Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.
This is one of those Rocky-style films in which the climax is built-in. We know there's going to be a fight where the underdog goes up against the big bad champ. It's the rest of the movie that needs to keep our attention and luckily Undisputed does a decent job save a few scenes that could have been cut. When the world heavyweight boxing champ George "Iceman" Chambers (Ving Rhames) is sentenced to 6 to 8 years for rape he is sent to the newly built Sweetwater Maximum Security Prison in the Mojave Desert. Of course he vehemently denies the charges rages at his lawyers to find a way out of this mess and is generally in a pretty foul mood. In fact he bullies and pushes people around just about wherever he goes including Monroe Hutchens (Wesley Snipes) who as Chambers finds out is the reigning undisputed prison boxing champ--10 years running. Hutchens is a hero of sorts to the rest of the prisoners and this doesn't sit well with the Iceman. Seizing a glorious opportunity to make some serious cash longtime inmate and mob boss Mendy Ripstein (Peter Falk) sets up a boxing match between the two. He lures Hutchens into the ring on the promise of prize money to send home to his sister and three kids. For Iceman it's the chance to get out on special parole via mob ties to the parole board. For both it means a fight to the finish by London Prize Ring rules -- no referee lighter gloves and the last man standing wins. So who'll be king of the hill?
The fact that Rhames' Iceman is more than a little reminiscent of real-life boxing champ Mike Tyson and the legal woes he suffered a few years back is certainly not lost. Yet Rhames infuses his character with a certain intelligence and a lot of cocky bravado. When he is on the screen you can't take your eyes off him partly because he takes up half of it with his hulking mass. It's also kind of fun to see Rhames playing the baddie again although not quite as malevolent as Marsellus Wallace in Pulp Fiction. Snipes also puts in a compelling performance as Hutchens who was on his way to being a boxing champ himself before he lost his cool in a crime of passion and wound up in prison for murder. Hutchens doesn't say much but quietly waits out his sentence making Japanese temples out of toothpicks. His character however comes alive when he is in the ring and for a man of little words Snipes looks good dealing out the punches. The supporting characters are hit and miss. Falk seems sorely out of place among all the hoodlums and just a little too senile to be believable as a tough-nut gangster. Fisher Stevens (Short Circuit) however as Hutchens' crony Ratbag lives up to his character's name nicely. Other inmates Jon Seda (Selena) as companion to Ripstein and Wes Studi (Last of the Mohicans) as the Iceman's only ally are also both memorable in small parts.
Action director Walter Hill best known for his '80s hits 48 Hrs. and The Long Riders seems to be trying out some new techniques in his older years. Without going for the typical opening credits Undisputed launches the audience right into a boxing match. Hill alternates between black and white and color to make his points but the most unique technique is how he introduces the characters. As each new character comes on screen they are immediately freeze-framed with titles detailing who they are when they were convicted and what they were convicted of. Doing this isn't necessarily a key to the story but you get to the point where you want it just because you are actually curious in finding out what crimes they've all committed. The film only drags when Rhames and Snipes are not on the screen and of course all the fancy camerawork really only pays off for the big finale. Watching these two animals duke it out in a cage is as exciting as you'd expect. Maybe not quite as bloody as say the ring action in Martin Scorsese's Raging Bull but fun nonetheless.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.