Not the subtlest director working in Hollywood, Michael Bay brings his surging machismo to this retelling of the notorious attack on an American compound in Libya on the anniversary of 9/11 in 2012. As always, Bay stages the action on a big scale in a way that looks amazing, but he neglects both the story and the characters. As a result, the film feels epic and beefy, but is impossible to engage with.
It opens as a team of hired soldiers assembles at a secret CIA base in Benghazi. Jack (John Krasinski) is the newest arrival, joining his old pal Rone (James Badge Dale) and four more tough guys (Pablo Schreiber, David Denman, Dominic Fumusa and Max Martini). Meanwhile just up the road, the American Ambassador (Matt Letscher) is staying in a rather unsecure compound with not quite enough security, despite stern warnings from Washington that trouble is brewing. Sure enough, as night falls a local jihadist militia launches a violent, fiery assault. The CIA base chief (David Costabile) tells his men not to join the fight, but of course they can't resist the chance to charge in and save the day.
Over a long and bludgeoning two and a half hours, Bay carefully recreates this long, vicious night of fighting, as the situation continually twists out of control. The best thing about the film is the way it depicts how difficult it was to know which locals were on which side, but even this is simplified in Chuck Hogan's script. Everyone on-screen is interchangeable as either a bewildered nerd or a fierce warrior, and the only one in between is by far the film's strongest character: Peyman Moaadi's translator, who gets pushed right into the middle of the nightmare. In the few quiet moments, there are clumsy attempts to give these manly men some back-story, but it's the same for everyone: former black ops soldier with a wife and kids back home.
Continue reading: 13 Hours: The Secret Soldiers Of Benghazi Review
Strong characters help hold the attention as this overcooked drama develops, but in the end it feels so concocted that it's difficult to believe. While there's plenty of potential in the premise, the film becomes distracted by irrelevant subplots that try to stir up some tension but never quite manage it. And for a movie about food, the cuisine is simply too abstract to be mouthwatering.
At the centre is Adam (Bradley Cooper), a bad boy chef whose partying ways ended his high-flying career in Paris. After a period of penance in New Orleans, he moves to London to start again, with the goal of finally getting his elusive third Michelin star. Since he has alienated his friends, he turns to Tony (Daniel Bruhl), a guy who always had a soft spot for him and happens to be running a posh restaurant, which Adam quickly takes over. He rustles up some old colleagues (Omar Sy and Riccardo Scamarcio) and hires hot-shot Helene (Sienna Miller) as his sous chef. But his demanding perfectionism is keeping things from running very smoothly.
This set-up is ripe for both black comedy and soul-searching drama, and yet writer Steven Knight throws in irrelevant sideroads including a mandated therapist (the wonderful Emma Thompson), a bitter rival (a jagged Matthew Rhys), a couple of randomly violent loan sharks and a precocious little girl. Even though the actors do what they can to make every scene intriguing, none of these story elements add anything to the overall film. Still, Cooper holds the movie together with sheer charisma, even if his sudden transition from absolute tyrant to cuddly sweetheart isn't terribly convincing. At least he adds some surprising textures to his scenes, and indulges in sparky banter with those around him. And while Miller is solid in her thankless role, even she can't breathe life into such a thinly developed romance.
Continue reading: Burnt Review
With a true story that's almost hard to believe, this inspiring biographical drama is made with attention to detail and a remarkable resistance to sentiment. And strong acting helps bring the characters to life, even if everything feels a little too carefully staged. But it's the real-life aspect that grabs the attention, and a central figure who's a remarkable example of the indomitable human spirit. The film also marks an auspicious step forward for Angelina Jolie as a director, telling a big story without giving in to the usual sappy moviemaking pitfalls.
Son of Italian immigrants, Louie Zamperini (Jack O'Connell) grew up in 1920s Southern California and by the time he hit his teens is on the way to becoming a criminal. But his brother Pete (Alex Russell) helps him channel his energy to running instead, and his natural skill make him a local champion as well as an American record-holder at the 1936 Berlin Olympics. When the war breaks out, he enlists and serves as a bombardier in the Pacific, surviving a plane crash before later going down at sea and drifting with two colleagues (Domhnall Gleeson and Finn Wittrock) for 47 days before being captured by the Japanese. From here he endures a horrific stint in a prisoner of war camp, taunted by the cruel commandant everyone calls The Bird (Miyavi), who takes particular notice of Louie simply because he refuses to break.
