Charles Bronson may have passed away but the spirit of his Death Wish films lives on -- albeit in an absurdly twisted fashion -- in F. Gary Gray’s (The Italian Job Be Cool) gleefully over-the-top revenge thriller Law Abiding Citizen.
Taking a welcome break from his recent run of lame chick flicks Gerard Butler (300 RocknRolla) stars as Clyde Shelton a loving husband and father whose placid suburban existence is upended when a couple of mangy meth monsters burst into his home. Not content to merely burglarize the place they proceed to butcher Clyde’s wife and daughter as he lies in a heap on the floor periodically losing consciousness after being stabbed several times.
The killers are soon apprehended and a grieving Clyde who somehow managed to survive the whole ordeal eagerly awaits swift retribution from the justice system. Hoping for the grim solace that only the death penalty can provide he places his faith in Nick Rice (Oscar winner Jamie Foxx) the hotshot district attorney charged with prosecuting the case to do the right thing and see to it that the two killers fry.
Nick however has other plans. Seeing the case as anything but open-and-shut and fearful that a not-guilty verdict in such a high-profile trial could derail his ambitious career plans (he sees himself as a Giuliani in the making) he opts to strike a plea deal: One man gets a death sentence while the other gets a mere 10 years in return for testifying against his cohort.
Chastened by the unseemly bargain Clyde takes matters into his own hands delivering his own uniquely painful brand of vigilante justice to the sinister men who destroyed his family. But he doesn’t stop there not by a longshot. His grudge extends much much further -- to the very heart of the justice system itself -- and he intends to bring the entire corrupt apparatus down even if he has to do it while locked up inside a jail cell. Which is where he ends up after police nab him for personally imposing the death penalty on the convicted killers.
Indeed Clyde proves to be something of a savant when it comes to killing people in creative cinematic ways employing exploding cell phones remote-control machine guns and other methods to take out the various judges attorneys and politicians on his hit list. Most amazingly he orchestrates all of this mayhem from behind bars. Seriously this guy’s flair for novelty violence makes the Joker’s antics in The Dark Knight seem amateurish by comparison.
The task of putting an end to all of Clyde’s mayhem naturally falls on Nick. And this is where Law Abiding Citizen’s fatal flaw emerges. Whereas Gray Butler and virtually everyone else seem to enthusiastically embrace the utter ridiculousness of it all Foxx plays it determinedly straight as if he’s the only one in the movie who isn’t in on the joke. Watching his performance it’s almost as if he’s making a different film than everyone else.
The right way for Law Abiding Citizen to end is for Foxx to administer an appropriately ironic death to Butler’s character utter something like “I rest my case ” and wink at the camera as he makes his exit. (Click here to read our exclusive interview with Foxx.)
I won’t give any spoilers away but suffice it to say this is NOT how the movie ends.
The Painted Veil is based on W. Somerset Maugham’s 1925 novel about British colonialism in China. The film's cohesion is largely helped by a user-friendly script from Ron Nyswaner (Philadelphia) who tackles amorphous movie-unfriendly themes like emotional longing. We meet Walter Fane (Edward Norton) a lovesick middle-class bacteriologist who spots Kitty (Naomi Watts) an upper-class socialite approaching the upper limits of marrying age at a party. Walter not smooth with women woos Kitty with his intensity and persuades her to join him in cholera-stricken China. With a wandering eye Kitty is soon caught in a lusty affair with a local British diplomat Charlie Townsend (Liev Schreiber) but Walter eventually forgives her but imprisons her in the desolate green south China countryside. The film's crucial problem is its setting of a Western-centric love story on top of a palette of Chinese human death and disease albeit framed beautifully and exotically. Norton and Watts take producers' credits as well. The actor pushed for years to get The Painted Veil made painstakingly and authentically co-produced with the China Film Board. These facts hint at the commitment and intelligence Oscar nominees Norton and Watts bring. Norton always impresses and surprises. Each role in his resume is tasty in its own way a wholly new creation and never derivative. In Norton's previous film The Illusionist he was a similarly powerful opaque character from a far away time and place. Although sometimes seeming she’s on autopilot Watts is also brilliantly underrated as the conflicted Kitty who doesn't love the man she married even though he loves her as much as she loves herself. Her tricky darting eyes mixed with uneasy body language tells us we don't know what to expect other than that she'll probably sabotage herself. Toby Jones--who played Truman Capote to critics' acclaim in Infamous--does a provocative turn as the mysterious opium-smoking neighbor. The Painted Veil falls short of greatness when the second half crumbles into laziness right when the emotional impact should be the strongest. Director John Curran is relatively untested ( We Don't Live Here Anymore) especially with difficult material and he stumbles a bit in this ambitious drama. Veil's storytelling meanders with a few unnecessary scenes. Lame mini-montages lapse into TV movie territory. Attention to detail however (minus Norton's highlighted hair) is superb. Four exquisite wisely picked Chinese locations were used in concert with local actors and crew to produce an internationally representative work of Chinese/American art. Interior sets are post-WWI prudish and upper-class underlying the movie's "painted " hidden ideas. Old-world rickshaws and water systems are true to the time. The haunting soundtrack feels postmodern and contemporary. But overall like last year's disappointing Memoirs of a Geisha the mish-mash of American and Asian story themes doesn't quite work.
