The Tourist

OPENING: 12/10/2010

STUDIO: Spyglass Entertainment, GK Films

RUN TIME: 103 min

ACCOMPLICES:
Trailer, Official Site

The Charge
The perfect trip, the perfect trap.

Opening Statement
The star power of Angelina Jolie and Johnny Depp cannot make up for The Tourist, an enjoyable, but ultimately flaccid mess of a spy-thriller-come-comedy. There’s no story to speak of, only a cobbled together plot built around a bogus ending–you’ll decipher the “big twist” within the first reel. Watch out for that James Newton Howard score, though–it’s terrific!

Facts of the Case
Elise Clifton-Ward (Jolie) is a well known and mysterious woman who spends her days reading love letters from her equally mysterious beau Alexander Pierce. Problem is, the British government, led by a ruthless agent (Paul Bettany), has it out for Pierce–he stole two billion dollars from a gangster named Reginald Shaw (Steven Berkoff) and owes a ridiculous amount in back taxes–and will sacrifice anything and anyone to get to him.

Enter Frank Tupelo (Depp) an American tourist/Math teacher on his way to Italy for some much needed R&R. Unfortunately for him, Elise, in an attempt to convince the government that Frank is actually Pierce (to draw them off), kicks off a romantic flirtation and thus paints a target on the inept traveler’s back. Things turn dicey, however, when Shaw, convinced that Frank, in actuality, is truly Pierce in disguise, pops up with revenge on the mind, and will likewise do anything and everything to bring him in.

The Evidence
I saw The Tourist a few days ago and still haven’t quite mustered up an opinion as to whether I liked it or not. The film has all of the right ingredients–star power/chemistry, an absurd (but passable) story, stunning locales, an Oscar worthy James Newton Howard score– and yet none of them mesh properly enough to warrant anything beyond a passive response. Did I enjoy the film? Sure. Was I bored? Not at all. Would I see it again? Probably not.

Director/co-writer Florian Henckel von Donnersmarck does well with his budget in terms of cinematography and setting. The film looks great, brimming with luscious, even vibrant Italian scenery and heart stopping vistas. Take out the stars and you have a plush travelogue video of Italy. Leave them in and you have a plush travelogue video of Italy starring Angelina Jolie and Johnny Depp.

Perhaps that’s the problem with Donnersmarck’s flick: it’s too in love with the beautiful actors posing in front of the absorbing backdrops. Why else would The Tourist feature so many shots of Jolie (adorned in sexy, form hugging attire) walking to and fro, with nary an objective in sight, as though her presence were enough to sustain our interest for two hours? Indeed the opening sequence features the alluring actress drinking tea at one of those cozy, photo-op ready diners while government agents oogle her from inside their cover vehicle (at one point the camera even zooms in on her sashaying backside, such is the film’s objective). Instead of focusing on the plot, the audience takes in the exquisite sights: Look! It’s Angelina Jolie walking across the pier! What an outfit! Look! There’s Jolie standing elegantly atop a balcony! Get a load of that negligee! I half expected Joan Rivers to pop in and supply commentary.

Maybe the problem lies with the characters themselves. Frank and Elise are neither captivating, nor charismatic. We’re told Elise is dangerous, but she does little to validate such a claim. Frank, a high school math teacher, smokes fake cigarettes and wears funny pajamas. Otherwise he speaks in soft tones and acts less erratic than you might expect a man in Frank’s situation (or Depp for that matter) to behave. Mostly he joins the audience as they gawk at Jolie’s lithesome frame. “You look ravenous,” Frank tells Elise. “You mean ravishing,” she corrects. “I do,” he agrees. So do I.

Depp and Jolie make a terrific onscreen pair. The duo clearly has a ball chewing up Christopher McQuarrie’s (Valkerie) colorful dialogue, even if they appear less interested in the plot. Their chemistry is the only thing in the film that sizzles.

