Universal via Everett Collection
Lone Survivor isn't a film for the faint of heart. It's a film that beats you down and only lets you up for a few precious moments before the credits roll, but that emotional throttling is what helps make the film such a powerful experience.
Peter Berg's Lone Survivor tells the story of Operation Red Wings, primarily focusing on a group of four Navy SEALs who are sent to the mountains of Afganistan to capture or kill a member of the Taliban. The plan goes wrong, and the team has to fight for their lives to escape the enemy-infested area. The film does a marvelous job of ratcheting up the tension before collapsing into its main action sequence, one that is as thrilling as it is unsettling. The long sequence brings forth memories of the infamous D-Day opening of Saving Private Ryan, except this film's fire-fight stretches out the violence like a medieval torture device. The langourous scene is, at times, hard to sit through. Each moment slips by in coiled tension. It's undoubtedly uncomfortable, and the film makes a point to never make the violence fun or enticing. The action isn't consequence-free, and every bullet fired carries weight, making the scenes brutal and unrelenting because of it. The film takes on the aura of a horror movie that wants you to feel every second that ticks by, and director Berg makes sure that a pressing hopelessness starts to weigh on the viewer just as it does on the soldiers.
Mark Wahlberg is plenty capable as Marcus Lutrell, a member of the SEAL unit that is sent on the mission. The supporting cast plays its parts admirably by believably infusing a diverse set of personalities and values into the soldiers, while still keeping them in tune with the same military culture that governs much of their thoughts and actions. There's a great scene where a difficult decision has to be made, and the viewer gets to see the different directions to which some of the character's moral compasses are tuned. Sometimes the right thing can mean different things to different people when the risk of death is on the table. The real standout in the cast is Ben Foster, whose SO2 Matthew Alexson swirls with barely contained fury. He is darkly intense and has electric screen presence that really starts to manifest when the bullets star flying and things become dire.
Universal via Everett Collection
For all the good will that the film builds up in its first and second act, the final third of the film hits some snags as history demands that the story take itself to a different location, sacrificing some of the tension that it has built up. In the last 30 minutes of the film, there are some odd tonal choices that don't gel with the tension brimming in the first half. A comedic scene involving a language barrier stands out in particular.
The movie makes a point to steer clear of any political judgment, and it doesn't try to lay blame for the botched mission on any one head. And while the film never outwardly states and opinion on the conflicts that America found itself embroiled in during this time period, the searing brutality depicted in the movie highlight that no one should be subjected to the pain that these men were faced with. Made abundantly clear is the soldiers' willingness to drop everything and serve their country the best way they know how. Lone Survivor tries to honor the soldier, but not glorify war.
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Lone Survivor is at its best when it makes you feel the worst. It gives soldiers their due reverence by showcasing the true terror of the battlefield, and while the film does start to sag a bit in its third act, it's still more than worth the experience in order understand the consequences of war, and its toll on the people in the trenches.
When Michel Gondry was hired to helm Columbia Pictures’ The Green Hornet I became immediately more enthusiastic about the project than I was before. Even after all the publicized production woes I was sure that his avant-garde aesthetic and bittersweet style of storytelling would put a fresh spin on the standard superhero flick. However sandwiched between the frat-house comedic sensibilities of Seth Rogen and the energetic guidance of explosion-savvy producer Neal Moritz there just wasn’t enough room for the artist to conjure his movie magic.
That’s why the film though not frustratingly formulaic feels incredibly manufactured: more a product of convenience for its stars and studio than a standalone piece of entertainment. Perhaps it’s just because superhero cinema is so commonplace today I’m beginning to feel jaded about movies like this but while watching the film I wondered whether or not Rogen and Co. consciously adhered to the tried-and-true checklist of the genre’s conventions. Tragic motives for fighting crime? Check. Maniacal villain? Check. Flipping SUV’s? Check? Predictable plot? Unfortunately check. Every element of the movie from jokes to pacing is easy to foresee but that doesn’t mean it’s not somewhat entertaining.
Rogen who co-wrote the picture with his longtime collaborator Evan Goldberg will continue to amuse audiences with his every-man persona even when miscast as a billionaire playboy turned masked vigilante. The Green Hornet doesn’t sound like anything he has written before; the limitations of language in a broad blockbuster result in less laughs than the raunchy R-rated comedies he’s best known for but the delivery of the dialogue is his best weapon against tonal conformity. Still post-modern humor is abundant throughout the film with plenty of pop-culture references that are good for a grin or two.
