Relativity Media via Everett Collection
It's easy to compare 3 Days to Kill to Luc Besson's flagship franchise Taken. The film itself practically encourages those comparisons, what with the older man who reluctantly returns to a life of killing for the good of his daughter. The hero's quest of hunting down international criminals in a stunning foreign locale is punctuated by all of the explosions and gore your heart could desire. Neither 3 Days screenwriter Besson nor director McG are attempting to blaze a trail or reinvent a wheel. They're simply attempting to create a film that will keep you entertained for two hours, and on that front, at least, they succeed.
Stepping into the Liam Neeson role this time around is Kevin Costner as Ethan Renner, who is either an assasssin or a spy that works for either the CIA or the Secret Service (it's not really all that important in the end), forced to walk away from the job after he is diagnosed with cancer (or maybe a brain tumor). In an attempt to spend his remaining months bonding with his estranged daughter Zoey (Hailee Steinfeld), he moves to Paris to settle down. Of course, that's when Vivi (Amber Heard), a CIA agent/spy/assassin arrives, along with an experimental new drug that could extend Ethan's life, which she will happily pass along... if he takes out their two most wanted criminals within three days.
From there, the film veers wildly between graphic fight sequences, with enough chaos and destruction to equal both Taken movies, and the story of Ethan and Zoey’s growing relationship. Much of the plot is confusing and barely explained – Ethan and Vivi vaguely work for the CIA, although they're unconcerned by the devastating destruction they leave in their wake. The drug is “experimental,” but how it helps or why it’s only available through a giant purple syringe is waived away by the presence of a stack of “research.” Ethan only has three days to complete his mission, but seems to hang around Paris for a lot longer. The villains are wanted by the government for being tangentially involved with a “dirty bomb.” There's a shoehorned-in subplot about family of African immigrants squatting in Ethan's apartment. But despite the fact that so many of these elements never find a way to coalesce into a coherent whole, once the body count starts to rise and the buildings start to fall, it's easy to simply ignore all of that in favor of massive explosions.
When the film works, Ethan's job and his relationship with Zoey blend together in a way that gives 3 Days to Kill some much needed heart and humor — like when he's interrupted in torturing a target by her constant phone calls — but when it doesn’t, the transitions between Ethan taking out the criminals he's hunting and his slightly cloying bonding experience with Zoey can be jarring. As Ethan, Costner is a serviceable action hero; he growls threateningly and stares fondly at Steinfeld when the script calls for it, but for the most part, he appears to be phoning it in. Of course, for this kind of film, that’s all he really needs to do, but it means that by the time the credits roll, much of his performance is already forgotten. As Zoey, Steinfeld does her best with the material, and makes some of the more emotional scenes between herself and Costner affecting. However, even she can’t save the father-daughter plot of the film from becoming trite and stale at times, and so her scenes mostly feel like a quick breather in between the rounds of graphic violence.
Relativity Media via Everett Collection
Heard feels out-of-place as Vivi, who is introduced as the buttoned-down second-in-command to the head of the CIA, but then proceeds to spend the rest of the film speeding around Paris in sports cars, and prancing about in a wardrobe of leather, corsets, and high heels. Costner is clearly in an older-man action film, but Heard is in another film entirely, one in which she’s a sexy super spy single-handedly taking down international criminals. Despite the fact that she’s mostly there to provide exposition and to look pretty, there are moments where you almost wish that she was the focus of 3 Days to Kill instead — or, at the very least, that one of the many subplots had been dropped in favor of expanding her character.
And yet, despite all of the unanswered questions and the weird disparities in tone, 3 Days to Kill is a surprisingly entertaining film. The fact that one of the best fight sequences in the film takes place in a supermarket, while Ethan and an unnamed hitman grapple behind a deli counter, means that it's ridiculous enough to keep you engaged, but it's still able to amp up the tension when it needs to. And when you need a break from watching people come perilously close to being decapitated, there's a well-timed visual gag already lined up. It hits all of the notes required of a cheesy action film, and even though it gets far too bogged down in sentiment at times, it's still got enough heart to add a little substance to the flimsy plot.
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3 Days to Kill does exactly what it needs to, and little more. It doesn't want to make you think — in fact, it actively encourages you not to — and it doesn't try to accomplish anything that will stay with you after the credits have rolled. All 3 Days to Kill wants is to keep you amused for a few hours, with a few explosions and some mindless fun. In the end, that's sometimes that's all you really need out of a movie.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.