The nautical heist thriller Contraband is a remake of Reykjavik-Rotterdam an Icelandic film from 2008 which admittedly I’ve yet to see. (It’s curiously difficult to find stateside.) Presumably there must have been something about it that was compelling enough to warrant the effort and expense of an American adaptation. Whatever it was it didn’t survive the no doubt complicated process of translating it into a proper Mark Wahlberg vehicle.
Wahlberg plays Chris Farraday once a legendary New Orleans smuggler but now happily law-abiding as a home-security contractor. The same however cannot be said of his punk brother-in-law Andy (Caleb Landry Jones) who runs illegal shipments for a tattooed hoodlum named Tim Riggs (Giovanni Ribisi). When Andy makes the unwise decision to dump his valuable narcotics cargo in advance of a Customs raid earning the dreaded pay-up-or-die ultimatum from his unsavory boss Chris tries in vain to intervene on his behalf only to be rudely rebuffed. Which leaves him with only one option to save Andy’s skin: One Last Job.
The director of Contraband Baltasar Kormakur actually starred in Reykjavik-Rotterdam – a piece of trivia which unfortunately proves far more interesting than anything found in his remake. It seems his familiarity with the material bred banality if not necessarily contempt. His approach is a kind of Bourne-lite: the shaky-cam is restrained enough to minimize audience headaches but the ultimate result is stultifyingly generic.
Essential to any successful Mark Wahlberg film from Boogie Nights to The Fighter has been to surround Wahlberg with more accomplished and versatile actors thereby allowing him to focus on his core competencies of scowling cursing and otherwise radiating his unique brand of low-watt charisma. Kormakur assembled capable-enough performers for Contraband only to saddle them with uniformly bland characters.
Having grown accustomed to Kate Beckinsale as the leather-clad heroine of the Underworld films I found it odd – and a bit disappointing – to see her reduced to the role of the protagonist’s fretful wife. Ribisi’s novel strategy for transcending his miscasting as a clichéd white-trash villain is to adopt a bizarre high-pitched accent presumably Southern in origin but unlike any Southern accent I’ve ever witnessed. Ben Foster plays Wahlberg’s best friend an ex-con and recovering alcoholic who seems doomed to relapse on both fronts if only because he’s being played by Ben Foster. Diego Luna J.K. Simmons Lukas Haas are underutilized in one-note roles.
I confess to be unfamiliar with the vagaries of illicit foreign-goods transport but I have to think it’s more exciting than what unfolds in Contraband. No one expects it to rival the glamour and of say casino robbery but Kormakur depicts smuggling with all the verve and panache of a tax audit. The film’s lone fireworks occur on land during a stop-off in Panama City when Wahlberg’s character is forced by the local crime boss (Luna) in an armored-car hold-up. A heist-within-a-heist if you will. But soon it’s back on the boat where the momentum ceases and the movie sinks.
WHAT’S IT ABOUT?
Twenty-eight years ago an enormous alien spaceship arrived on Earth and marooned itself in the sky above Johannesburg South Africa bringing with it hordes of starved emaciated refugees from a distant dying planet. After efforts to assimilate them into South African society failed the vast population of “prawns” — a derogatory nickname inspired their crustacean-like features — were herded en masse into District 9 a massive hastily-constructed refugee camp on the edge of the city that quickly devolved into a shantytown rife with violence prostitution and substance abuse.
The present-day South African government under pressure from its increasingly fed-up human citizens has decided to abandon District 9 and hand over control of the aliens to Multi-National United (MNU) a government security contractor/weapons manufacturer charged with relocating the refugees to a new camp in a more remote area.
In truth the relocation is only a secondary priority to the executives at MNU; their real goal is to unlock the secret of the aliens’ advanced weaponry and use it to reap untold profits in the arms trade. MNU’s efforts have heretofore been thwarted by a design feature on the weapons that restricts their usage to those possessing alien DNA rendering them inoperable by — and thus useless to — humans.
Tasked with leading MNU’s forced migration of the District 9's prawns is Wikus van de Merwe a well-meaning middle manager unaware of the company's true motivations. That changes abruptly however when he's unwittingly exposed to a mysterious DNA-altering substance during a routine sweep of the alien refuge camp. When Wikus begins to undergo a grotesque Fly-like transformation he suddenly finds himself hunted by his former colleagues at MNU who now see him as the key to cracking the code of the prawns’ powerful weapons. Shunned by human society and left with nowhere else to turn he heads back into District 9 where he forms an unlikely alliance with the creatures he’d once worked so hard to marginalize.
WHO’S IN IT?
Nobody you’d recognize unless you happen to be a devotee of South African cinema. District 9’s Johannesburg-born director Neill Blomkamp opted to use a cast composed entirely of actors from his home country with mostly excellent results. Leading the way is newcomer Sharlto Copley lending wit and pathos to the role of overwhelmed corporate whipping boy Wikus van de Merwe. Reminiscent of both The Office’s Michael Scott and Flight of the Conchords’ Murray Hewitt Wikus is the unlikeliest of sci-fi heroes which is one of the reasons why the film is such an unexpected delight.
District 9 takes an attractive premise and approaches it from an unconventional angle resulting in a wildly entertaining sci-fi satire that melds bits and pieces of The Fly Midnight Run Starship Troopers Enemy Mine Alien Nation and TV’s Cops. It’s a disparate combination to say the least yet somehow it works.
With the help of producer Peter Jackson and the many visual effects artisans at his disposal director Blomkamp packs the modestly-budgeted District 9 with an impressive mix of CGI and creature effects — especially during the film’s balls-out climax a mind-blowing blood-soaked battle sequence that will have audiences simultaneously cheering and cringing.
There’s little subtlety to District 9’s political commentary — a presumably deliberate artistic decision given the film’s satirical bent. Nevertheless it can get a tad annoying at times. The plot features an abundance of wild tonal shifts some of which are pulled off more successfully than others. In the lead role Copley occasionally betrays his acting inexperience by overdoing it with his delivery.
The climactic battle scene in which Wikus dons a massive Halo-esque battle suit and turns the tables on his pursuers is absolutely nuts — in a good way. However younger views and those with delicate stomachs may find the carnage-filled sequence rife with exploding heads and severed limbs somewhat unsettling.
According to producer Jackson District 9 cost around $30 million to make — a paltry sum by today’s action-movie standards. The production budget of G.I. Joe: The Rise of Cobra in comparison came in at a reported $175 million.