Showing posts with label stuart beattie. Show all posts
Showing posts with label stuart beattie. Show all posts

Sunday, 18 September 2022

Netflix And Chill: Interceptor (2022)

If you want some slick action entertainment that also feels smart and fresh then you need to look elsewhere. Interceptor is not interested in that. It's a ridiculous film that feels like a throwback to a time when every other straight-to-video title was a Die Hard rip-off. That works though, it's sometimes refreshing to watch a film that doesn't want to show off or reinvent action cinema. I'll rewatch every John Wick movie numerous times ahead of this, but I didn't resent the time spent watching this.

Elsa Pataky plays Captain J. J. Collins, an army officer who ends up being the one person in the way of a group of terrorists that want to take control of the remote missile interceptor (hence the title) station under her command. These terrorists possess a number of nuclear weapons, but to follow through on their threat to use those weapons they need to neutralise the interceptor system. Luke Bracey plays Alexander Kessel, the leader of the terrorists, and the film basically amounts to little more than Pataky versus Bracey for most of the runtime.

Ticking the boxes in a way that sometimes feels like it's bordering on parody, Interceptor is comforting in the familiarity it provides. Aside from the backstory that shows why some view Collins as "trouble", this does everything you expect. There are a number of disposable characters, there's someone due to make a major sacrifice when the time is right, there's an enemy who believes in the principles of his mission, and there's even a traitor who you can point to and call "traitor" from their first minute of screentime. 

Debut director Matthew Reilly, who also co-wrote the screenplay with Stuart Beattie (a man with one or two modern classic tucked away in his back catalogue), does a good enough job, despite the fact that someone with a bit more experience may have been able to paper over some of the cracks. Give them their due though, Reilly and Beattie develop a backstory that both develops the central character and also comments on an ongoing problem within, but not exclusive to, the military.

The biggest problem, sadly, is the cast. Pataky isn't bad, and she ends up surprisingly convincing in some of the more ridiculous set-pieces, but she never feels like a strong enough lead (in any sense). Bracey suffers in a different way, his villain being played far too nice in between the occasional moments of ruthlessness. I don't want to name any other cast members because that will just make it even more obvious who is the traitor, who is there to make a noble sacrifice, and who is just standing around until they get shot in the face.

This is fun. No more, no less. It's never remotely believable. It's not as violent or as bloody as it could be. There's a slightly annoying, obviously intended to be cutesy, cameo for Chris Hemsworth (aka Mr. Pataky). It's as predictable as a Hallmark Christmas movie. But it's fun. Which is fine by me.

6/10

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Friday, 5 November 2021

Noir-vember: Collateral (2004)

It’s something we have seen happen in movies before, the businessman with a busy schedule who offers to pay a driver for a whole night of work. All the driver has to do is get the passenger to various places on time, wait, and receive a nice bonus at the end of his shift. This particular businessman is Vince (Tom Cruise), and the taxi driver is a man named Max (Jamie Foxx). Vince has five jobs to do, but Max becomes alarmed after the first job, when a dead body falls on his taxi. That’s when he finds out that Vince is a hitman. 

Directed by Michael Mann, and written by Stuart Beattie, Collateral is best described as, to use the technical term, an absolute beast of a film. Set mainly during one night in Los Angeles, it’s a two-hander that makes the most of two fantastic leads delivering performances up there with their best work.

It also makes the most of L.A. Mann gets the right people working with him to put his vision onscreen in the way that best showcases his eye for cityscapes, and how human animals move around them when being pursued, or even trapped. This is a gorgeous and glossy film, and it manages to avoid claustrophobia, even when a number of scenes simply show Vince and Max talking while the cab is driving around. Mann doesn’t put a foot wrong, and when the action beats hit, well, he once again does what he seems to do best. The nightclub scene in this film holds up as a flawless bit of entertaining violence, a precursor to the visceral thrills of the John Wick movies.

Sporting an uncharacteristic grey head of hair, Cruise is perfectly fast as the cool, calculating killer who lives by his own moral code. He’s a terminator, but one affected by elements of the human condition. Foxx is just the right mix of comfortable chat, nerves, and quick thinking as he gets drawn deeper and deeper into a nightmare scenario. Around the two leads, you get one hell of a supporting cast all giving great performances. Mark Ruffalo and Peter Berg are two cops trying to figure out what is going on, Jada Pinkett Smith is a lawyer who stands out as Max’s favourite client of the shift, and there are a number of familiar faces elsewhere, from Barry Shabaka Henley to Bruce McGill, Javier Bardem to the briefest turn from Jason Statham.

Maybe not as successful as it wants to be when really trying to push the urban jungle and predator/prey analogies, Collateral does everything else pretty much perfectly. From the pacing to the soundtrack, the set-pieces to the foreshadowed final moments, this is gripping, very cool, and arguably the most fun film that Mann has delivered within this subgenre.

9/10

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Saturday, 30 August 2014

I, Frankenstein (2014)

If there's one thing that can often be relied upon to upset horror fans it's the misappropriation of the Frankenstein name. As each and every one of them will hasten to tell you, Frankenstein was the creator. The creature was called . . . . . . . . well, he was called by a variety of names, but none of them were/should have been Frankenstein. Call me pedantic, but I guarantee that many will agree with me.