The Tourist is a movie that belongs in the 1950s, in a time when it was okay for films to feature actors standing around, or holding casual conversation; adoring audiences packed movie houses just to catch a glimpse of Humphrey Bogart, Katherine Hepburn, or Cary Grant. Such were the times. Nowadays, as recent star studded turkeys Knight and Day and Killers will attest, star power has nothing over plot and structure, at least not to the general public.

Me? I like my spy-comedies fast and furious–Mr. and Mrs. Smith (2005) anyone? Unfortunately, The Tourist is anything but.

Closing Statement
Much like the similarly themed Knight and Day and Killers, The Tourist overestimates the appeal of its main stars, in this case Angelina Jolie and Johnny Depp–who make a terrific onscreen pair, but have nothing to do.

The Verdict
6/10

Salt

OPENING: 07/23/2010

STUDIO: Sony

RUN TIME: 100 min

ACCOMPLICES:
Trailer, Official Site

The Charge
Who is Salt?

Opening Statement
I have to admit, the trailers for Salt didn’t exactly inspire much excitement in yours truly. It looked like a fairly typical action film rooted in a typical “innocent person wrongly accused” plot; a bit of generic noise to fill a gap in the summer movie season. I’m glad to have been proven wrong. Salt is one of the loopiest films of the summer, but also a tremendously well-crafted thriller and a grandly entertaining experience.

Facts of the Case
Angelina Jolie (Changeling) plays Evelyn Salt, a CIA Agent who’s been given the task of interrogating a Russian spy claiming a desire to defect to the US. During her interview, the Russian suggests that there is an assassination being plotted by a mole within the CIA. He claims that this mole’s name is Evelyn Salt. The interview grinds to a halt, and Salt’s superiors demand that she be put into custody until the matter can be examined further. Not willing to sit around and answer questions, Salt makes a run for it and attempts to escape the grasp of the CIA and FBI while simultaneously looking for a way to clear her name. So begins a tense, action-packed journey to a surprising finish line.

The Evidence
It becomes clear rather quickly that Salt is a film that has been dipped in a giant vat of crazy sauce. We realize this as soon as the Russian defector fills us in on a super-secret Russian program which brainwashes orphans and trains them to become sleeper agents in America. Apparently, the man we know as Lee Harvey Oswald was actually one of the first notable members of this particular program. This plunge into territory that even Oliver Stone might find over-the-top is only the beginning of the eyebrow-raising developments Salt has to offer of the course of its lean 99-minute running time. This much must be said: this movie is neither formulaic nor predictable.

The director is Phillip Noyce, a talented guy whose work includes serviceable Hollywood fare (Clear and Present Danger, Patriot Games, The Bone Collector) and ambitious dramas (Rabbit-Proof Fence, The Quiet American). While Salt isn’t on the level of the latter two films, it represents Noyce hitting an all-time high as an entertainer. The action scenes in the movie are crafted with remarkable skill and precision, steadily increasing the level of tension and excitement as the film proceeds. There’s a refreshing amount of professional nuts-and-bolts craftsmanship on display, as the scenes are largely staged without the aid of CGI or silly special effects. It’s such a nice change of pace to witness an action movie in which the presence of computers is almost entirely unfelt. Real stuntwork, real sets and practical effects are the name of the game in Salt, and these elements are being employed by a director who knows what he’s doing.

The film was originally intended as a vehicle for Tom Cruise, who would have been wise to stick with it. Salt proves considerably more enjoyable than Cruise’s limp summer action/comedy Knight and Day, though it’s doubtful that Cruise could have managed to be as enigmatically compelling in the lead role as Angelina Jolie. It’s a treat to witness the actress handle this material; she’s effortlessly confident and undeniably effective as an action star. Actors are traditionally called upon to show us what they’re feeling, but Jolie’s task in Salt is to make us question whether what’s she emoting is honest or an act. The film’s ad campaign has been built upon the question “Who is Salt?” That’s a question you’ll keep asking yourself for quite a long while.