The biggest surprise came in the form of Jay Chou. A hugely successful pop singer in his native Taiwan (as well as other Chinese-speaking regions of the world) his charisma transcends language barriers in the iconic role of Kato created by the legendary Bruce Lee. Though technically the sidekick Chou displays more depth than Rogen ever has and outshines his co-star in nearly every creative department. Christoph Waltz as the violent villain Chudnofsky doesn’t generate the electricity he did in his career-defining role in Inglourious Basterds but had significantly lower-brow material to work with. He goes through the motions with a smile on his face that suggests he’s not quite sure how (or why) he got into this picture in the first place. On the other hand I’m sure that Cameron Diaz knew exactly why she was hired to portray Britt Reid’s sexy secretary Lenore Case. Between her performances in 2010’s Knight and Day and this Ms. Diaz has hit a new career low. The only difference is that her character was central to the story in the Tom Cruise summer vehicle; here she’s nothing more than eye-candy.
As stated before if I’ve got one regret above all regarding The Green Hornet it’s that director Gondry wasn’t allowed to make the movie his own. His stamp is present in only a handful of sequences where visually inventive special effects serve the story and in many cases enhance it. He makes the most of the adequate 3D conversion in these select scenes (including a revelatory summation of the events that lead to the films climax and the closing credits both which are very cool) whereas in the rest of the picture it’s just unnecessary. I had hoped his involvement meant that the narrative was going down an unconventional path but in the end his contributions to the film amount to little more than rainbow sprinkles atop a very vanilla piece of cinema.
As the opening song belts out fast cars champagne and caviar are what professional basketball player Jamal Jeffries (played by Miguel A. Nunez Jr.) is all about. In fact Jeffries is so taken by his own success that he doesn't sign autographs but uses a stamp. His Dennis Rodman-style antics however reach a breaking point when he strips during a game in front of millions of fans and flings his jock strap into the seats. The stunt gets him thrown out of the league and before he can say "slam-dunk " Jeffries loses his house his cars and his girlfriend. Desperate to work again at the one thing he does best Jeffries comes up with the mother of all schemes: He shaves his legs dabs on mascara and tries out for the women's league--and it works. But as he builds friendships and gains the trust of the women on his team he feels torn between his obligation to his team the Banshees and his need to return to a normal life. If you've seen the 1982 comedy Tootsie you know exactly how this film plays out. Surprisingly Juwanna Mann is not crammed with bad slapstick humor but is an entertaining twist on an old classic with a delightfully sweet storyline.
Nunez (Nutty Professor II: The Klumps) not only pulls off the Jamal/Juwanna character with ease but he pretty much steals the show here. His character comes off as endearing rather than obnoxious because he takes his role as a woman seriously and is never condescending about playing in the women's league. Nunez also delivers some great one-liners the best being when he is fighting off advances from the gold-toothed Puff Smokey Smoke. Vivica A. Fox (Two Can Play That Game) plays Michelle a fellow player whom Jeffries develops feelings for. Although it's hard to buy the sweet and almost delicate Fox in such an athletic role she pulls it off--but there is not all that much chemistry between her and Nunez. As Jeffries' crass sports agent Lorne Daniels Kevin Pollak (3000 Miles to Graceland) is seedy with just the right touch of humanity so his character is not completely despicable. The most cartoonish and unlikable character is Tommy Davidson's (Bamboozled) Puff Smokey Smoke. He has some funny lines but is too far-fetched to be believable.
Jesse Vaughan who directed a season of In Living Color makes his directorial debut with Juwanna Mann. Judging from the trailer I thought the film would be a low-brow comedy with a lot of overdone men-in-heels humor. I was instead pleasantly surprised by the film's storyline which--although it is a complete take on Tootsie--is short sweet and non-offensive. While some characters like Puff Smokey Smoke are a bit over the top Nunez's Jamal/Juwanna character is never clownish and well developed enough that you can't help but feel for his/her predicament. Some scenes appear to have a Klumps influence like the scene in which Jeffries is playing cards with his aunt and a gang of her senior friends but the overall effect is a moderately funny film peppered with some slightly funnier moments. Newcomer Bradley Allenstein had the sense to deliver a sweet comedy screenplay that was short enough and knew when to quit.