In the final days of the Iraq War members of an elite commando unit were sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from four maximum security prisons to take revenge on the man who framed them. If you are having a boring summer at the movies if Sex and the City 2 left a bad taste in your mouth and if you can find a theater playing it you need to see The A-Team.
It’s no overstatement to declare that The A-Team is the first great action film of the summer. Say what you will about Iron Man 2 but the degree and multitude of insane sequences in The A-Team trump the more narcissistic Marvel sequel -- at least in that particular category. It is no innovation that a summer blockbuster would employ action as its primary tool for separating you from your cash but The A-Team does so with an entirely different mindset than most brain-dead popcorn fare.
Instead of assaulting us with nonstop action and then having the audacity to mask itself as being high art The A-Team embraces just how ludicrous the action sequences are and makes absolutely no apologies for it. That’s not to say though the movie has nothing to offer beyond the explosions and midair collisions. In fact what makes The A-Team such a damn good film is the clever underscore that complements every moment of mesmerizing destruction. Joe Carnahan along with the other writers gives us moments that subtly poke fun at the outlandishness of what we’re seeing that not only makes the absurd action forgivable but immediately elevates the material above the typical summer fodder.
Carnahan recognized that given the tone of both the series and his last film (Smokin' Aces) the action scenes needed to flow uninterrupted and here it's very streamlined only pausing briefly to give us hilarious interactions between the larger-than-life characters before diving head-first back into the explosive fray. Until the very end of the film each plan is carried out before our eyes as it is being hashed out to neutralize any lacking in the pace. It would be easy to then accuse The A-Team of being front-loaded given the slow build to the final sequence but I would argue that is merely a nod to the evolution of Face’s character as a leader and that it never really loses steam.
What really sells this film however is its cast. Like the original quartet of chaos each actor brings something fantastic to the table. Bradley Cooper as Face has that inescapably charming swagger and confidence we’ve come to expect from him; Liam Neeson unsurprisingly is the perfect blend of in-the-trenches badass and cool-as-ice leader. Even Rampage Jackson in the role made famous by a guy donning the entire payload of Ft. Knox around his neck (that'd be Mr. T) turns in a respectably tough performance with a few moments of decent hubris. But it’s Sharlto Copley who really steals the show as Howlin’ Mad Murdock. True to his character's moniker Copley cranks up the lunacy and plays Murdock with a hilariously reckless abandon that mirrors the tone of the entire film.
Though not without fault (the less-than-thrilling CG near the end of the film is amateurish at best and many will find the over-the-top action too silly to appreciate) all in all this movie rocks hard. The interplay between our heroes is at the heart of the film's entertainment value and is what you will probably like the most about it. Personally I can’t remember the last time I had this much fun at the movies. The A-Team is far better than it has any right to be mainly because it is as much a four-sided character piece as it is a balls-out actioner.
Attractive college co-ed Casey (Odette Yustman) finds herself the target of the diabolical Dybbuk a spirit which has bided its time since her birth to make its nefarious presence known. Is it perhaps a manifestation of her twin brother who died in the womb all those years ago? Since dear old Dad (James Remar) is away on business -- seemingly for the entire length of the movie -- concerned Casey seeks answers from Sofi Kozma (Jane Alexander) a survivor of the Holocaust who may hold the key to Casey’s past. Needless to say those to whom Casey confides her fears often find themselves in danger of being offed in gruesome fashion. (Misery may love company but the Dybbuk doesn’t.) In a last-ditch effort to rid herself of the evil spirit Casey turns to Rabbi Sendak (Gary Oldman) who finally agrees to perform an exorcism after he too sees the signs. Aside from acting terrified (and looking good doing it) Yustman (Cloverfield) is totally at the mercy of the story which shows little mercy when it comes to providing any concrete (or even shaky) answers to the questions it raises. She’s attractive but there’s not much else to the character. As Casey’s respective boyfriend and best friend Cam Gigandet (Twilight) and Meagan Good (Saw V) are merely functionaries offering the typical mixture of skepticism and support before learning for themselves -- too late of course! -- that maybe Casey’s suspicions have validity. Adding a (misplaced?) touch of class to the proceedings are Oldman who doesn’t embarrass himself and Alexander who isn’t so fortunate. It’s also a wonder why Carla Gugino seen occasionally in flashback as Casey’s deceased mother even bothered. It’s a nothing role which might explain why the actress has no billing other than in the end credits. There’s no question that writer/director David S. Goyer has a deep love and appreciation for horror and science-fiction given his previous credits which include the scripts for Dark City Blade and The Dark Knight but as a director his work (which includes Blade: Trinity and last year’s The Invisible) leaves much to be desired. There are some good ideas here and some individual scenes are reasonably effective but the parts don’t add up to a satisfactory whole. The Unborn suffers from a botched delivery.