead and emphasized the film as an adventure story. However, make no mistake about it, Tangled still follows the classic Disney formula that has worked since Uncle Walt had the crazy idea to do Snow White and the Seven Dwarfs. We've got our plucky princess heroine, a handsome love interest, an evil stepmother figure, wacky animal sidekicks, and plenty of musical numbers.

Tangled opens with a prologue involving a magical flower with the ability to rejuvenate. An old woman named Mother Gothel (Donna Murphy) finds the flower and uses it to make herself young again. When the King discovers the flower's existence, he sends his men to find it in order to save his wife when she grows weak during childbirth. The Queen is saved and the flower imbues the hair of their daughter, Rapunzel (Mandy Moore), with the same healing properties. Mother Gothel kidnaps Rapunzel and never cuts her hair lest it lose its wondrous power.

Years pass and it is now Rapunzel's eighteenth birthday. She has spent her entire life inside a tower and never allowed to leave. Mother Gothel has spun wild tales of the dangers lurking in the outside world in order to keep her "daughter" in line. However, Rapunzel's curiosity keeps her dreaming of what lies beyond her tower. Meanwhile, the notorious thief, Flynn Rider (Chuck's Zachary Levi), is being chased through the woods by the royal guard after robbing the castle. He takes refuge in the tower where he's knocked out by Rapunzel and her trusty frying pan. She eventually convinces the reluctant Rider to escort her to the royal kingdom.

As you'd expect from a Disney feature, the animation is absolutely gorgeous. Inspired by old oil paintings, the animators created a picture perfect storybook kingdom with a luscious forest. Ironically, a lot of work went into making the CGI resemble the hand drawn animation found in the classic Disney films of yesteryear. The facial expressions of the characters are incredibly detailed. Rapunzel, in particular, has a wide eyed sense of wonder and the animation for her hair is well done. It's a shame that the filmmakers didn't make better use of Rapunzel's long locks as the film progressed. They also don't do much to distinguish the lead characters beyond just perky princess and swashbuckling rogue. The antagonist, Mother Gothel, has to be one of the least memorable Disney villains in a long time. It's a disappointment from the same studio that created great baddies like Cruella De Vil and Gaston.

Equally forgettable are the tunes from long-time Disney composer Alan Menken and lyricist Glenn Slater (Home on the Range). Most of the songs seem to burst out as a requisite to the Disney formula rather than a natural extension of the story. The only number with any real energy is "I've Got a Dream," a hilarious musical sequence set in a seedy tavern for medieval thugs, some of whom are voiced by Jeffrey Tambor, Brad Garrett, and Jaws himself, Richard Kiel.

The show is actually stolen by the animal sidekicks, who aren't voiced by A-list celebrities this time around. There's Rapunzel's one and only friend, a feisty little chameleon named Pascal. There's also Maximus, a horse for the royal guard who pretty much steals the entire movie. Maximus is more police dog than handsome steed. He growls and snorts as he sniffs out the trail of Flynn Rider. He even punches him and draws a sword in a ludicrous duel.

Despite some stereotypical characters and a bland soundtrack, Tangled is a fun adventure that is beautifully animated. It's not an all-time classic, but a great effort from Disney.

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