Currently Jason Statham is the reigning king of the run-around-and-shoot-things-until-something-explodes genre. He doesn't have a great deal of range but he doesn't need to—pile a few insane action set pieces around him and let his clenched teeth beady eyes and grunting do the rest. At its worst he can deliver purposefully over-the-top ADD-ridden circuses like Crank. At his best stylistic surface-level heist flicks like The Bank Job.
Statham's latest movie Killer Elite manages to squander his potential in favor of being boldly drab choosing political intrigue and hammy espionage devoid of intensity over anything remotely fun. The picture introduces us to Statham's Danny a mercenary in cahoots with a ragtag team of killers: Hunter (Robert De Niro) Meier (Aden Young) and Davies (Dominic Purcell). After a fumbled mission in which Danny takes down a nameless suit in front of his horrified son the bald gunman leaves his less-than-legal lifestyle behind and heads back to his honey Anne (Chuck's Yvonne Strahovski) in Australia.
A decent setup with above-average action segues quickly into Killer Elite's floundering plot: Danny receives word a year later (or a few months? A perfect timeline/logic isn't the movie's priority) that Hunter has been kidnapped by the Sheikh of Oman and in order to get him back he'll have to slip back into his old assassin ways to knock off three members of an elite British military force (the SAS) who reportedly killed the Sheikh's son. After a lengthy heart-to-heart with the imprisoned Hunter Danny accepts the mission and reteams with Meier and Davies to eliminate the ex-SAS operatives.
Not often do you beg a film to dumb itself down and get to the fistfighting but Killer Elite's so caught up in the "real life" of the SAS the veteran masterminds known as "The Feather Men" (a table full of grandpas who puppeteer the military squad with "back in my day" anecdotes) and their involvement with Oman politics that it never allows itself to unfold as a slick thriller. Clive Owen does his best to shake the film to life as the only youthful member of the The Feather Men: a one-eyed obsessive badass sworn to protect the targeted SAS members. Thankfully he makes for an excellent antagonist to Statham's loyal killer. In the very few moments they share together Killer Elite wakes up—you've seen a moment of it in the trailer where Statham fights Owen while tied to a chair—but even then the fact that they're having the skirmish doesn't click with the rest of the film.
The performances are Killer Elite's saving grace. While De Niro gives a masterclass in phoning it in (there's literally a scene in which he runs off with a briefcase of money) everyone else appears to be trying their best to make the dense material something worth watching. Dominic Purcell is the stand-out his mutton chopped womanizing renegade giving a handful of scenes a necessary comic edge. Director Gary McKendry nails the scenes where Statham's team plans and prepares with witty banter but when it comes to action and interweaving the story's many perspectives the film becomes a muddled mess.
Killer Elite is the definition of average—which feels especially unsatisfying when you realize the talent involved. De Niro and Owen are Oscar-nomianted actors. Statham's been set on fire while headbutting an AK-47-toting gangster. The real mystery of this film is why this didn't amount to something watchable.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.