One of the more elaborate and creative titles in movie history The Man is yet another anti-buddy-cop flick--a grain of sand on a desert at this point. The story revolves around Special Agent Derrick Vann (Jackson) who is out to get the man (get it?) that killed his partner. But a case of mistaken identity leads him to Andy Fidler (Eugene Levy) a chatty dental supply salesman with too many questions. Of course it's not match made in heaven. Vann and Andy's contrasting personalities--Vann's is hard-edged and no-nonsense; Andy's is affable to a fault--set into motion constant obstacles to overcome and more importantly the obligatory hijinks. Andy's nice-guy clumsiness leads them to the killers and then invariably away from the them. It also drives Vann crazy but he knows that Andy is a necessary evil if he wants to pin the bad guys. Ultimately what started off as (comedic) hatred for one another winds up mutual respect. Can you say sequel? Neither can we.
Jackson yells scowls furrows his brows evokes his Pulp Fiction cool (briefly) and yells some more. No doubt he can yell with the best of 'em and even the granddaddy of yellers Al Pacino would be proud of this performance. The yang to Vann's yin of course is Levy's Andy. The two actors sure did their best to cultivate the most divergent characters possible and at least to that end they succeed. There is an engaging interplay between the two but it's just been done so many times. On his part Levy has now gone from playing one crazy kook after another in Christopher Guest's offbeat-but-hilarious comedies to almost dare we say leading-man status. But unfortunately as a character actor he is much more enjoyable and his talents better utilized when he isn't in every scene.
Director Les Mayfield has a history of making minor hits out of bad movies. He did so with 1999's Blue Streak 1997's Flubber and 1992's Encino Man (yes one man's guilty pleasure is another man's fruit of his labor). But his luck too might've run out with The Man. You can just see the desperation. When the fart jokes are the movie's best laughs it's safe to say you're in trouble. Fart jokes aside there are at most three genuinely funny scenes in the film for those who haven't yet dozed off. The director and writer clearly choose to play it safe in every facet. In fact the infants bawling in the front row are doing so because they too feel like they could've seamlessly written and directed The Man--and on a smaller budget.
The Recruit wants us to believe the film's main thrust revolves around the Central Intelligence Agency's old maxim "nothing is what it seems." Had they stuck with this framework perhaps the film would have been more compelling. Instead it lapses into the expected and the implausible where you can pretty much guess exactly what's going to happen even if it really makes no sense. Our hapless protagonist James Clayton (Colin Farrell) is hustled by CIA recruiter Walter Burke (Al Pacino) who believes himself to be a "scary judge of talent" and sees James as prime CIA meat. When James hesitantly accepts the offer to come to The Farm he does so motivated less by helping his country and more by trying to find out what happened to his father who died mysteriously several years before and whom Burke alleges he knew. Once at The Farm James proves his mettle and is told again and again "it's in his blood." Ah then should we believe James' father who supposedly worked for Shell Oil really worked for the CIA as an NOC or Non-Official Cover agent one of the Agency's more prestigious--and dangerous--positions? The plot thickens. James also falls for fellow recruit Layla (Bridget Moynahan) but during an intense interrogation set-up he makes a serious error trying to save her and "washes out" of the program. Just when he thinks he's out forever James gets pulled back in by Burke who tells him all his trials and tribulations were just a test and that he is really NOC material and needed to root out a mole. Is it what it seems? Heavens no.
You'll be seeing a lot of Farrell in the coming months. Along with The Recruit this year alone he'll be in three major feature films including the upcoming comic-book actioner Daredevil; S.W.A.T. yet another feature based on a TV series; and the sniper movie Phone Booth. How has this 26-year-old Irish hunk risen so quickly in the ranks you might ask? Maybe it's because he has an uncanny ability to make the parts he plays completely believable. He slips easily into the Clayton character the quintessential CIA recruit with a daddy complex and fuels the film with the right amount of acting skills and smoldering good looks. Unfortunately his co-star the high and mighty Mr. Pacino is becoming a caricature of himself. Playing Burke is certainly no stretch for the actor and the film would not be complete without the requisite ranting scene where CIA veteran Burke tells the world all about it--voice booming words punctuated. It seems this has become the standard in any Pacino performance and frankly it's getting tiresome. Where's the quiet but powerful Michael Corleone when you need him? Moynahan (The Sum of All Fears) is somewhat bland as Clayton's love interest Layla. Word of advice: if Colin Farrell is making eyes at you go for it immediately. Don't waste any time.
For all its obviousness The Recruit does some things right. No stranger to the inner workings of our government agencies director Roger Donaldson who directed the Cuban Missile Crisis drama Thirteen Days and the Pentagon thriller No Way Out gives us access to the CIA training program or The Farm as its lovingly referred to--and it's one scary place. Obviously when making the film things had to be handled delicately as not to divulge too much so the film does take some creative liberties in showing the intense training the eager recruits have to face. That's fine with us--if we can't rely on death-defying stunts and car chases then outrageous mind games are generally good enough. But once The Recruit takes leave of The Farm the movie begins to fall apart. The inherent action set up for us in the first part--James finding out about his father the blossoming relationship between Layla and James who will be the NOC and the whole mole plot--just isn't as convincing to carry the film through its fruition. And being able to guess the next move isn't much fun either.
Psychiatric nurse Maggie O'Connor (Kim Basinger) raises her drug-addicted sister's baby who grows up to be a girl with "special" gifts like the ability to rock a dead bird back to life. When Cody turns 6 her mother returns to claim her. The trouble is mom is now married to Eric Stark (Rufus Sewell) leader of a Satanic cult masquerading as a self-help group. Stark wants Cody to use her powers for the "dark side " and will kill her if she refuses. Aunt Maggie enlists the aid of FBI agent John Travis (Jimmy Smits) to help her track down and save Cody.
Basinger 's passive bearing and scrubbed-down glamour seem out of place in the dingy New York settings. When Stark's snarling teenage-runaway groupies attack her they seem as angry at her smooth blond coif as anything else. Sewell does what he can with lines like "death would be a kinder fate" and "she will be ours" (this last line uttered while practically shaking his fist at the heavens). Vastly underused is Smits whose all-talk-and-no-action FBI agent wouldn't have lasted a day in "NYPD Blue's" precinct.
Although director Chuck Russell captures a rich textured look and lays on the ghoulish special effects (a river of red-eyed rats ominous whispers wraithlike demons) "Bless the Child" doesn't generate any real chill. It's not helped by the script which throws in every clich‚ possible about angels demons hellfire and brimstone. There's no avoiding comparison with "The Sixth Sense " the success of which surely must have put some heat under this project. Unfortunately it's a little too cooked.