Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.
When infamous outlaw Ben Wade (Russell Crowe) gets captured in late 19th century Arizona the plan is to transport him to a train en route to Yuma prison(leaving at 3:10 of course). But in the 1800s bringing someone to justice is as arduous as it sounds especially since horses are the only mode of transportation and their carriages the only place to house a prisoner. Across “town ” rancher Dan Evans (Christian Bale) is struggling mightily to support his wife (Gretchen Mol) and kids (Logan Lerman and Benjamin Petry) following a drought and needs to build a well for his family. So when he receives a nominal financial offer to help transport the notorious felon he jumps at it dutifully and desperately. While on the trail that leads to the train station no amount of physical or verbal threat is too much for Wade to break free of with ease. But when it comes to the law-abiding rancher for whom Wade has a certain respect his escape becomes much more complicated than getting out of handcuffs. 3:10 to Yuma’s pairing of Batman and Cinderella Man is perfect in concept and execution and watching the two stars is more than a sight to behold—it is transfixing like watching any two longtime professionals make something difficult look easy. It’s the first of two such powerhouse pairings for Crowe this fall—he co-stars with Denzel Washington in November’s American Gangster—and if this small sample size is any indication big-name costars bring out the best in him. Crowe evokes the kind of real humanistic villain that could only exist in a Western and by playing Wade with equal parts amiability and evil the Oscar winner turns in what is probably his most purely charismatic performance to date. Bale’s character on the other hand—and per usual—is loath to crack a smile a quality the actor has mastered. The Yoda of dialect Welsh-born Bale also has no difficulty switching over to Ol’ West speak but it’s the way he conveys the rancher’s stoicism and will that makes him even more credible. Among the supporting turns Ben Foster (Alpha Dog) stands out as a cranked-up trigger-happy member of Wade’s gang and stalwart Peter Fonda is perfectly cast as a tough ‘n’ gruff bounty hunter. When director James Mangold turned Johnny Cash’s life story into Walk the Line it was the romantic version of a much darker tale. For 3:10 to Yuma a remake of the beloved 1957 Glenn Ford-starrer Mangold gives the Western the same treatment. In attempting to reel in today’s action-happy audience Mangold waters down the drama and speeds up the pace. Minor tweaks for this modern update equal a bit of a departure from true Western style with the dialogue for example as snappy as one of today’s action comedies. But it’s all in good fun. The Old West looks completely authentic and the unforgettable ending is perhaps made possible by the director’s innocuous first two acts. Even so his efforts and those of the screenwriters (Derek Haas Michael Brandt and Halstead Wells who wrote the original) aren’t enough to perform CPR on the Western—not that it’s fair to rest the fate of entire dying genre in their hands.
Some time has passed since the dead rose up to feast on human flesh and what's left of mankind is making
the best of it. The people have cordoned themselves off from the zombies--or "stenches " as they are so
lovingly referred to--behind the walls of a fortified city where they try to maintain an illusion of life
as it once was. Supplies and food are still needed so a hardened group of mercenaries--headed by Riley
(Simon Baker) and Cholo (John Leguizamo)--run retrieval missions into the vast wasteland using little tricks of the trade to keep the zombies at bay. Back in the city however things aren't so hunky dory. The wealthy and powerful lead by the slimy Kaufman (Dennis Hopper) dwell in a swanky and exclusive high rise and rule over the working class while the disenfranchised peeps on the streets stew over their lot in life. But they aren't prepared for what happens next. Seems the army of the dead are evolving learning to organize and communicate with one another. And they don't take too kindly to getting shot in the head. The only thing the humans have going for them is the fact the zombies still don't move very fast--but that's not saying much.
It's tough for an actor to shine in a horror flick in which the gore and special effects make-up are pretty
much the main attraction--but the Land of the Dead cast do their best. You've got Baker (The Ring Two) as the kindhearted hero; character actor Robert Joy as Baker's mentally challenged sidekick but who's also a wicked sharpshooter; the lovely up-and-comer Asia Argento as a tough-as-nails street chick willing to help out; Leguizamo as the wisecracking mercenary with a major chip on his shoulder and firepower to back it up. And then there's Dennis Hopper. He's playing it pretty straight this time around as the evil and greedy rich guy who doesn't really consider himself the villain considering he was the one who built the fortified city. But a little of the weird Hopper pops through every once in awhile. Of course we've also got the hordes of evolving dead walkers lead by a particularly fearsome zombie. With a bloodcurdling zombie battle cry this badass teaches his comrades to take up arms beat down walls and walk under water. Resourceful fellow.
You can thank George Romero for giving us flesh-eating zombies. If not for his 1968 cult classic Night of the Living Dead we wouldn't have 28 Days Later or Evil Dead--and we'd be a much duller place without them. Now 20 years after he made the last Dead movie Day of the Dead Romero is ready to hurl body parts at us again. Maybe after he saw how well they remade his Dawn of the Dead last year he felt he could do it even better. Not quite. Sure Romero has definitely grown up and improved his writing. Land of the Dead does a nice job moving things along showing how the survivors have adapted to living with their "neighbors" but never really learning much from the experience. Romero also has brought a certain pathos to the zombie. They move around as if in a daze also trying to maintain a semblance of what they used to be--human. And frankly they are tired of being labeled mindless idiots who do nothing but wander about. Dammit. If you prick them do they not bleed? But with all the gratuitous violence and hardly any of the Dawn remake's humor or irony Land of the Dead doesn't really distinguish itself from any of Romero's other gore-filled zombie flicks.