For It Is Man's Number: robert downey jr.

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Tuesday, 27 May 2025

U. S. Marshals (1998)

Considering the success of The Fugitive, and the fact that a number of scenes were stolen by Tommy Lee Jones working the case with his colleagues, it was inevitable that people would try to come up with a sequel. You can't just frame Dr. Richard Kimble (Harrison Ford) again though, so what do you do? You get someone else who ends up on the run while declaring that they're actually an innocent party. Tommy Lee Jones (as Samuel Gerard) and co. are all back, joined for a large chunk of their investigation by Robert Downey Jr., and Wesley Snipes is the fugitive being hunted.

Neither writer John Pogue nor director Stuart Baird have filmographies full of features that would inspire confidence in anyone knowing that they were given responsibility for this. While the first film took an enjoyably simple premise and interspersed the cat and mouse narrative with some truly brilliant set-pieces (set-pieces that hold up today as prime examples of superior blockbuster movie moments), U. S. Marshals makes things needlessly complicated, scatters around a trail of breadcrumbs that viewers won't care to see followed, and only has one moment that comes even close to anything in the first movie. Pogue makes the mistake of thinking that Jones alone can carry the movie (as much as I like him, he isn't up to that task), and that Snipes can make a decent replacement for Ford (as much as I like him, he also isn't up to that task).

The supporting cast provide all of the treats here, although I am not saying that either Jones or Snipes are bad. They're just stuck with providing a centrepiece for something that doesn't allow them to work at their best. Downey Jr. is fun though, although his character development is as predictable as you might expect Downey Jr. to be saddled with at about this time, and Joe Pantoliano, Daniel Roebuck, Tom Wood, and LaTanya Richardson remain a loyal and talented group working for the determined Gerard. They also seem to be having fun with their roles, in contrast to the two leads who seem far less comfortable working within the confines of the blockbuster requirements.

The best way to describe everything else her is lacklustre. From the plotting and dialogue to the editing and production design, from the cinematography to the Jerry Goldsmith score, there's just nothing here that feels as if it was made with care and enthusiasm. I'm not saying that's the case, it just isn't conveyed to viewers.

If you have recently watched The Fugitive and you are wondering what to watch next for the same mix of thrills, tension, verbal sparring, and spectacle, I would have to tell you to just rewatch The Fugitive. Or, as I have said before when reviewing it, be sure to make some time for In The Line Of Fire (which is a bit darker, but no less brilliant in terms of star-powered thriller fare). This sequel is probably already forgotten by most people anyway. If I have reminded you of it just now, and if you're now curious, then I can only apologise and encourage you to forget it again ASAP.

4/10

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Tuesday, 25 July 2023

Oppenheimer (2023)

A lot of the conversation around Oppenheimer has been as extreme as I thought it would be. Some are inevitably claiming that it is the best film yet from Christopher Nolan (which is saying something). While I wouldn't rush to agree with those people, I also wouldn't rush to disagree with them. This is the kind of polished and eye-popping cinematic experience that we've come to expect from Nolan, but it also contains a fair few "Nolan-isms", even if some work better here than they have in some of his past works.

Based on the book, "American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer", written by Kai Bird and Martin Sherwin, Nolan uses his typical non-chronological approach to show us some key moments in the life of Oppenheimer (Cillian Murphy). As fused with a man named Lewis Strauss (Robert Downey Jr.) as he is with the atomic bomb, Oppenheimer is portrayed as a complex and flawed figure, a man who didn't really treat the women in his life well, didn't bother to be discreet about opinions that would have had less valuable individuals ostracised, or worse, and didn't seem to fully keep the full ramifications of his actions in mind as he pursued a once-in-a-lifetime chance to turn theory into deadly reality.

Bizarrely, despite almost everyone onscreen here doing great work, the cast ends up being the aspect of this film warranting the least discussion. Murphy is excellent, giving a performance that could be considered the best of his career. Downey Jr. is also excellent, doing the kind of work that I last saw from him before he helped to kick-start the MCU. Emily Blunt and Florence Pugh also do well, although both have to work a lot harder to overcome a script that, accurately or not, boils them down to something akin to the grit helping to form the pearl. Matt Damon gets some great moments, playing the military man who essentially serves as the boss to Oppenheimer, Josh Hartnett continues his upswing (after impressing in his Black Mirror role, in the best episode of the most recent series), and Tom Conti is an absolute delight as Albert Einstein, but there are also supporting roles for the likes of Alden Ehrenreich, Jason Clarke, Dane DeHaan, Macon Blair, David Krumholtz, Kenneth Branagh (who may never act in anything close to his more natural accent again), and MANY others. It’s a veritable cornucopia of familiar faces, sometimes shown in unfamiliar ways, and it feels as if Nolan did this to ensure people stayed attentive throughout a film made up of scenes full of dialogue and mathematics.

Knowing what the film is about, and knowing how things ended up (spoiler - it doesn’t go well for the Japanese), Nolan actually does himself a great favour here by taking his standard non-chronological approach to the material. There are three main strands being woven together here - the one that everyone expects and two that may be much lesser-known - and it’s a testament to the screenplay that the ending is as gripping and cinematically satisfying as it is, considering that most of us would assume to know the ending.

The visuals throughout are clear and beautiful, although sometimes showing some moments of real horror as characters consider what has been born into the world, and I must single out cinematographer Hoyte Van Hoytema, who has been excelling in that role for over two decades now. Different visual styles are used for different plot elements, but each one is about as perfect a match as you could ask for.

Dialogue is also, and it brings me much joy to say this, clear throughout. Part of my problem with a few of the recent Nolan blockbusters has been his misjudged (in my view) attempts to use the audio mix in a way that sometimes makes the dialogue difficult to understand. That issue could have made Oppenheimer a chore to get through, as every exchange feels loaded with information and characterization, but there’s no need for concern. The audio is still used in interesting and impactful ways though, not least when explosions and aftershocks (literally and figuratively) are shaking viewers in their seats. There’s also another superb score accompanying the visuals, this time from Ludwig Göransson, who previously worked with Nolan on Tenet.

Despite some of the pre-release hype and marketing, I didn’t come out of Oppenheimer shaken and speechless. Nor did anyone else attending the packed screening I was at. I will give Nolan his due though, this was an experience that seemed designed to be both a front row seat to the moral quandary of the 20th century and a character study of someone who was almost equally respected and reviled. I certainly had to gather my thoughts for a while before even starting to write this review. The fact that it works so completely, and is an epic that many will want to rush to rewatch, is a brilliant achievement. Like the central figure, it’s imperfect, but impossible to dismiss. And if you don’t come out of it needing to spend some time fully considering the complexity and weight of what you have just witnessed . . . well, your cinema should still have more palatable entertainment available on a number of other screens.

9/10