Prime Time: Spy Game (2001)

When Robert Redford died about six months ago I ended up seriously procrastinating when it came to deciding on the movie I wanted to revisit to be reminded of his talent. There were a number of greats, some of which are all-time classics (especially when he was paired up with an effective co-star, best illustrated by his work with Paul Newman), but I was more familiar with those than with some of his other films. Sneakers was very tempting, especially as I don't think I have rewatched it since I owned it on VHS, but Spy Game was another one I couldn't stop considering. I'm glad I made time for it this week.

A sharp script from Michael Frost Beckner and David Arata shows us the last day on the job for Nathan Muir (Redford), a top CIA operative looking forward to relaxing in his retirement. Unfortunately, his last day becomes more problematic when he hears that his past protégé, Tom Bishop (Brad Pitt), has been caught while trying to extricate someone from a Chinese prison. Because he was there on a personal matter, and because of some upcoming deal being negotiated, the U.S. government decides that Bishop will have to be left in the hands of the Chinese. Muir doesn't like that thinking, but he'll have to use every trick in the book if he wants to keep Bishop alive, which is all the more difficult while he remains in a building full of suspicious colleagues and peers.

Although you can still recognise this as a Tony Scott film, from the visual style and editing, it's one of the less frenetic of his films, making good use of his technique to provide a full backstory to the relationship of Muir and Bishop, as well as ensuring that the camera can move around and focus on details that are also being spotted by our smart and scheming main character. Nothing detracts from the more cerebral aspects of the film, and it feels like the consistent level of intelligence throughout is something that undoubtedly would have appealed to Redford, as well as the commentary on the shifting morality and landscape of the spy games on display.

Redford is effortlessly cool and calm throughout, making use of his undeniable charisma and charm with just enough of self-deprecation on the side to keep people off his scent while he tries to circumvent those officially in charge of a politically-charged situation. Stephen Dillane and Larry Bryggman are two other main players alongside Redford, and both do very good work in their roles. Pitt may have the lesser of the main roles, but he's good at being idealistic and just vulnerable enough to make his mentor stay invested in him, even as they start to strongly disagree on rules of engagement and what collateral damage is worthwhile for the greater good. Marianne Jean-Baptiste is wonderful as Gladys (a secretary and very strong ally), and is room for enjoyable performances from David Hemmings, Benedict Wong, Omid Djalili, and Charlotte Rampling. Cathering McCormack is a bit disappointing, but the rest of the writing and characters do enough to make up for that weak spot (which is more to do with the screenplay than McCormack's acting).

If you're looking for a classic Robert Redford movie then you're obviously going to go elsewhere, but if you're looking for something that feels like it epitomises the blend of entertainment and intelligence that he so often delivered then I highly recommend this. Everything is done well enough to keep it plausible and grounded, relative to a number of other movies in the same vein anyway, and it's an even better Redford-Pitt project than A River Runs Through It (and you can all hush now . . . I LIKE A River Runs Through It). I'm sure I'll make time for Sneakers soon, and maybe a rewatch of The Last Castle, as well as a few other Redford treats.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

The Last Boy Scout (1991)

Sometimes reviews are here to help encourage others to seek out films that are relatively unknown. Sometimes I'm pretty much preaching to the converted. This review of The Last Boy Scout falls into the latter camp. 

Bruce Willis is Joe Hallenbeck, a detective who is nothing more than a crumpled heap of neo-noir tropes. He gets dragged into a case that involves a stripper named Cory (Halle Berry) and her boyfriend, ex-quarterback Jimmy Dix (Damon Wayans). People start dying as they start to untangle a plot that involves gambling, corruption, and a ruthless businessman named Sheldon Marcone (Noble Willingham).

Starting with a hell of a set-piece that shows a football player tearing through a field of opponents and pulling a gun as he continues to run towards some points he desperately needs to placate some dangerous blackmailers, The Last Boy Scout is a small-scale film that works as well as it does thanks to the mix of characters and the impact of the many moments that have Hallenbeck cornered by deadly thugs.

Director Tony Scott brings his usual flair for this kind of material, without his usual love of excessively hyperactive editing (oh, you can tell it is HIS film, but it's much less headache-inducing than some of his later movie), and Shane Black is on form with his use of tropes and witty one-liners, making Hallenbeck one of his most memorable characters in a filmography that is just crammed with memorable characters.

Willis and Wayans are a good central pairing, with the former being older and cynical while the latter is a flawed wannabe-hero who perhaps isn't as familiar with how bad people can truly be. That's not to say that the character played by Willis isn't flawed, but his flaws are shown as part of the whole package that helps to make him so good at his job (or, at least, a stereotype who nobody expects to be able to achieve great things until he starts to defy the odds). Willingham is a charismatic villain, as is Taylor Negron (playing one of his right hand men), and Danielle Harris steals a couple of scenes, playing Hallenbeck's moody, but also smart and brave, daughter. Berry doesn't do too bad in her role, Chelsea Field is Hallenbeck's suffering wife, and there are one or two scenes for the great Bruce McGill.

You can predict a lot of the main plot beats here, and Black has never been bothered about being predictable, his focus is always on the dialogue and pacing, but this is yet another film that gives you joy through the actual journey, rather than the main destination. Which isn't to say that the finale is a disappointment. It brings everything together beautifully, and keeps the stakes high for all involved.

Willis gives one of his best, grizzled, turns (this performance sits just below the better Die Hard movies and Twelve Monkeys, in my opinion, if only for the pure fun of it), Wayans is on good form, there's a great score from Michael Kamen, and Scott and Black make a great team. It's a shame that this was their only film together. It's a high point for both of them.

8/10

https://ko-fi.com/kevinmatthews