The Whole Ten Yards picks up about two years after the events that changed the lives of Oz (Matthew Perry) Jimmy "The Tulip" (Bruce Willis) Jill (Amanda Peet) and Cynthia (Natasha Henstridge)--and made them a whole lot richer. Nice-guy dentist Oz is now married to Jimmy's ex-wife Cynthia and living in Brentwood Calif. where he still practices dentistry. They seem happy but Oz is so paranoid someone will come after him that he keeps an arsenal of weapons in his home which is teeming with high-tech surveillance equipment. His suspicions however are not so farfetched: Turns out Cynthia is in cahoots with Jimmy who is now married to Jill and living in Mexico and they're planning to rob Hungarian mobster Lazlo Gogolak (Kevin Pollak) who's just been released from prison. But Lazlo has an agenda of his own. He wants to kill Jimmy for the murder of his son rival hitman Yanni Gogolak a couple of years ago. When Lazlo kidnaps Cynthia to get to Jimmy (he figures Oz will spill the beans on his whereabouts) poor Oz runs off to Mexico and pleads for Jimmy's help. What Oz and Jill don't realize however is that they are part of a much bigger revenge plot against Lazlo perpetrated by their own spouses Jimmy and Cynthia.
The only thing that makes The Whole Ten Yards engaging is the returning cast who have a playful and endearing on-screen chemistry. Willis and Perry are at the forefront reprising their roles as Jimmy "The Tulip" Tudesky and Nicholas "Oz" Oseransky respectively. The actors craft their characters well and uniquely and the conflicting personalities they create--Willis' cool and collected Jimmy and Perry's nervous and scatterbrained Oz--make watching their interactions entertaining. When the two discover that the hostage in the trunk of their car has died for example Willis stands there unflinchingly while Perry yelps "It looks like he got shot in the foot! Who dies from being shot in the foot?" Peet blends in with her own brand of humor; her klutzy character Jill is hilarious without trying to be which is the key to her performance. Jill's hung up on the fact that although she's a professional marksman she's never had a real kill--she's so accident-prone that her targets always die by default. Also returning for the sequel is Pollak who played Yanni in the first film. Here he returns as Yanni's father Lazlo aged with the help of prosthetics and makeup. It's a great idea and the result is pretty funny although the character is cartoonish.
Director Howard Deutch makes a valiant effort with this sequel to the 2000 hit; there's continuity in the characters although their lives have progressed since the events of the last film. The problem with The Whole Ten Yards is its story penned by Mitchell Kapner and George Gallo. While The Whole Nine Yards had an elaborate storyline it was easy enough to follow--everyone was basically trying to kill one another. Here the plot's equally convoluted but rather than interesting twists and turns we get inconsistencies and dead ends. Take Jimmy's new Suzy Homemaker role for instance. As the film opens Willis is traipsing around his Mexican villa in bunny slippers wearing a 'do-rag on his head fussing over dinner and the fact that the potatoes are supposed to be "floating around the lobster not just stuck there." We find out it's all an act but the reasons are never disclosed. By the time the film ends audiences will be asking themselves what it was all for. Perhaps the filmmakers thought the sight of Willis as a dowdy housewife would make moviegoers laugh so hard they'd forget to ask why.