Selling a 6'5", former wrestler dubbed "The Rock," as an "everyman" is no easy feat, yet writer/director Ric Roman Waugh's Snitch manages to organically knock Dwayne Johnson down a few notches. Johnson gracefully accepts the challenge, delivering his best performance to date as a dad grappling with a drug cartel in hopes of saving his son from imprisonment. The twist is that Johnson is anything but a superhero — he doesn't know how to work a gun, he can't drive a car at 300 mph, and he has no clue how to kick ass. What he does have is compassion for his family, and that's enough of a backbone to turn Snitchinto a better-than-average thriller.
After being caught at the center of an ecstasy-dealing sting operation, Jason (Rafi Gavron) is hauled away by the DEA and faced with 10 years in prison. His father, John (Johnson) begs a local politician (Susan Sarandon) for leniency, but he finds no luck: the only way around the mandatory minimum sentence laws in the U.S. is to "snitch" for the government, helping the feds find and capture bigger drug dealers. Since Jason isn't actually connected to the drug world, John proposes the next best thing: he'llgo hunting.
Waugh takes his time introducing us to the world of Snitch, carefully laying the tracks with research and character, so when the action picks up, it doesn't fly off the rails. Make no mistake: this is not a Faster sequel, a script giving Johnson the go-ahead to plow through faceless bad guys for two hours. There are stakes, and Waugh rips them from the headlines, the first third of Snitch feeling more like a newspaper exposé than an action movie. It all works to Johnson's favor, who settles in nicely in the imperfect suburban life and the dangerous underbelly he uncovers. With lots of whos, whats, and wheres to juggle, Snitchwinds up erring on the side of exposition too often, but it's all to add gravity to Johnson's insurmountable task.
RELATED: Dwayne 'The Rock' Johnson Fondly Remembers Playing A 'Part Scorpion, Part Man'
Snitch kicks into gear when John enlists his employee Daniel (Jon Bernthal) to break him into the world of drug smuggling. John makes Daniel, an ex-convict looking to stay out of trouble for the sake of his family, a deal he can't refuse, and the two embark on a mission to put ring leader Malik (Michael Kenneth Williams) in the crosshairs of the cops. With natural camera work and a welcome lack of ham (no "GIVE ME BACK MY SON!"s), Johnson and Bernthal capably build tension by fostering quiet moments that explode in their faces. Daniel routinely has to explain to his wife that he's out of trouble — a straight-up lie that ends in meltdown. In a scene early in the film, John heads to the wrong side of the tracks to dig up information, resulting in a gang of kids beating him to the round and stealing his car. Johnson as a low status character is a real shock in Snitch. When The Rock falls, he falls hard.
As teased in the trailer, Snitch does escalate, and the stuntman-turned-filmmaker Waugh competently stages his set pieces. It's a rarity: the shootouts and car chases in the movie feel like a backdrop for drama, not randomly placed moments of bombastic chaos. Snitch is high-octane in every department. The movie has rough edges — in an effort to complicate the situation, the movie steers away from the main plot to show a clash between Sarandon's morally-depraved politician and an undercover DEA agent (Barry Pepper, sporting a wild beard and another energetic performance). It's interesting, but not as captivating as Johnson's material, which builds momentum and remains gripping to the final moments. Snitch presents a terrifying scenario, worsened by the fact that it's really happened to guys a lot smaller than Dwayne Johnson.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
[Photo Credit: Summit Entertainment]
From Our Partners:25 Most Scandalous Celeb Twitpics (Vh1)Miley & Liam’s Beach PDA: PICS (Celebuzz)
Posters for his films may insist otherwise, but Dwayne Johnson will always be synonymous with "The Rock." His wrestling persona is ingrained in his identity — even when he's starring in a serious drama like his new movie Snitch, it's impossible not to slip and call it a "Rock movie." He entered the pop culture consciousness with his WWF handle, and through butt-kicking movie roles, has only solidified the title.
The fortifying moniker exudes confidence and strength, an essential part of what makes Johnson one of the go-to leading men for the next wave of action movies. It also provides Johnson with his greatest struggle: being considered an actor, not a wrestler-turned-actor.
RELATED: Dwayne Johnson Is One Dirty 'Snitch' — Trailer
Johnson tells Hollywood.com that 10 years ago, he "was taken serious in a way only because I was very fortunate to be successful in another area." People took chances on him, but no one felt safe doing so. "It was a big risk. I didn't have any acting experience. The only thing I knew is that I was willing to put in the work and I wanted to be a good actor."
The fight for legitimacy is Johnson' real life action sequence, a mano a mano fight with filmmakers and audiences to be cast him in roles that require more than just swinging swords and punching bad guys in the face. His search for meaty material made him the perfect collaborator for Snitchdirector Ric Roman Waugh.
"I feel the connection with Ric, for sure," says Johnson. "He's a special guy. What you get with his films is authenticity. Sometimes it gets dirty and gritty. He likes it that way and I like it that way." Working with Waugh, Johnson found an in to a true story that could star a man of his stature, that would also knock him down a few levels in the status department. The actor couldn't wait to dive in. "It was really special to play a man who lived and did something unique and special in terms of going through hell to protect his son. Not only that, but has great vulnerability and great emotion. And not only that, in the face of crisis, in real world living, he crumbles."
RELATED: Dwayne Johnson In 'Teddy Bear' Movie: Hollywood's Next Big Trend Is Incredibly Plush
As Johnson searches for parts that will evolve his career, he continues to go back to his old movies, rewatching and studying them for inspiration. Yes, even the first ones — like his breakout role as the man-turned-monster the Scorpion King in 2002 's The Mummy 2.
