We meet our lovers in the Bahamas. Jared (Paul Walker) is a dive bum looking for his big break. Samantha (Jessica Alba) Jared's devoted girlfriend is happy handling sharks at the Atlantis resort and living with her man in a trailer on an idyllic beach. Wouldn't we all? Except maybe the shark part. When Jared's best bud Bryce (Scott Caan) shows up with a new girlfriend Amanda (Ashley Scott) things get a little dicey. It starts off when the four divers discover a legendary shipwreck rumored to contain millions in gold. Soon visions of wealth and greed are swimming in their heads. But also nearby on the ocean floor is a sunken plane full of cocaine. Uh-oh. The friends make a pact to keep quiet about both discoveries so they can excavate the shipwreck and claim it before a rival treasure hunter Bates (Josh Brolin) can beat them to it. Of course their plan goes awry as plans are wont to do. The nefarious smugglers looking for their underwater stash are lurking about. So Bryce and Amanda come up with a new plan of their own. You know nothing good is going to come of this.
Into the Blue is a perfect vehicle for its four lead hotties especially Walker. He's at best when he doesn't have to say too much and can just stand there looking buff and beautiful. At least Walker has played it pretty smart with his career up to this point. He's so far resisted trying on an accent and doing a period drama content being the pretty boy who makes action movies such as The Fast and the Furious and its sequel. And that's just fine by us. As his sultry paramour Alba--who's having quite a year with Sin City and Fantastic Four under her belt--isn't required to do much either but look stunning in her scantily clad wardrobe. She'll no doubt be the reason most of the male population will flock to see this. But when it comes down to protecting herself from the bad guys she can also wield a pretty mean machete. Her Sam has got a lot of guts evoking images of her character in the ill-fated TV show Dark Angel. Rounding out the cast is Scott (Alba's Dark Angel co-star) as the lanky Amanda a squirrelly girl with her own agenda and Caan as the snarky Bryce. The Ocean's Eleven actor is great at playing the hothead you want to slap for being so clueless but who grows on you nonetheless.
Into the Blue tells us that there is $6 billion worth of buried treasure in the world's oceans just waiting to be discovered with a major portion of it buried near the Bahamian islands. If that isn't enough incentive to just chuck everything go live in the Bahamas and be a treasure hunter then feasting your eyes on the scenery in this movie just might do the trick. After helming Blue Crush in lush Hawaii director John Stockwell--who's definitely a sucker for surf and sand as well as the word "blue" in the title of his films--gets his feet wet again in Into the Blue. Really wet. Shooting a film in which three-quarters of it is underwater was an arduous task especially on the actors who all had learn how to free dive which is snorkeling in deep water for extended periods of time. But much like its obvious inspiration The Deep Into the Blue is really all fluff without much substance. It's just a giant excuse to watch beautiful people frolicking in beautiful backdrops with sharks drug dealers and action sequences thrown in for good measure. And you know that really isn't such a bad thing.
Given that The Score's motto seems to have been "been there stole that " it's hard to imagine why it would interest the likes of De Niro Norton and Brando. Perhaps the determining factor was the prospect of working with one another. Couldn't be the rather pedestrian and obvious story and script credited to Kario Salem Lem Dobbs Scott Marshall Smith and Daniel E. Taylor which is a basic rehashing of everything from Sexy Beast to The Thomas Crown Affair. See De Niro's safecracker wants to retire and live happily ever after with main squeeze Angela Bassett. Lo and behold longtime partner-in-crime Brando offers De Niro the chance of a lifetime: steal a 16th-century French scepter from a Montreal customs house and live like a king. The catch? The inside man is the brash disrespectful and untrustworthy Norton. De Niro hates risks. Working with Norton represents a risk. Risks land you in prison he tells Norton. So naturally De Niro takes the risk we expect him to take. Too bad the risks offer little in the way of intrigue or surprise.
De Niro's cool and calm but there's little effort to make his thief anything other than an old pro out to enjoy his ill-gotten gains. Norton has the flashier role. He poses as a mildly retarded janitor to infiltrate the customs house. Cue endless scenes of Norton's Rain Man cocking his head asking the same dumb question and smiling at jokes made at his expense. Outside of the customs house he exudes cockiness impudence and a willingness to underestimate his partners. A coherent Brando still proves a distraction by constantly scratching his jutting jaw whenever he parks himself on the nearest stool. The prospect of seeing the men who won Academy Awards for portraying Don Corleone is tantalizing but the lengthy conversations between De Niro and Brando seem listless and devoid of weight. The same applies to the scenes--a disappointing two--between De Niro Norton and Brando.
The Score marks a distinct change of pace for director Frank Oz. One of the creative forces behind The Muppets Oz's post-Miss Piggy career includes such frenetic farces as Little Shop of Horrors and Bowfinger. Almost as a complete rejection of his past achievements Oz keeps The Score as po-faced and static as possible. There's no time for any humor when there's a safe to be cracked. Oz keeps the cameras trained on his cast seemingly afaird to move it in case he misses a gesture borne out of genius. Bearing this in mind everything else seems secondary. Which is how the heist feels. De Niro breaks in. We knew he would. He manages to open the safe. We knew he would. There's never a moment that doesn't feel manufactured. Even the last-minute twist feels like the comeuppance we've been expecting since De Niro first gave Norton a look of monumental disdain.
Vassili Zaitsev (Jude Law) becomes an unwilling hero of World War II when he rises from the bottom of the Russian ranks to a coveted sniper position with the help of Soviet political officer Danilov (Joseph Fiennes). A master at publicity Danilov turns Vassili into a national hero by publishing Vassili's extraordinary sniping exploits and together they boost the flagging spirits of the Russian army as it attempts to resist the Nazi invasion of Stalingrad. But Hitler wants this city which means Vassili's got to go. Enter the celebrated Major Konig (Ed Harris) a ruthless Nazi sharpshooter sent to Stalingrad to hunt Vassili down and kill him. Oh yeah and there's this love triangle thing between Vassili Danilov and Tania (Rachel Weisz) a female soldier.
This reviewer would watch eye-candy Jude Law in a bad Internet short and as grimy and bloody and war-torn as he gets in two hours he's still mighty fine. Oh yeah and he's good as the humble somewhat bewildered Vassili. You can't help thinking though that no backwoods kid from the Urals (Russia's version of hillbilly country) is going to have the effortless grace beauty and upper-crust Brit accent that make Law more suited for roles like the one he played in The Talented Mr. Ripley. Fiennes is fine as his backstabbing best friend. Weisz as Tania is unnecessary (and please no more closeups of her having sex fer chrissakes - her love scene with Law is so over-the-top it looks more like he's killing her than making love to her. It's a particularly cruel-looking Harris though who commands the screen in a skillful performance almost solely conveyed through his eyes and facial expressions.
Why is it Hollywood used to be able to tell a good war story without a) the nonstop carnage and b) the backside-numbing two-hour-plus run time? Director Jean-Jacques Annaud (Seven Years in Tibet) proves once again that his movies are nice to look at but lack much substance - probably why a promising epic with a good cast like this was released in March instead of Oscar season. Accents were weirdly inconsistent settings improbable and characters virtually undeveloped. Good points: The opening scene reminiscent of Saving Private Ryan with all the bloodshed but less f/x is quite chilling and Annaud gives us glimpses of creativity (the showdown between Harris and Law in the broken glass-strewn factory is one of the few inspired scenes in the movie).