Knight and Day

OPENING: 06/23/2010

STUDIO: Fox

RUN TIME: 109 Minutes

ACCOMPLICES:
Trailer, Official Site

The Charge
Cruise and Diaz

Opening Statement
After briefly dabbling in the realm of serious-minded war movies with Lions for Lambs and Valkyrie, Tom Cruise returns to his default setting as the cocky, confident action hero in James Mangold’s Knight and Day. Alas, the results are underwhelming.

Facts of the Case
Our protagonist is a woman named June Havens (Cameron Diaz, The Mask). She makes the mistake of getting on the same plane as a guy named Roy Miller (Tom Cruise, The Last Samurai). June takes a bathroom break mid-flight, and when she returns discovers that Roy has killed everyone on the plane (including the pilots). Obviously, she is concerned. Roy insists that there’s an explanation and that she should trust him. So begins an unusual relationship that is by turns tense, playful and curious. Still, with Roy’s sanity in question and both the FBI and the mob trailing our two lovers, it’s uncertain just how long this high-octane romance can last.

The Evidence
Knight and Day is one of those films I’m sort of hard-pressed to say much about. On the one hand, it’s competently made, reasonably well-acted and provides just about what the trailers promise it will provide. On the other hand, there’s very little that’s exceptional or terribly interesting about the movie. It’s one of those films that seem to exist for no other purpose than to adequately fill an empty space in the summer movie season.

Strangely enough, the film is hot on the heels of a string of action movies that place star-crossed lovers in the midst of action-packed situations. We witnessed this scenario in The Bounty Hunter, Date Night and Killers, none of which were particularly well-received by critics. Knight and Day isn’t doing much to change that situation, as it aspires to be a modern-day Charade but lack the stars and writing to achieve that goal.

Tom Cruise and Cameron Diaz are both capable of doing good work, but snappy banter isn’t really their cup of tea. They have pleasant chemistry together, but that’s just the problem: it never rises above “pleasant,” never comes close to the sort of delightful sparkle that Cary Grant and Audrey Hepburn (or even George Clooney and Renee Zellweger) have with each other. Despite a handful of amusing lines, writer Patrick O’Neill (turning in his first screenplay for a theatrical film) provides both a story and dialogue that remains pedestrian on a fairly consistent basis. The plot is fueled by an unusual device that I forget the name of, but that’s okay because it’s merely a MacGuffin.

Director James Mangold is a talented man whose films include the very fine Cop Land and the superb remake of 3:10 to Yuma, but he feels very much like a hired gun this go-round. Mangold’s never really been faced with tackling the sort of large-scale action scenes called for in this film, and this film demonstrates that he has a long way to go in that department. The scenes are largely unexciting, save for a fairly well-staged sequence in Spain late in the film (even this section suffers from some very unpersuasive CGI).

The film is littered with talented supporting players, but none of them really get much of interest to do. Peter Sarsgaard (An Education) and Viola Davis (Doubt) are completed wasted as FBI agents, Paul Dano (There Will Be Blood) has very little screen time as Cruise’s nerdy sidekick and Jordi Molla (Bad Boys 2) gets even less to do as the intimidating mob boss. Maggie Grace (Lost) is onscreen so briefly that one might easily miss her if they take a bathroom break. The score by John Powell is livelier and more memorable than most of the supporting players, which is a real problem.

Closing Statement
So Knight and Day revs up its engines and hums along steadily for 110 minutes, giving people just what they paid for and not a wee bit more. You could do worse at the movies right now, but that says more about the state of this summer’s popcorn movies than it does about the merits of the lackluster Knight and Day.

The Verdict
5/10

Valkyrie

OPENING: 12/25/2008

STUDIO: United Artists

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge
Many saw evil. They dared to stop it.

Opening Statement
“Hitler is dead…I saw the explosion myself. We shall proceed with Operation Valkyrie!” — Col. Claus Von Stauffenberg

Facts Of The Case
July, 1944. Colonel Claus Von Stuaffenberg (Tom Cruise, Lions For Lambs) has become disillusioned by World War II and, particularly, what the Fuhrer has done to his beloved homeland. He returns from North Africa battered, both physically and emotionally, with an entire hand and his right eye gone. Stauffenberg’s new assignment is becoming the leader of the reserve army, and his first task is creating Operation Walkure, a plan to smoothly ensure Germany will be governed properly after the death of Hitler. The governing party in question wouldn’t be devoted Nazis, however, but a secret German Resistance who have been itching to destroy the Fuhrer’s control for sometime.