Jolie assembles the film as a big-budget epic, with massive set pieces as the plot cycles through several outrageous episodes before settling in on the prison years. Cinematographer Roger Deakins carefully contrasts Louie's sunny California youth with the much starker visit to Nazi Germany and the astoundingly bleak Japanese prison camp, with those endless days baking at sea in the middle. So the film looks terrific, drawing us into each chapter in Louie's story while building a sense of momentum. It's not quite as complex as it looks; Louie's darker moments feel a bit superficial. But O'Connell adds some weight to each scene, offering a kick of emotion as well as the charisma that convinces the men around him to draw inspiration from his tenacity.
Continue reading: Unbroken Review
A smarter-than-expected script turns this noisy sci-fi action movie into something remarkably entertaining. A-list stars, solid actors and whizzy effects aside, the dialogue is packed with clever observations that are both mind-bending and unexpectedly hilarious. And director Doug Liman (Mr. & Mrs. Smith) lets his cast have a lot of fun with it.
In the near future when aliens called Mimics have rampaged across Europe, Cage (Tom Cruise) is a military media spokesman suddenly sent into the front-lines from London, battling the fearsome creatures on the beaches of Normandy. He's killed fairly quickly, but wakes up that same morning and is again sent through battlefield prep with harsh Sgt Farell (Bill Paxton) and a rag-tag team. Again and again. Eventually he breaks out of the pattern and discovers another soldier, Rita (Emily Blunt), who seems to understand why he is living this day over and over only to die each time. So he uses the repetition to figure out what's really going on, and he and Rita plot a way to stop the aliens for good.
Yes, the premise is a direct riff on Groundhog Day, as Cage makes the most of each day, learning something new that will get him further the next. And the film's script knowingly plays with the set-up, offering witty comments and some genuinely suspenseful set-pieces along the way, all sharply edited into a relatively coherent narrative, although the ending will generate a lot of post-screening debate. Liman packs the film with kinetic, intense action sequences that are rendered with strikingly realistic effects that occasionally have some extra fun with the 3D.
Continue reading: Edge Of Tomorrow Review
While this package has all of the key marketing elements to reach the Twilight audience, the film itself is rather a lot more fun, made with some wit and intelligence, plus a cast that's happy to chomp on the scenery. Based on a four-novel series, this film actually has more in common with True Blood than Twilight, with its Deep South setting and the clash between religious fundamentalism and supernatural beings.
At the centre is Ethan (Ehrehreich), a 16-year-old who is bristling against the isolation of his small South Carolina town. His recently deceased mother instilled in him a love of books banned by the town's hyper-religious leaders, and the local librarian Amma (Davis) helps keep his interest alive. As a result, he's more open than the other teens when Lena (Englert) arrives at school. But she's shunned because her Uncle Macon (Irons) is the town's pariah, a landowner whom everyone thinks is a devil worshipper. Actually, the whole family are casters, people with special powers that are designated good or evil on their 16th birthday.
The plot stirs up some suspense as Lena's big day of reckoning approaches. She's terrified that she'll go over to the dark side like her man-eating cousin (Rossum) or, worse still, her spectral mother, who does her mischief by inhabiting the body of the town's most pious housewife Mrs Lincoln (Thompson). This of course gives Thompson two insane characters to play at the same time, and she has a ball with it. As does Irons with the shadowy, snaky Macon. And at the centre, Ehrenreich and Englert both show considerable promise, with their strikingly non-Hollywood good looks and a depth of character that makes the film more engaging than we expect.
Continue reading: Beautiful Creatures Review
Alcoholic police detective Todd Ludlow (Keanu Reeves) has just finished wrapping up a notorious kidnapping case when Captain Jack Wander (Forest Whittaker) gives him the bad news. His ex-partner Terrence Washington (Terry Crews) is talking to Internal Affairs, and bureau head Captain James Biggs (Hugh Laurie) is looking to take Ludlow down. Before he can intimidate his former friend into not snitching, a pair of gang bangers kill him. Desperate to clear his own name in the death, Ludlow begins to investigate. Soon, he's linking the crime to a couple of local drug dealers who seem incapable of committing the hit. With Wander on his side and Biggs on his back, it will take all the street savvy he has to solve the case -- that is, if someone doesn't try and permanently stop him too.
Continue reading: Street Kings Review
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Not the subtlest director working in Hollywood, Michael Bay brings his surging machismo to this...
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