Check out our exclusive clip from tonight's episode of Strike Back, and then watch it yourself at 10 p.m. ET on Cinemax.
On tonight's episode, Section 20 negotiates the release of five European Union officials taken hostage by Kosovoan weapons, drugs and human trafficker Hasani (Mel Raido), intending to exchange the hostages for Hasani’s cousin Rama (Zsolt Nag), who is in a Vienna prison for attacks on U.S. and British targets. One of the hostages is undercover MI-6 terror expert John Allen (Adrian Rawlins), identified by Crawford (Iain Glen) as Latif’s (Jimi Mistry) inside man. When the exchange in rural Kosovo doesn’t go as planned, Stonebridge (Philip Winchester) and Scott (Sullivan Stapleton) are stranded with the hostages and surrounded by Hasani’s forces. Guest stars include David Haig, Annabelle Wallis and Gillian Hanna.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
The story is the same. Poor little orphaned Oliver Twist (Barney Clark) has had a hard life. Either toiling in a horrible workhouse or being beaten at a miserable foster home it's hasn't been easy for the 9-year-old. The boy finally runs away to London where he is immediately spotted by the Artful Dodger (Harry Eden) a wily pickpocket. He whisks the sickly Oliver off to meet Fagin (Ben Kingsley) the leader of the pickpocket gang. Under the watchful guidance of Fagin and the other boys Oliver is taught the fine art of lifting. But when he finds himself at the wrong place at the wrong time and is falsely accused for a theft Oliver is inadvertently taken under the wing of the kindly Mr. Brownlow (Edward Hardwicke) a rich man who adopts the boy. Finally some happiness right? Not if you're in a Dickens novel. No sooner is Oliver contentedly ensconced with Brownlow when tragedy strikes again. Fagin's business partner the utterly cruel Bill Sykes (Jamie Forman) kidnaps Oliver and forces him to help them rob Brownlow's house. And when that doesn't go so well Bill then wants to get rid of Oliver. Only with the help of Bill's mistress Nancy (Leanne Rowe) who feels sympathy for Oliver can the boy be reunited with the only person who has ever showed him any kindness.
In a film full of fine performances from relatively unknown British actors Ben Kingsley stands out--and rightly so. Finally Kingsley has been given a part worthy of his talent and the Oscar-winning actor plays one of literature's more memorable characters to the hilt. Part Shakespeare's Falstaff part Lord of the Rings' Gollum Kingsley enjoys playing up Fagin's sprightly nature and physicality. Fagin is a merry prankster even if he's all hunched over and craggy faced with a high squeaky voice and a long moldy beard. But Fagin suffers. He doesn't really want to corrupt young Oliver. He knows the boy is pure of heart but he's too afraid of getting caught--or of evoking Bill's wrath--to let Oliver go. Kingsley subtly shows this internal struggle of good and evil raging within Fagin. As far as the rest of the cast it's interesting to note how all the children are fresh-faced and wide-eyed especially Clark as the oh-so-fragile yet surprising resilient Oliver and Eden as the crafty but goodhearted Dodger. All the adults especially the mean-spirited ones are either very severe and haggard or doughy and sweaty. In fact the film is a great study in faces a testament to Polanski's keen eye for the human condition.
Roman Polanski may have made some bad choices in his personal life but the man sure knows how to make a movie. With Oliver Twist the Oscar-winning director returns to the 19th century England he so vividly painted in his 1979 Tess--except this time around it's a bleak existence in the mud-caked streets of Victorian London being used as a backdrop instead of the lush English countryside. Polanski and his team painstakingly recreate the newly industrialized London from the ground up. It's a bustling teeming frightfully dirty environ filled with pestilence and vermin of all kinds. It must have been such an awful and a brutal time period to have endured and Polanski wants to make sure we understand this so we'll be that more amazed by how this little boy survives in it. There are times you almost wish they would break out into song ("Food! Glorious food!") just to lighten the mood a bit--but of course that's an entirely different Oliver Twist. And therein lies the film's problem: too many Twists. By count there's about 18 other versions either done as feature films or television movies/miniseries--and that's not including the Oscar-winning 1968 musical Oliver!. With all of Polanski's talents he could have picked something that was a little less of a retread.
Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.