As with seemingly every other tentpole release to hit the multiplex this summer the action thriller Cowboys & Aliens is based on a comic book – albeit a lesser-known one. It’s directed by Jon Favreau whose previous comic-book adaptations Iron Man and Iron Man 2 proved how much better those films can be when they’re grounded in character. Unfortunately his latest effort is grounded not in character but a hook an alt-history scenario best expressed in the language of the average twelve-year-old: “Like wouldn’t it be awesome if like a bunch of 1870s cowboys had to fight a bunch of crazy aliens with exoskeletons and spaceships and super-advanced weapons?”
Like perhaps. The hook was compelling enough to get someone to pony up a reported $160 million to find out and the result is a film in which the western and science-fiction genres don’t so much blend as violently collide. After the wreckage is cleared both emerge worse for wear.
Daniel Craig stars as Jake Lonergan a stranger who awakens in the New Mexico Territory with a case of amnesia a wound in his side and a strange contraption strapped to his wrist. After dispatching a trio of bandits with Bourne-like efficiency he rides to the nearby town of Absolution where he stumbles on what appears to be an elaborate Western Iconography exhibit presented by the local historical preservation society. There’s the well-meaning town Sheriff Taggart (Keith Carradine) struggling to enforce order amidst lawlessness; the greedy rancher Colonel Dolarhyde (Harrison Ford) who really runs things; his debaucherous cowardly son Percy (Paul Dano); the timid saloonkeeper Doc (Sam Rockwell) who’s going to stand up for himself one of these days; the humble preacher Meacham (Clancy Brown) dispensing homespun spiritual advice; et al.
Jake of course has his own part to play – the fugitive train-robber – as we discover when his face shows up on a wanted poster and a sneering Dolarhyde fingers him for the theft of his gold. The only character who doesn’t quite conform to type is Ella (Olivia Wilde) who as neither a prostitute nor some man’s wife – the traditional female occupations in westerns – immediately arouses suspicion.
Jake is arrested and ordered to stand trial in Federal court but before he can be shipped off a squadron of alien planes appears in the sky besieging Absolution and making off with several of its terrified citizenry. In the course of the melee Jake’s wrist contraption wherever it came from reveals itself to be quite useful in defense against the alien invaders. Thrown by circumstances into an uneasy alliance with Dolarhyde he helps organize a posse to counter the otherworldly threat – and bring back the abductees if possible.
Cowboys & Aliens has many of the ingredients of a solid summer blockbuster but none in sufficient amounts to rate in a summer season crowded with bigger-budget (and better-crafted) spectacle. For a film with five credited screenwriters Cowboys & Aliens’ script is sorely lacking for verve or imagination. And what happened to the Favreau of Iron Man? The playful cheekiness that made those films so much fun is all but absent in this film which takes itself much more seriously than any film called Cowboys & Aliens has a right to. Dude you’ve got men on horses with six-shooters battling laser-powered alien crab people. Lighten up.
Craig certainly looks the part of the western anti-hero – his only rival in the area of rugged handsomeness is Viggo Mortensen – but his character is reduced to little more than an angry glare. And Wilde the poor girl is burdened with loads of clunky exposition. The two show promising glimpses of a romantic spark but their relationship remains woefully underdeveloped. Faring far better is Ford who gets not only the bulk of the film’s choicest lines but also its only touching subplot in which his character’s adopted Indian son played by Adam Beach quietly coaxes the humanity out of the grizzled old man.
We all know Adolf Hitler did not die as a result of an organized assassination plot against him but this fact does not hinder the enjoyment of watching how that attempt by members of his own Nazi command plays out. Reminiscent of great ‘60s WWII conspiracy thrillers such as 36 Hours and Night of the Generals this film centers on the actions of Colonel Claus von Stauffenberg (Tom Cruise) a loyal German officer who nevertheless is horrified by what he sees Hitler doing to his country and is determined to find a way to stop him. In 1942 he tries to persuade senior commanders to overthrow Hitler and later in 1943 while recovering from combat injuries he joins the German Resistance a secretive anti-Hitler group comprised of several men in the highest ranks on the inside. Using Hitler’s own contingency plan labeled Operation Valkyrie to prop up the government should he die this group puts their assassination and take over plan in motion. As the eye patch-wearing SS colonel Tom Cruise is excellent. He comfortably manages to get to the heart of Stauffenberg and portray a man who clearly loves his country and feels it’s a patriotic duty to stop the madness. Wisely Cruise (who produced through his United Artists studio) surrounds himself with actors of the first stripe. Among those supporting the mission are: Kenneth Branagh in a relatively brief turn as an German officer; Bill Nighy as one of von Stauffenberg’s closest allies in the venture; and Eddie Izzard as a communications specialist charged with cutting Hitler’s contact to the rest of Germany. There’s also superb work from Terence Stamp as another high-ranking conspirator and the always great Tom Wilkinson as career officer Fredrick Fromm who seems to be playing all sides despite appearing to be a stern supporter of the Fuhrer. And as Stauffenberg’s loyal wife Carice van Houten (Black Book) looks lovely and hits just the right notes as her husband’s sounding board. Although he has guided big popcorn pictures such as Superman Returns and X-Mens director Bryan Singer has also given us intense thrillers like the Oscar winning Usual Suspects and Apt Pupil. So the command he shows in turning out this nifty thriller should come as no surprise. Clearly Singer knows how to grab hold of an audience and keep them on the edge of their seats -- no easy trick here since the outcome is never in doubt. He keeps this going like a speeding train ratcheting up the suspense at every turn and focusing his camera directly into the eyes and sweat of these courageous conspirators. Valkyrie is a pulse-pounding heart-racing excitement from start to finish.