In the last seven years Denzel Washington has paired with director Tony Scott on four hyperkinetic ultra-saturated feature films: Man on Fire Deja Vu The Taking of Pelham 1 2 3 and Unstoppable. When he strays from the time-honored action collaboration you'd think the man would take a break from the format. Not so—as Washington's new film Safe House clearly demonstrates.
Daniel Espinosa director of the acclaimed Swedish crime drama Snabba Cash shoots his espionage thriller with Scott-ian flair complete with rapid camera movement a palette of eye-scorchingly bright colors and fragmented editing. If Safe House was emotionally compelling the stylistic approach might make the narrative sizzle—but the script is as simple and familiar as they come: Matt Weston (Ryan Reynolds) is a CIA agent with a monotonous gig. He's a safe housekeeper tasked with maintaining a stronghold in South Africa in case the feds need to stop by for some…interrogating. After a year of begging for field work and keeping the joint tidy Weston finds himself embroiled in the investigation of Tobin Bell (Denzel Washington) an ex-CIA notorious for selling information on the black market. A group of agents bring Bell in to Weston's safe house for a routine waterboarding but everything is thrown into chaos when the lockdown is infiltrated by machine-wielding baddies looking to put a bullet in Bell's head. To keep the captor alive Weston goes on the run with Bell in hand…never knowing exactly why everyone wants the guy dead.
The setup for Safe House provides Washington and Reynolds two fully capable action stars to do their thing and to do it well. The two characters have their own defining characteristics that each actor bites off with ferocity: Reynolds' Weston is a man drowning in circumstance built to kick ass but still out of his league and just hoping to get back to his gal in one piece. Bell has years of experience boring into the heads of his opponents and Washington plays him with the necessary charisma and confidence that make even his most despicable characters a treat to watch.
But the duo fight a losing battle in Safe House contending with the script's meandering action and ambiguous stakes that turn the Bourne-esque thriller into a grueling experience. Much of the movie is an extended chase scene where the object of the bad guys' desire is never identified. It's a mystery!—but the lack of info comes off as confusing. Safe House cuts back and forth between the compelling relationship between Weston and Bell and a war room full of exceptional actors (Vera Farmiga Brendan Gleeson and Sam Shepherd) given nothing to do but spurt straightforward backstory and typical "there's no time Mr. ______!" exclamatory statements. Caking it is Espinosa's direction which lacks any sense of coherent geography. The action is never intense because you have no idea who is going where and when and why.
Safe House is a competently made movie with enough talent to keep it afloat but without any definable hook or dramatic emphasis it plays out like an undercooked version of the Denzel Washington/Tony Scott formula. Which is unfortunate as four solid ones already exist.
The Oscar winner has been shooting the movie in Langa, an area of Cape Town previously known for its high level of gang violence, and one particular action scene, involving high-speed car chases and gun play, raised alarms in the neighbourhood.
Film bosses alerted residents in the immediate vicinity of the set to the planned shoot, but the sound of weapons being fired in the middle of the night carried further than expected and prompted concern among those living in other parts of the town.
The incident caused producers Adam Merims and Genevieve Hofmyer to issue a statement apologising "for any inconvenience or negative effect" caused by the scene.
Safe House, due in theatres in 2012, also stars Ryan Reynolds.
In February 2001 a highly regarded long-serving FBI agent was arrested for selling U.S. secrets to Russia over a period of 15 years; Breach tells his story as well as that of the man who spied on him. Robert Hanssen (Chris Cooper) the now infamous treasonist led a Jekyll-and-Hide lifestyle which the FBI would use to ultimately build up a case and arrest him. But first they needed a young hungry sly and innocent-seeming up-and-comer to gain Hanssen’s trust enough to just barely cause him to let his guard down. That’s where Eric O’Neill (Ryan Phillippe) comes in. O’Neill is just what his boss (Laura Linney) had in mind and she quickly clues him in: This is the “worst breach in U.S. history ” with Hanssen being responsible for countless American deaths and dollars and Hanssen’s a sexual deviant. But after spending long days by the agent’s side O’Neill sees nothing but a misunderstood man and wants to call off the mission. However after some more inside info from his boss and manifestations from Hanssen himself O’Neill is onto the cause even if it means putting his life at risk. Playing real-life people is much different from playing fictional characters because real people are extremely complex—neither exclusively good nor as in this case exclusively bad. That’s why veteran actor Cooper’s performance is so riveting and his acting so widely lauded: He lends so much humanity to a character he could’ve portrayed as a true villain. In fact his ability to humanize each of his characters—not only because he looks like an Everyman—is what makes him one of the best most credible actors of today. Whereas we’re supposed to object to Cooper from the moment he opens his mouth Phillippe is not supposed to be disliked. It’s hard not to the way he almost struts his attitude but the Crash star and former Mr. Reese Witherspoon turns in one of his better performances. The real O’Neill might not have looked like a male model but he must’ve been deeply conflicted and consumed by his mission and Phillippe conveys that much. However he still seems unable to hit some high notes. And Linney (Exorcism of Emily Rose) in a limited role adds sheer class and professionalism as is her career trademark. Writer/director Billy Ray will seemingly accept writing gigs for just about any genre (Hart's War Flightplan Suspect Zero) but he apparently has his heart set on nonfiction when it comes to directing. His rookie effort the ripped-from-the-headlines Shattered Glass evoked superb fly-on-the-wall tension not unlike Breach. Which isn’t to compare either movie to a documentary but both are executed rather organically and it speaks volumes about a director’s talent when he or she can pinpoint and articulate the intrigue of a true story as opposed to contriving a gimmick (i.e. camerawork or special effects) from a fictitious story to arouse viewers’ interest. Ray clearly has no interest in tricking viewers at all and yet Breach remains engrossing throughout. It’s the ultimate testament to the success of his no-frills filmmaking. It can be said that neither of the main characters is explored deeply enough but (a) that’s what books are for and (b) such is the constraint of the medium of (taut) film.