The Evidence
The company involved was tempting. You have director Bryan Singer re-teaming with his Usual Suspects scribe Christopher McQuarrie, who won an Oscar for the 1995 nail-biter. You have one of the Hollywood’s A-list actors playing the lead, with a supporting cast to die for, including Bill Nighy (Shaun Of The Dead), Tom Wilkinson (In The Bedroom), and Terence Stamp (Superman). Also, you have a story which, while repeatedly told in many literary sources, is one of the most interesting and fascinating in 20th century history. However, Valkyrie winds up being a stellar disappointment, a film which struggles every second to maintain suspense, let alone build it. Singer and Cruise are more than qualified to make this story intense even if the outcome can be seen from a mile away; alas, this ends up being a frustrating, mediocre movie which can’t hold up because of star power alone. I think studio head Les Grossman would have been pissed if he were financing this epic.

The storytelling is straightforward but shaky. The entire first half is devoted to Stauffenberg’s situation, which includes the extreme worry exhibited by his wife Nina (a nice English debut for Dutch actress Carice Van Houten) over the safety of their four children. Despite his disabilities, Stuaffenberg has formulated his assassination plot without an ounce of fear and recruits many followers who assist him in his campaign. The members of the German Resistance have obviously been opposed to Nazism from the beginning, but meeting them is a challenge. We understand these individuals in theory, but not in execution, as they seem to be presented more as slight caricatures of good-hearted Nazi oppressors.  Even with the odor of an Allied invasion and a Nazi Germany about to collapse under its own weight, their motivations’ are questionable as they don’t register as being simply for the inhumanity or persecution which has stained the world.  In other words, McQuarrie and his partner Nathan Alexander are much more concerned about the brilliant plan than the planners themselves, whose dimensions are murky at best.

Most viewers will no doubt become impatient over the excessively overlong buildup, as Valkyrie doesn’t wake up until the assassination sequence at Wolf’s Lair. By that time, however, you almost feel as if you’ve seen the entire movie already, as the second half has the usual scenes of chaos, distress, and uncertainity. It’s one thing to know already that the operation backfired and failed, but it’s another when it’s not handled with the appropriate power. The supposedly catharthic climax lacks the emotional punch and gravity for us to really care all that much. It’s a shame Walkure didn’t get fully consummated, but it’s an even bigger shame when a host of talented individuals can’t contribute a worthy cinematic salute. Valkyrie is never boring, mind you; it just rambles and rumbles when it should rivet and reward.

Cruise has remained one of the most charismatic actors in the past 25 years, and the screen has been surely blessed by his presence. However, his Stuaffenberg is so rough and wooden all the sandpaper in the world wouldn’t help. The guy looks and acts exactly the same as he did when the film started: Cruise in an eye-patch. I would guess his method here is look sternly in the camera, hoping the audience could feel his silent rage which is presumably built-up inside of him. It’s also rather jarring to hear his very American accent mixed in with the all of the British ones on audible display, although I blame this on Singer and McQuarrie more, who felt the need to film this in English with English-speaking actors (thus removing a huge chunk of authenticity). Alas, this is one of Cruise’s weakest performances and certainly his least believable; all of those blasted Far And Away detractors should definately agree…for once!

The supporting cast is undeniably strong but many of them are left outside to chill out. For example, Kenneth Branagh is one of the today’s finest and he’s only given two scenes, both of which the actor isn’t free to fully bring out his chops. Tom Wilkinson and Thomas Kretschmann (the only German actor, and the only one who feels like he belongs) are quite good in key roles, but the unyieldly, complicated script doesn’t give them much to work with. Bill Nighy is excellent as Olbright (one of the leaders of the Resistance) and anytime Terence Stamp plays a General you know he’s going to kick ass. However, the best performance doesn’t come from any of the men, but Halina Reijn as the Resistance secretary Margarethe von Oven. Just watch her in the film’s closing moments, as she remains the only effective, emotional force even when she has little dialogue and keeps a phone to ear much of the time.