The show belongs to Noyce and Jolie, but both receive crucial support from a host of talented supporting cast and crew members. Liev Schrieber (Defiance) and Chiwetel Ejiofor (Children of Men) are both crisply professional in their roles as government agents attempting to capture Salt and get to the bottom of the mystery. Oscar-winning Cinematographer Robert Elswitt brings an exceptional level of visual flair and atmosphere to the sort of film that usually doesn’t receive such treatment. Composer James Newton Howard delivers an exceptionally exciting score which does a nice job of adding to the film’s sense of momentum.

Closing Statement
I can certainly see why someone might come out of Salt shaking their head at what they had just witnessed. The film is unapologetically mad, as Kurt Wimmer’s screenplay often feels like it was written by an insomniatic 15-year-old in 1985 (I mean that in the best possible way). Even so, I was thrilled to witness a film that managed to blend such fine technical merits with a delightfully unconventional plot. Most of the folks at my screening were chuckling happily at the film’s conclusion, which I believe is precisely the reaction the film is aiming for. So grab a bucket of popcorn and add some Salt. Odds are you’ll have a good time.

The Verdict
8/10

Changeling

OPENING: 10/31/2008

STUDIO: Universal

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge
To find her son, she did what no one else dared.

Opening Statement
Changeling is an ambitious, moving motion picture that could not have been directed by anyone other than Clint Eastwood. The actor-turned-director never appears onscreen, but you can feel his presence. This is a movie made with an angry glare, gritted teeth and clenched fists.

Facts of the Case
Changeling tells the story of Christine Collins, a single mother attempting to raise a young son in Los Angeles during the late 1920s. She is a good mother, and she actually has a reasonably successful career as a supervisor at a telephone company. One night, she comes home from work, and discovers that her son is missing. She has no idea where he could have gone. She calls the police, who inform her that her son will probably be back home within 24 hours. If not, they’ll look into it. The next day, her son has still not returned.

A long investigation seems to lead nowhere for weeks and weeks, but finally, there is a breakthrough. Five months after the boy’s disappearance, the police claim they have found Christine Collins’ son. Christine is delighted to hear this news, and is equally dismayed when she discovers that the boy is not actually her son. She tries to tell the police this, but they will have none of it. “Children change a lot in five months,” they say. “Just keep him a few days and wait for the shock to wear off.” Collins hesitantly agrees, but comes no closer to being convinced that this boy is her son.


Just to be sure, she checks with her son’s doctor, teacher, and others… all of them confirm that it most certainly isn’t her son. This information would prove embarrassing for the police department, so a police captain (Jeffrey Donovan, Burn Notice) has Christine locked up in an insane asylum, claiming that she isn’t “of sound mind.” Fortunately, Christine is a strong and intelligent woman determined to do whatever is necessary to prove her innocence and find her real son, and she receives the considerable aid of a local minister (John Malkovich, Burn After Reading) who is dedicated to exposing corruption with the L.A.P.D.


The Evidence
Typical of Eastwood, this is a movie packed with a heaping helping of righteous anger, tempered with the director’s usual level of compassion and thoughtfulness. It doesn’t quite get everything right in terms of storytelling structure, but the movie’s heart is in the right place, and the emotions that fuel the film carry it through the rough patches.


Angelina Jolie turns in a very fine performance here, demonstrating yet again that she is capable of far more than what she has given us in her “popular” roles in movies like Wanted, Mr. and Mrs. Smith, Tomb Raider, and Gone in Sixty Seconds. Her turn as Christine Collins deserves a place on the shelf right next to her turn as Marianne Pearl in A Mighty Heart. The latter was a restrained and low-key drama that never pushed too hard. It was impressive, but just a little on the sterile side. Eastwood pushes harder, as he usually does, and I must admit that the film is all the better for it. Eastwood doesn’t want this to be a quiet little discussion piece; he wants to make your blood boil, and justifiably so.

