If there’s one thing about film festivals that I enjoy most it’s the opportunity to watch actors accustomed to lavish sets personal trailers and assistants work in a more practical environment and with decidedly more dangerous material. Thanks to the wonderful programmers at the annual Tribeca Film Festival I got to see Matthew Broderick and Brittany Snow get delightfully debaucherous in 2008’s riotous Finding Amanda and Chris Klein and Elijah Wood question their patriotism in the 2007 existential drama Day Zero taking risks and showing audiences sides of themselves that Hollywood rarely allows.
This year there’s no shortage of name recognition on the TFF schedule. I was particularly excited to see J. Blakeson’s The Disappearance of Alice Creed primarily because of its cast of bankable performers but also because of its intriguing -- if familiar -- premise about a pair of ex-cons who kidnap a rich man’s daughter only to get entangled in a web of lies and double-crosses before they can cash out.
Unfortunately I re-learned the hard way that you cannot judge a book by it’s cover. Mr. Blakeson was incredibly lucky to catch Gemma Arterton (Clash Of The Titans Prince of Persia: The Sand Of Time) and Eddie Marsan (Hancock Sherlock Holmes) in between super-sized productions because without performers of their caliber inhabiting two of the three roles in the film it would’ve completely crumbled as a result of his formulaic and predictable screenplay. It’s not the dialogue that ruins the movie; it’s the forced twists thrown into the narrative that unearth more weaknesses than revelations.
The film begins with a procedural look at Vic (Marsan) and Danny (played with tense insecurity by Martin Compston) as they prepare for the coming kidnapping meticulously sorting out every detail in cold silence. Blakeson leaves the actual abduction of Alice (the stunning Arterton) to the imagination probably because the cruelty and horrific nature of the events that follow are traumatic enough to his audience. As we learn more about Vic’s all-too-common plan the aforementioned twists begin to unfurl handicapping the suspense by making this heightened cinematic situation a victim of plausible but cheap coincidences. From this point on The Disappearance of Alice Creed becomes a rather conventional crime thriller; I guessed my way from scene to scene all the way through the end credits.
The film’s victims in fact are its most endearing aspect. Though Alice’s broken relationship with her wealthy father serves as the catalyst for Vic an Danny’s actions don’t assume that she’s just another rich damsel in distress. Arterton gives the character resourcefulness and an inner strength that should be noted by aspiring young actresses. The 24-year-old Brit is a fearless performer who despite her blockbuster status shows that she isn’t afraid to get gritty in the harshest of scenarios. With her facial features and body language she conveys the primal terror that Alice experiences with total sincerity. Even more impressive is Marsan who is frighteningly fierce as the brains and brawn of an operation that he hopes will provide him enough cash to start a new life. The stakes are high and he never loses sight of the finish line or breaks from his character’s terrifying persona even in the face of deceit and defeat.
Though the film’s sharp cinematography and coarse production design will keep you visually engaged The Disappearance of Alice Creed falls short as a casualty of cliché. It borrows generously from other works within the genre be it Ron Howard’s Ransom or Rob Reiner’s Misery and sadly doesn’t give anything in return making for an awfully average and prescribed moviegoing experience.
In the beginning of the Dark Ages the warlords of England are brutally kept in line by the Irish King Donnchadh (David O'Hara). Tristan (James Franco) has grown up hating the Irish for killing his family and has made a strong allegiance to father figure Lord Marke (Rufus Sewell) while Isolde (Sophia Myles) Donnchadh's daughter has grown up under her father’s thumb. After a fierce battle that leaves Tristan near death he washes up on Irish soil and is nursed secretly back to health by Isolde who tells him she’s someone else. The two fall madly in love but Tristan must return to England before he’s discovered. Meanwhile Donnchadh decides to stage a tournament between all the champions of England with his daughter as the prize. Tristan ends up winning the princess' hand for Lord Marke but is horrified to find out she’s his own true love. Tristan and Isolde now must suppress their love for the sake of peace and the future of England. But despite their best efforts to stay apart the lovers are driven inexorably together. Despite the fact that Franco (Spider-Man) and Myles (Underworld) look lovely rolling around on the ground in romantic trysts and gazing forlornly at one another you don’t necessarily feel any heat between them. That seems to be mostly the fault of Franco who plays the young Tristan far too stoically. We understand he’s a tortured soul torn between duty and love with his eyes perpetually half-filled with tears. But couldn’t he have shown a little more passion (and while he’s at it washed his hair)? The luminous Myles is better at showing her burning desire but she too is left many times sad and weepy. Only Sewell (Legend of Zorro) who is usually delegated to playing bad guys shows any kind of raw emotion as he first falls genuinely in love with his bride--and then is betrayed by her and the only son he ever knew. He’d probably make a great King Arthur. As the Celtic myth of Tristan and Isolde predates the Arthurian legend as well as Shakespeare’s Romeo and Juliet you can easily see how those two more famous stories were possibly formed. Tristan & Isolde is a classic story of forbidden passion set against political upheaval as well as a tale about a tragic love triangle. Producers Ridley and Tony Scott had been fascinated with the legend for many years and finally got the opportunity to bring it to the big screen. Ridley however who directed last summer’s medieval fare Kingdom of Heaven wisely chose to hand over the directing reins to Kevin Reynolds (Robin Hood: Prince of Thieves) who adequately paints a picture of a time when chaos reigned. Maybe Tristan & Isolde is not as compelling or romantic as the king of them all Braveheart but it is certainly far more accessible than say Kingdom of Heaven. Sorry Ridley.