The Rebuttal Witnesses
On the flip side, there are several scenes which do ring true. Singer, after all, is too smart and sophisticated a filmmaker for us not to feel something at times. I felt the scenes which worked best were in the Reich communications complex, especially when all the secretaries discover the “truth” behind Hitler’s assassination. Other highlights were the ones in woodsy Wolf’s Lair, the moment where we meet Hitler and watch him sign and approve Walkure, and some stirring points as the Resistance gains control of the Lion’s Den. All of the scenes filmed at Bendlerblock (the HQ of the Resistance) were actually filmed on-location at the memorial. The Ministry of Defence has always been leary about letting studios film there, but they made an exception here.

If there is anything else which Valkyrie does accomplish, is giving us an intriguing window into what working as a Nazi was like on the inside. Production designer Lilly Kilvert (The Last Samurai) and set designer Bernhard Henrich both do an exceptional job in re-creating many of the Reich’s digs, including the Army High Command center (with its emblam-marked chow hall and swimming pool), the communications complex and Wolf’s Lair. Once again, Singer’s frequent collaborator and friend John Ottman contributes both as editor and music composer, with the moody latter work making up for the loose former.

Closing Statement
I don’t think I’m being too harsh here, as Valkyrie remains quite watchable. It’s just never credible, and you will soon forget about the film even if the story itself will always be remembered. I recommend you wait for Valkyrie on DVD, as there are other films the holiday season is offering, including the highly touted Revolutionary Road, Doubt and The Curious Case Of Benjamin Button. Court is adjourned!

The Verdict
5/10

Tropic Thunder

Opening Date: 08/15/2008

STUDIO: Dreamworks

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge
Get some. 

Opening Statement
Before The Dark Knight captured the mania and hysteria of the summer, the season’s runaway success was that of Iron Man and its star Robert Downey Jr. The film’s $300 Million box office success has opened every possible opportunity for the actor, and since a second Iron Man is a virtual certainty, the only question is what he’ll do next. So yeah, star as a critically acclaimed actor in a Vietnam war film, while wearing blackface. Seems only logical right?

Facts of the Case
Ben Stiller (The Heartbreak Kid) and Justin Theroux came up with the story, which Stiller directed. The film’s hero is Tugg Speedman (Stiller), an action star of a franchise whose recent films have been poorly received both critically and at the box office. His attempted dramatic crossover films have also failed. Hi co-star, Jeff Portnoy (Jack Black, Nacho Libre) has been a franchise star as well, however his films, called The Fatties, are simply nothing more than bathroom humor where Jeff plays all the characters. Think the Klumps from the Eddie Murphy Nutty Professor films, except with more farting. Jeff has a bit of an addiction problem as well, and has been arrested on occasion where he’s acted up. Speaking of acting up, the dramatic star is Kirk Lazarus (Downey), winner of several “Crying Monkey” statues, along with every other acting trophy under the sun. His is a method acting of the highest order. To play Lincoln Osiris in Tropic Thunder, Lazarus dyed his skin black and took on a Detroit accent (of sorts) for the role. When the film’s production falls out of budget and time, their technical advisor (Nick Nolte, Hotel Rwanda) suggests to the director that the boys be taken away from their creature comforts and dropped in the middle of the jungle with limited contact to the outside world. The film documents what occurs afterwards. 

The Evidence
I was fortunate enough to catch an advance screening of Tropic Thunder in San Diego the night before Comic Con started, and it was a surreal experience to say the least. After a filmed introduction to the film by the stars (exclusive to San Diego crowds and which will no doubt make the DVD), the film’s experience is designed to get you to buy into the characters as much as possible. Trailers for the ‘fake’ stars’ films will air before the feature, along with a commercial for “Booty Sweat,” the drink that another one of the film’s stars, Alpa Chino (Brandon T. Jackson, Roll Bounce) markets. Then you’re dropped right into the shiz, so to speak.