The level of corruption and self-centeredness demonstrated by the L.A.P.D. in this film is appalling, and yet it never feels like Eastwood is pushing too hard. What he offers us is a portrait of “the banality of evil”, using a combination of bureaucratic excuses, bad paperwork, and subtle adjustments of the law to mask great wrongdoing. These guys grow uncomfortable at the thought of controversy, and do everything they can to try and sweep it under the rug and make it go away. It doesn’t matter how many people are hurt during the process, the only thing that matters is that the status quo of the L.A.P.D. is preserved.


This material is handled with skill by a very strong cast. Jolie is the lead, but I honestly think of this as an ensemble piece. Malkovich is a surprising character; he behaves differently than most religious figures in the movies. He uses the influence of the pulpit not only to offer Biblical teachings, but to try and spark social change. On the flip side of the coin, we have Jeffrey Donovan and Colm Feore as corrupt figures in the police department. Their performances are essays in insufferable behavior. There’s also a terrifying turn from Jason Butler Harner, whose role is best left undescribed for the sake of avoiding spoilers.

Closing Statement
As I hinted, the film is not flawless. Eastwood manages to crank out a very tightly crafted 90 minutes or so, but the third act is just a bit sloppy. The resolution and clean-up of this story goes on too long, and there is an execution scene that could have been snipped completely. There is nothing wrong with the scene in and of itself (such things are inherently dramatic, and Eastwood plays it perfectly), but it doesn’t really add anything to the overall experience other than adding a dose of attention-grabbing drama to the proceedings. The scene that came before it was enough.


Despite this, Eastwood remains a reliably compelling filmmaker, and the film successfully tackles most of the really important stuff with intelligence and deep feeling. I suspect that some will inevitably snap at the movie for being too forceful in the way it deals with certain elements, and that’s understandable. Nonetheless, I think there are times that call for subtlety, and times that call for directness, and I believe that this particular story merits employment of the latter. Changeling is a fine film, one that I hope you’ll take the time to see.


The Verdict
9/10

Wanted

Opening Date: 06/27/2008

STUDIO: Universal

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge

Choose your destiny.

Opening Statement

Under a gorgeous full moon, the Los Angeles Film Festival kicked off tonight with a picture that unceremoniously shoves Jon Favreau’s Iron Man aside and grabs the summer box office by the balls. I’m referring to director Timur Bekmambetov’s Wanted, a mind-bending roller coaster ride who’s inherent replayability will draw audiences into the theaters in droves.

Facts of the Case

Wesley Alan Gibson (James McAvoy) is a schlub. He’s mired in a career he hates, his girlfriend is schtuping his best friend, and he’s suffering massive, uncontrollable panic attacks. But just when things look like they can’t get any worse, the universe throws Wesley a sucker punch, when a mysterious woman (Angelina Jolie) shows up in the drug store to save him from an unforeseen assailant. It seems our reluctant hero is descended from a long line of assassins, born into a secret society. The only problem is, one of their own has gone AWOL and begun vengefully picking off the rest, beginning with Wesley’s father. With our hero’s head on the block, it’s up to this reclusive cabal — lead by the intensely driven Sloan (Morgan Freeman) — to take in said schlub, unlock his full potential, and set him loose to destroy their former colleague (Thomas Kretschmann).

The Evidence

Wow… I saw the film hours ago and the buzz has yet to wear off. If you are averse to brutal violence, gun play, and cruelty to animals, Wanted isn’t your bag. For everyone else, strap yourselves in for one hell of a ride.

Bekmambetov taps into something universal here — our innate unhappiness as human beings. When has anyone not felt shat upon or treated like cattle to the slaughter, wasting our lives on unimportant bullshit because that’s what we’re supposed to do? Whether it be our families, partners, children, co-workers, or friends, our lives rarely seem under our own control; playing out each day very much like the last, like hamsters on a treadwheel. Wanted is a call to revolution, to break the bonds of our mundane, unfulfilled existence and do something important with our time, whatever that may be. Okay, so it’s fictional, but the empowering message is still the same…

“It a choice, Wesley, that each of us must face: to remain ordinary, pathetic, beat-down, coasting through a miserable existence, like sheep herded by fate, or take control of your own destiny and join us, releasing the caged wolf you have locked inside, with a key you already hold.” –Sloan