"Making the transition… that role — part scorpion, part man — that launched my career. We've all got to start somewhere."
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Summit Entertainment]
From Our Partners:'Groundhog Day' Cast: Where Are They Now? (Moviefone)40 Most Revealing See-Through Red Carpet Looks (Vh1)
Ric Roman Waugh became a movie set thrill-seeker after worshipping Knievel as a child and now the Felon writer/director has been given the chance to tell his hero's life story on the big screen.
He'll adapt Leigh Montville's book The High-Flying Life of Evel Knievel: American Showman, Daredevil and Legend.
Waugh tells The Hollywood Reporter, "This is my Walk The Line (acclaimed Johnny Cash biopic). It's less about the stunts and more about an exploration of a man who let nothing stand in the way of his quest for fame and glory - including his own mortality."
No casting details had been announced as WENN went to press.
Let’s be honest here, if Dwayne ‘The Rock’ Johnson snitches on your ass, he does not get stitches. That probably explains why he is willing to go undercover in Snitch. As the Hollywood Reporter correctly notes, Johnson seems to swing back and forth between action and family films, but right now, he seems to be in the action stage again. And in Snitch, he'll be the father of a jailed son who goes undercover to reduce his son’s sentence. Hopefully, many an elbow will be dropped in the name of the law and justice will be served ice cold. Ric Roman Waugh is directing and doing a rewrite on the Justin Haythe script.
Question: when can we start referring to Johnson as just Dwayne Johnson? How famous does he need to get before we can stop reminding people that he is/was The Rock? I bet he kind of gets tired of it because every time someone says The Rock in his name people automatically remember that he used to dress up in tights and wrestle with other oiled up monster men. I bet that isn’t exactly the image he wants in people’s minds when he’s trying to be a serious actor. I think a soft mumble-core performance followed by a tour across country promoting a country album would be enough for us to forget The Rock and accept him as Dwayne.
Source: Hollywood Reporter
Here's a story about two murderesses who backstab lie and cheat--plus sing and dance--in order to make themselves stand out in roaring 1920s Chicago a town full of legends. Honestly what more could you ask for in entertainment? Velma Kelley (Catherine Zeta-Jones) who has a sensational nightclub duo with her sister blanks out and shoots her philandering husband after she catches him cheating on her--with said sister. She lives the high life in jail enjoying the perks as long as she pays for them given to her by the warden Matron "Mama" Morton (Queen Latifah). Velma also hires Chicago's slickest lawyer Billy Flynn (Richard Gere) to keep her notorious murder case on the front page. Enter little Roxie Hart (Renee Zellweger) a wannabe singer/dancer who's entranced by Chicago's promise of fame and fortune and winds up on the row for offing her abusive lover because he lied to her about breaking her into show biz. Billy immediately recognizes enormous potential in Roxie's crime of passion and while postponing Velma's case turns Roxie into America's latest sweetheart. The press loves her and Roxie milks it for all it's worth convinced she'll be famous when it's all over. The jilted Velma however has other plans for little Miss Perfect and sets out to sabotage Roxie's case. The two women stop at nothing to top one another and claim their rightful place in the spotlight. Still maybe there is room for two on that stage after all.
Once again we see how Hollywood movie stars can sometimes do more than emote on screen. Michelle Pfeiffer wowed audiences when she sang her own songs in The Fabulous Baker Boys; Nicole Kidman knocked 'em dead in Moulin Rouge. Now we have Zellweger Gere and Zeta-Jones singin' and struttin' their stuff in Chicago. The three do an admirable job handling the musical chores though Zellweger emerges as the best of the trio. Her dancing skills may need a little work but they're thankfully kept to a minimum and she certainly possesses the right amount of charisma to pull the whole musical thing off. Gere continually surprises you once you get over the fear that he's going to fall flat on his face. He even manages to pull off a tap-dancing number. Zeta-Jones who lobbied hard for the part of Velma makes her talent as a dancer evident but it's possible that Bebe Neuwirth (TV's Frasier) who originated the part in the recent Broadway revival may have fit the bill a little better. (The casting is reminiscent of the decision to give the big-screen lead in My Fair Lady to Audrey Hepburn instead of the Broadway show's star Julie Andrews.) And John C. Reilly miraculously shows some talent as a singer playing Roxie's husband Amos who supports his wife even after she cheated on him. Reilly adds this character to his list of schlub husbands this year (The Good Girl; The Hours).
Like last year's Oscar-winning Moulin Rouge Chicago's sleek production values may trumpet the triumphant return of the big-screen musical. Director Rob Marshall whose only other directorial credit is turning the musical Annie into a well-made television mini-series knows how to frame the musical numbers within the context of the story. As Roxie fantasizes about just how famous she is going to get the action segues into a dazzling solo in front of mirrors. Another standout is Queen Latifah's introductory song as Mama Morton where the scene switches between her drab warden walking through the jail and her buxom lounge siren working the audience. The film really comes alive though during the "murderess row" number where a series of jailed women explain exactly what they did to get where they are. But in this fantastic spectacle lies the main problem with the film. The scene sparkles because it incorporates real dancers women who obviously know how to dance the way Chicago's original creator/choreographer Bob Fosse intended them to dance. At this point in the film you almost wish you were watching Chicago live on stage where dancers do amazing choreography without the comfort of knowing their performance will be edited. Singing is the easy part; if musicals are truly going to make a comeback on screen Hollywood will have to go back to what it did in the '30s and '40s--groom professional dancers into movie stars. Fred Astaire where are you when we need you?