There's a level of expectation that you afford to anything you see on the big screen — you go to the theater to hear new stories and experience new adventures. These standards might not be so high when it comes to, say, a made-for-TV flick you catch on cable one Sunday afternoon. So while Phantom, which feels like an extended crime drama from the cutting room floor of TNT (probably because writer-director Todd Robinson has a long history of small screen movies to his name), might serve as a perfectly valid two hours of entertainment from the comfort of your fluffy sofa, you want more out of your cinema outings. Something that feels like somebody actually tried to make it feel original.
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There are a few things that Phantom seems boast as creative triumphs: the film is a Cold War psychological drama told from the perspective of the Soviet military (which we only learn a few leagues into the movie — the American cast speaks in English, with no attempt at Russian accents... probably for the best), delving into the haunted mind of submarine captain Demi (Ed Harris) with sporadic flashbacks and visions while manning an apocalyptic mission teamed with a reluctant crew and a legion of strong-arm bureaucrats whose motives grow more nebulous as the film proceeds.
But ambitious themes and a setting to spark interest in war movie freaks and anyone with a few Freudian theories under his or her belt, all placed in the capable hands of Harris and the eh-he's-not-so-bad hands of David Duchovny (one of the chief antagonists to Harris' despaired antihero) pipe in little more than a few moments of first act optimism. As the film peters on and we come to realize that the hokey dialogue and high school drama club performances don't get any better, that the tension isn't in fact building to a catastrophic conflict but is in itself all that the movie is founding its entertainment on, we lose hope.
After this revelation that the delivery of the film far undercuts its conceptual promises, there aren't really any dips. In fact, submitting to the idea that what you're in for is nothing you wouldn't find elsewhere or — more than likely — be able to predict two scenes before it actually happens, Phantom becomes extremely watchable. Where it sets itself up as dark and challenging, it is in fact breezy and effortless. The twists and turns are cinematic snack food, satisfying your instant gratification for quick movement and high stakes scenarios, but never reaching further for a lasting positive impact or an installment of anything new or particularly interesting.
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Still, it's hard to find Phantom too much a flawed project as it isn't so much bad as it is lacking in anything particularly good. It's not the gritty, intriguing dive into the ocean, the war, and the minds of a troubled man as it is a simple romp from the beginnings of a high anxiety maritime mission to the end. The movie is, for all intents and purposes, a time-killer. Something that won't offend, and probably won't even bore, you for 90 minutes. But why go to the theater for that when you can get the same exact thing in an episode and a half of NCIS?
What did you think of the film? Let Michael Arbeiter know on Twitter @MichaelArbeiter.
[Photo Credit: RCR Distribution]
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Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.