In advance press for the film, Ben Stiller has said, in several places (notably Playboy) that “There was something so ironic and funny about actors talking about how hard it was to go off to boot camp for two weeks for a movie about a war when it obviously had nothing to do with the real experience of war.  It might have been my own bitterness about not getting parts in these movies, but I did think there was the seed of something in the irony of actors taking themselves too seriously.  Maybe this movie is my revenge. “  This revenge, combined with the observations made in the film, makes Tropic Thunder as enjoyable as it is. Don’t get me wrong, there’s some humor at its base elements, where Speedman encounters severed heads of humans and animals which, within the context of the bit, is a little on the disappointing side, but other jokes designed to poke fun at Hollywood’s expense are quite good.

Speedman’s agent, Rick Peck (Matthew McConaughey, in the role Owen Wilson was due to play before his suicide attempt) is a supporter of all things Tugg, but when he’s presented with a moral quandary choosing between his longtime client and friend and the wealth and luxury of a Gulfstream jet, things become muddied. He wants no part of the jungle, but when Tugg isn’t given his contractual obligation of a TiVo at his temporary jungle residence, that’s when things start to hit the fan. Oh yeah, the guy who presents Rick with this dilemma? That would be Lee Grossman, played with some prosthetics and a bald cap by Tom Cruise. Yes, THAT Tom Cruise. As the fictional Grossman, Cruise plays a loud, profane alpha dog of a man, a studio boss with no time to dispense platitudes, but will woo anyone over to the dark side if it will advance a greater good, and throw them under the bus if they get in his way. Cruise swears, dances (almost worth the admission price alone with all the makeup), and in a particularly funny sequence near the end of the film, congratulates and chastises executive Bill Hader (Superbad) within the same sentence. What little time he spends on screen isn’t wasted, and there’s usually a bellylaugh or two to be gained from watching him.

Much of the film’s jokes and dialogue are on the guilty laugh / cringeworthy side. When discussing Speedman’s failure with the film Simple Jack, Lazarus says that the failure of the role was because he didn’t temper his character’s mental deficiencies, using a funny yet oddly logical argument that puts Rain Man and I Am Sam in some context. Downey’s African-American inflection borders a little bit on the Kingfish side of things, and when Chino starts to belittle all things Aussie, Downey (as Lazarus) defends them, and does so as Osiris to boot. When one of the cast members is found out to be gay, Portnoy, in an attempt to feed his addiction, talks in detail of what he would do with him if he could be allowed to get drugs.

If there was something that could be considered a little bit on the weakish side, it would be the story within the film. Getting to the last battle sequence seems to drag a little long. Even at 1 hour and 47 minutes it’s about 10 minutes longer than the film should be, but the performances are still excellent. Stiller’s actual Vietnam story seems to lean quite a bit on Apocalypse Now, with Tugg acting as Colonel Kurtz, while Lazarus, in blackface, wears white makeup in an attempt to break him out. Yes, he’s white, made to be black, then white again. Got it? Black tends to ham it up a little, but his hamminess does have a slight edge to it, and Downey is no C. Thomas Howell (Soul Man). The lines are funny, he stays in character even after the camera stops rolling, and although McConaughey took over Wilson’s role, it’s hard to imagine anyone else doing it. It’s the best portrayal of an agent I’ve seen since Martin Short in The Big Picture. And Cruise damn near steals the film in the limited screen time he has.

This kind of material is something I’d been wanting to see Stiller do for ages. He got close to it in the early ‘90s, but I think with age, perspective, and given the chance to go all out, he could make an excellent and hilarious satire of Hollywood as it’s laid out right now. Tropic Thunder is a great first step towards that destiny, if he chooses to take it.

Closing Statement
Tropic Thunder does a couple of things for me as a moviegoer I didn’t think were possible. First, it made me pretty much absolve Ben Stiller for all the cinematic sins he’s committed through the years. Second, (and this is the bigger one) never, NEVER did I think that Tom Cruise could be so biting and hilarious. This is the funniest performance he’s ever given, in part because it’s so blustery and without depth. Combine that with a hearty dose of politically incorrect humor and a finger in the eye to the Hollywood establishment, and you’ve got a winning comedic formula. Tropic Thunder stands to be the highest-grossing comedy of 2008, and with everything that happens here, it’s worth the ride.

The Verdict
Come for Downey, stay for Cruise and the jokes. It’ll be well worth your time.

9/10