I, Frankenstein starts off by upsetting horror fans with this central point. The title is more understandable by the time the credits roll, but there are one too many occasions between the beginning and end that have people referring to the central character as Frankenstein when they really shouldn't.

The film then continues to upset horror fans by being pretty horrible from the start - a potted version of the classic tale retold in one or two minutes - and then continuing to be horrible right up until the very end. Think of Underworld, a movie with which this shares a LOT of similarities (including shared cast members in similar roles), and then remove the style, the better cast members, and the decent action sequences. I don't even need to rehash the plot here, as it's so close to Underworld that you can figure it out for yourself. I'm serious.

Although it's Stuart Beattie in the director's chair, a lot of the blame for this mess can be laid at the feet of Kevin Grevioux, who also gives himself a small role onscreen. Grevioux, funnily enough, came up with the original story idea for, yep, Underworld, and has developed a number of stories since that have seemingly sprung from the same well. The overriding thought that ran through my head as I watched a creature caught amidst a battle between good and evil was that the well has all dried up.

I don't want to spend much time on the cast because they don't make any decent impression. Not a one. It's as if they realised that they would be overshadowed by lame action and overdone CGI anyway, so decided not to bother. I guess, however, that I have to namecheck the main players. Aaron Eckhart is the creature - AKA Adam - and is stuck with one of the worst interpretations to ever be excreted on to film. I like Eckhart, but he needs to bury this film with better choices as soon as possible. Yvonne Strahovski is a female scientist, and does okay with what she's given (translation = she spouts science stuff while looking very purty). Bill Nighy is almost exactly the same as he was in Underworld, Miranda Otto tries to overcome the weak dialogue that she's given, and Jai Courtney can quit acting any time he wants without worrying about me being upset by it. Please. Seriously, Jai Courtney, please. I can already envision a sports bar that would be perfectly suited to your ownership.

There are one or two good moments, mainly in the first half of the movie when the lead character finds a way to release a lot of anger, but they don't help to make this a less painful viewing experience. Like Frankenstein's creature in his darkest moments, it's awful and soulless.

3/10

http://www.amazon.com/Frankenstein-3D-Blu-ray-Aaron-Eckhardt/dp/B00IKM5N1G/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1409085946&sr=1-2&keywords=i+frankenstein



Thursday, 20 February 2014

G.I. Joe: The Rise Of Cobra (2009)

If you go into this movie and don't realise what you're going to get then you deserve everything coming to you, even if that's a real downer for you. This is a movie based on a series of toys (G.I. Joe being the original, American version of our very own Action Man action figures here in the UK) and directed by a man (Stephen Sommers) well-known for providing spectacle over substance.

I can happily admit to enjoying many Stephen Sommers movies (even the majorly drubbed Van Helsing) so I already had an idea that I was going to like the G.I. Joe film. As things began, and it hits the ground running, I was proved very much correct.

The story is pretty much summed up in the title, but I'll give the very briefest recap here. Channing Tatum and Marlon Wayans play two soldiers who are tasked with carrying some dangerous warheads from A to B. When their convoy is attacked, they meet a team from the G.I. Joe program. One thing leads to another and the two men decide that they want a piece of that action. People fight each other, backstories are dripfed throughout the movie in flashbacks, and there's a chase sequence through Paris that's up there with the very best of modern popcorn entertainment.

The cast all do their jobs. Dennis Quaid is great as a tough-talking, caring leader, Christopher Eccleston is good enough in his role (he created the warheads) and the others all do just fine at portraying . . . . action figures on screen. Tatum continues to be likable while scowling and looking tough, Wayans is a lot less annoying here than he usually is in any other movie and Arnold Vosloo does a very passable Arnold Vosloo impression (see pretty much every other Arnold Vosloo role ever . . . . . and don't think I'm demeaning him, I love his work). There are more tough men onscreen, portrayed by the likes of Adewale Akinnuoye-Agbaje, Ray Park and Lee Byung-hun, and then some tough female characters portrayed by Sienna Miller and Rachel Nichols. Joseph Gordon-Levitt, Jonathan Pryce and some other famous faces (Brendan Fraser has a fun cameo) pop up to flesh out the cast, and everyone is good enough to almost make you forget it's going to be brainless, loud fun.

Then we get to the amazing, razzle dazzle, fireworks experience, and boy does it deliver in that department. Things are a little bit slow and generic in the first half of the movie (quick character sketches, training montage, the mission briefing, etc. all present and correct) but from the start of that aforementioned sequence in Paris things step up to another level. It's fast and furious, it's loud and proud, it's delirious fun for those who don't mind seeing some obvious computerised images amongst some great, adrenaline-pumping action moments.

Mixing the essence of the action figures (keep an eye out for all of the little details that crop up throughout) with a number of elements that wouldn't look out of place in any James Bond movie, this is one of my favourite American action movies from the past few years.

8/10

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