Can a silly action movie be too silly? A ludicrous sci-fi flick be too ludicrous? Lockout is a cinematic stunt a motorcycle ride across a tightrope that teeters the line between bombastic fun and inane nonsensical lunacy. A collage of futuristic landscapes and big screen 1-vs-100 scenarios reputable French producer Luc Besson's (The Fifth Element Taken) "space jail" thriller tests your patience for stupidity and cookie cutter filmmaking. The movie does a good deal of winking but nine times out of ten it just has crud in its eye.
Guy Pearce stars as the one-liner-slinging Snow an alleged murderer sentenced to life in the orbital penitentiary MS One. Snow fails to convince Langral (Peter Stromare) head of the Secret Service that his recent running punching kicking car chasing escapades were anything more than a crazy man on the crazy run (when in fact we know it's all in an effort to protect and hand off a MacGuffin briefcase). Meanwhile the President's daughter Emilie (Maggie Grace) heads to MS One to get the scoop on the prison's nefarious psychological experiments only to find herself (thanks to an idiot secret serviceman) in the middle of an all-out inmate revolt. With a hostage situation on the Secret Service's hands there's only one person suitable for the infiltration hostage mission: the guy they just convicted as a murderer.
Forget logic — Snow's the best man for the job because Pearce's gravitas outdoes every tense dramatic moment every flashy action scene every CG spectacle in Lockout. He is the saving grace of the film crafting a character who deserves a Die Hard or Escape from New York instead of the limp half-baked vehicle that's more sizzle reel than narrative film. Grace holds her own with the fast-talking badass forming a rapport that blossoms in the film's calmer moments. But they're rare with writers/directors James Mather and Stephen St. Leger insisting on jumping from the dynamic pair to the caricatured villains (apparently MS One is a space jail comprised entirely of Scottish/Irish criminals) or the cliche-ridden Government goons manning a control room.
If Lockout approached its sci-fi and action with the same intimacy that made Besson's District B13 and Taken successful it may have found a footing. But the cat and mouse game exist in a world where plot is written for twists (the nameless "package" continually bears its ugly head in the escape story) and rules are made up on the spot. Anything can happen! — in a bad way. At one point Snow and Emily jump out of MS One into space and fall downward. Because there's gravity in space? A nitpick that speaks to the larger problem: Lockout never tries to make any sense — dramatically viscerally emotionally.
After being awakened by the echoing of scary sounds and discovering big footprints the gang--including Rabbit Tigger Piglet Eeyore and of course Pooh--decide to find and capture a Heffalump one of the most feared creatures in the Hundred Acre Wood. Little Roo is the only one not allowed to help in their endeavor because he is too small and too young to partake in such a dangerous expedition. But Roo is determined to convince everyone he is big enough to catch a Heffalump and sets out on his own. Luckily he is much more successful than the rest snaring a Heffalump named Lumpy. Roo soon finds out however that the scariest creature in the woods is not really scary at all but kind and gentle and just as scared as he or his friends ever were. Lumpy and Roo become fast friends. It is now up to Roo to get his friends and everyone else in the Hundred Acre Wood to throw away their fears and accept the Heffalumps as one of them.
All the actors portraying the Hundred Acre wood gang do a great job. They include Jim Cummings as friendly Winnie the Pooh and bounce-happy Tigger; Ken Sansom as the know-it-all Rabbit; Kath Soucie as Roo's loving mother Kanga; John Fiedler as little Piglet; Peter Cullen as the endearingly dreary Eeyore; Nikita Hopkins as the effervescent Roo. But it's the voice of Lumpy the Heffalump who steals the show. Eight-year-old Brit Kyle Stanger voices the soft-spoken but happy-go-lucky Lumpy melting your heart at every turn while two-time Oscar nominee Brenda Blethyn as his Mama Heffalump adds just the right touch.
Under the helm of veteran animation director Don MacKinnon and director Frank Nisson Pooh's Heffalump Movie uses the basic pen and ink animation but that suits the gang of the Hundred Acre Wood just fine. In classic Disney form music is also as much a part of the movie as anything else. Award-winning recording artist Carly Simon who also scored the delightful Piglet's Big Movie worked closely with DisneyToon Studios music department's Matt Walker and composer Joel McNeely to introduce several new songs that give the movie added spirit and bounce bringing the old and new characters together harmoniously.
Jack and Terry (Mark Ruffalo and Laura Dern) are an unhappy couple stifled by years of sullen barely concealed rage Jack's inertia and Terry's drinking. Their friends Hank and Edith (Peter Krause and Naomi Watts) are similarly miserable with each other which they act out through barely concealed affairs. As Jack and Edith begin their illicit tryst they instinctively seek to pair up Hank and Terry partly to make it easier for them to sneak around but mostly to alleviate their own guilt. So the two couples basically substitute one rut for another wheels spinning in the muddy morass of their own confused attempts at adulthood. Through it all their children become a sort of juvenile Greek chorus for their parents making the kinds of precocious pronouncements that are only uttered from the mouths of screenwriters.
As joyless as the movie is to sit through the acting is brilliant. Krause (Six Feet Under) tosses his nonchalance around as an impenetrable shield caring so little that he's impossible to wound. Ruffalo (Collateral) who is the most (and probably the only) human of the quartet provides the only thing approaching a moral center. And even in this company Dern manages to act circles around them. Her Terry is a definitive portrait of the party girl who finally wakes up hung over one morning only to discover she's got two kids to feed a house to clean and a husband who'd rather talk than make love. To her love means always having to admit you're desperate. So it's sad and chilling to watch her begin her affair with Hank only because in her own twisted way she thinks her husband wants her to.
Watts is still the most compulsively watchable actress working today summoning reserves of inner turmoil on cue and yet always making it look effortless. It is interesting to contrast her role here with her work in the far superior and brilliantly written 21 Grams. Both characters are deeply unhappy people trying to make sense of the cruel world. And yet 21 Grams which is much unhappier and more despondent achieves a sublime grace as each character discovers their humanity in their desperation. In this movie you just hope that at some point the four main characters will jump in an SUV that has faulty brakes.
The two men are college professors and the movie makes the most of that milieu with flirtatious students college bars and long leafy runs providing the backdrop. But most of the movie's plotting feels like its been done on graph paper. Jack and Terry make love. Cut to Hank and Edith making love. Jack talks to his daughter. Cut to Edith talking to her daughter. The rhythm of this duet becomes numbing. The movie is directed by John Curran an Australian making his first American feature. But the impetus for the story comes from screenwriter Larry Gross adapting two short stories by Andre Dubus who wrote In the Bedroom. Dubus' movie characters are all variations on the same emotionally stifled yuppie theme although In the Bedroom saved itself by turning into an old-fashioned revenge melodrama. We Don't Live Here Anymore is one of those movies and there have been oodles where the characters are so inert that the suspense if one can call it suspense is who will act first to break the circle of despair. And so the children of course are trotted out as pawns on the chessboard forcing the kings and queens to choose. I don't know which is more depressing: that this movie cliché has been used so often or that there are undoubtedly thousands of couples in the world who act exactly like this.