Based on the six-issue Top Cow comic book series by writer Mark Millar (Marvel’s Civil War) and artist JG Jones (DC’s Final Crisis), the screenwriting team of Michael Brandt, Derek Haas, and Chris Morgan — who gave us the remake of 3:10 to Yuma and The Fast and the Furious sequels — have taken a rather bombastic superhero vs. supervillains tale and grounded it in modern day reality. Jettisoning much of the original storyline, one might fear this to be a stale studio blockbuster with lots of flash and no substance. Thankfully, it’s not. The story takes interesting twists and turns throughout its 110 min runtime. Most work, some fail miserably, but by the time the picture ends, you really don’t care, because you’ve been taken places and seen things we’ve never experienced on film before. And that’s what the motion picture business is all about; something far too many studio executives and creative types have forsaken in their quest for big box office returns.

Russian-born Bekmambetov, the man who gave us Night Watch, Day Watch, and the forthcoming Twilight Watch is nothing short of visionary. His use of sound, light, and movement are so striking, it conjures sense memories of being in a movie theater for the very first time, where everything is a discovery. For example, I don’t recall a film where the character’s faces played such a dominant role, which puts a huge burden on the actors. They must be completely invested in the scene; actively listening, emotionally available, and presenting maximum exposure of the eyes to the camera at all times. These are three things drilled into us as actors and each is fully exploited here. Just focus in on James, Morgan, or Angelina at any given time and you’ll see what I mean. You can see and feel the mind churning behind those eyes.

James McAvoy does an exceptional job with a character that could very easily be ruined in the hands of a less gifted actor. He’s not perfect, and those moments stand out like sore thumbs, but the overall journey Wesley takes is what we’re hooked into. Morgan Freeman is as cool as ever, with some great one liners that are sure to wind up on t-shirts. And I’ve realized what it is about Angelina Jolie that’s so mesmerizing. She’s not drop dead gorgeous, but she’s so connected with who she is and what she’s capable of, that the character she’s portraying leaps right off the screen. It’s goddamn sexy and you can’t help but be drawn in. Even Terence Stamp, another actor who knows himself to his core, steps in for a brief yet effective role.

But the film is not without its flaws. Wanted does demand a healthy suspension of disbelief and an ability to forgive several story transitions that just don’t play. One of the most egregious is Wesley’s transition from doubt-filled trainee to prime time player. It’s awkward and forced, as if the screenwriting trio said “We need to pick up the pace here. Let’s plug in a Rocky-esque montage.” And yet, while that scene doesn’t work, once we’re onto the next sequence, you’ve already forgotten about it; which is one of the greatest compliments you can pay a film. We are so invested in these characters from the very beginning that we’re able to forgive missteps that would take us out of most any other filmgoing experience.

And what an experience this is. Props to Danny Elfman who rocks a score so seamlessly integrated into the fabric of the film there are times you don’t even know it’s there. Kudos to cinematographer Mitchell Amundsen who blends what he learned on Transformers and Transporter 2 into a Matrix-like world that’s even more believable than what the Wachowskis boys offered up. Part of this is due to its location shooting. I love the way Bekmambetov uses Chicago as a living, breathing character. Granted, this may be due in part to my trading my beloved hometown for the benefits of Southern California, but this is without question the best the city has looked on the big screen since Andy Davis directed The Fugitive. And special credit to editors David Brenner and Dallas Puett for never letting us rest too long between action set pieces. This is one film that will exhaust and energize you at the same time.

Closing Remarks

Raising the bar on the summer movie scene, Timur Bekmambetov and his team have delivered a guaranteed crowd pleaser. There’s part of me that sincerely hopes Universal will allow this picture to stand on its own and not attempt to milk a franchise out of it. But, regardless of what happens down the road, Wanted is a rock-em sock-em good time that’ll leave you grinning from ear to ear.

The Verdict

9/10