Liam Neeson is that rare breed of actor who grows more badass with age who at the cusp of 60 appears quite credible besting men 30 years younger – or anyone else foolish enough to provoke him. In The Grey – a gripping but ponderous man-versus-wild epic directed and co-written by Joe Carnahan (The A-Team) – his foe is no less formidable than Mother Nature in all her fury. She has met her match.
Neeson plays Ottway a man whose sole job on an Alaskan oil rig consists of gunning down the occasional wolf that makes a run at an oilworker. (Fences apparently being in short supply in the Arctic.) Ottway is a hard stoic sort and one gets the strong sense that he tended toward irascibility even before his wife departed (for reasons not made clear till late in the film) taking with her his remaining purpose for living. He gains a new one appropriately enough when his flight home crashes down in the Alaskan wilderness killing all but a handful of its passengers. Ottway his survival skills honed in a previous life emerges as the only person capable of guiding them to salvation.
Carnahan surrounds Neeson with an ensemble of familiar types the most notable of which are Talget (Dermot Mulroney) the family man Henrick (Dallas Roberts) the conscience and Diaz (Frank Grillo) the jerk. They encounter the predictable male team-building hurdles puffing chests and locking horns before Ottway asserts himself as the Alpha Male. Figuring they’ll perish before salvation arrives they agree to make the perilous trek to the nearest human habitat braving any number of dangers the most fearsome of which are the ravenous “rogue wolves” that roam the landscape. (The film shot in British Columbia in conditions that were apparently every bit as brutal as they appear on-screen certainly looks authentic – both beautiful and ominous.)
When they aren’t battling the predatory lupine menace the men have time – far too much time – to reflect upon their plight and its existential implications. The Grey would have been perfectly enjoyable as a straightforward survival epic the “Liam punches wolves” movie promised by the trailer but Carnahan is intent on imbuing the film with a philosophical poignancy wholly unsuitable for a film featuring lines like “We’re in Fuck City population five and dwindling ” and “We’re gonna cook this son of a bitch!” – the latter uttered at the capture of one of the wolves. As a film Carnahan’s macho metaphysics leave The Grey feeling a bit overcooked.
Liam Neeson seems to have taken a liking to the action thriller genre of late, following his surprise hit Taken with leading roles in a number of actioners, including Clash of the Titans, The A-Team, and the upcoming Unknown White Male. Add to that list The Grey, a survival drama that would reunite the 58-year-old actor with Titans director Joe Carnahan in a film that sounds like an unlikely cross between Armageddon, Into the Wild, and Disney's Snow Dogs gone horribly awry.
Heat Vision reports that Neeson is currently negotiating to join the thriller, the story of a man (Neeson) and his oil drilling team who survive a plane crash in Alaska, and must struggle to survive in the wilderness. The situation escalates when the men discover they have intruded upon the territory of a pack of large, unnaturally aggressive wolves with a taste for human meat. Carnahan wrote the survival drama with newcomer Ian Jeffers, the screenwriter who wrote the original short story The Grey is based on. Scott Free is on board to produce with financing from Inferno Entertainment.
Neeson would replace another A-Team actor, Bradley Cooper, who was originally set to headline The Grey when it was first announced at the Berlin Film Festival earlier this year. While it may seem odd to some that Neeson has been set to fill the shoes of an actor 23 years his junior, the grizzled Taken star actually strikes me as a much more adept wolf-killer than Cooper, who is far too pretty to be taken seriously as the leader of a wolf-averse oil drilling team. Have you seen Taken? I almost feel sorry for those wolves.
Source: Heat Vision
In 1977 Harvey Milk (Penn) was elected to the San Francisco Board of Supervisors. While this would not normally be an earth-shattering phenomenon in this case Milk became the first out-of-the-closet gay person to win a major public office in the United States -- and was assassinated in 1978 along with San Francisco Mayor George Moscone. Based in part on the Academy Award-winning documentary The Life and Times of Harvey Milk the film focuses on the last decade of his life as he moves from New York at age 40 to San Francisco with lover Scott Smith (James Franco). Using his experience as an entrepreneur as a catalyst he suddenly becomes more politically involved making a couple of runs for office and finally getting elected. With a new lover (Diego Luna) and agenda Milk takes on some major issues -- including lobbying against California’s controversial Prop 6 an initiative to fire gay schoolteachers. But his activities anger another supervisor Dan White (Josh Brolin) and soon their destinies will collide. It’s not an overstatement to say that Sean Penn’s performance here is a revelation. As Harvey Milk he not only perfectly embodies the late politician but exudes a certain kind of warmness and humor we rarely see from the star. His immersion into the persona of Milk is truly remarkable and winning. A large supporting cast includes: standout performances from Franco as Milk’s true love and friend Scott who eventually can’t compete with Harvey’s increasing ambition; Diego Luna hilarious and annoying as Milk’s lover later; and Emile Hirsch as Cleve Jones a young activist and Milk protégé. Brolin as the unlikeable White perfectly captures the frustration and simmering jealousy the man he feels steals his job. It’s a risky role and there is little room for audience empathy but Brolin makes this loser understandable if not acceptable. As the lone woman among the principal players Alison Pill is bright and appealing as Milk’s campaign manager Anne Kronenberg. Gus Van Sant’s odd directorial career encompasses a series of ups and downs with the highlights being Drugstore Cowboy and his Oscar-nominated work on Good Will Hunting. The absolute nadir of Van Sant’s resume is undoubtedly his ill-advised shot-by-shot remake of Hitchcock’s untouchable Psycho. It’s nice to report he’s back in form now with the warm funny and moving Milk a film that doesn’t quite escape the clichés of the biopic genre but still finds its own beats thanks in large part to the piercing performances. Getting such mature and joyful work from Penn a brilliant but distant actor is impressive indeed. He also imbues the movie with a documentary feel appropriate since much of the source material comes from the Oscar-winning docu. Milk paints us a triumphant and inspiring life one that won’t soon be forgotten especially with its parallels to current California circumstances. The state’s recent anti-gay marriage initiative Prop 8 could not have come at a more significant time in making Harvey Milk’s crusade seem more relevant than ever.
Based on the popular children’s book by Jeanne DuPrau City of Ember is really a cautionary tale: Don’t build an underground city as a refuge for humanity against the threat of a world gone mad and forget to tell its denizens that their city will fall apart after 200 years. To be fair the original “Builders” of Ember tried to set up an exit strategy but didn’t account for the possibility of human error. Thus when the deadline comes the current Ember-ites have no idea why their giant generator powering the whole city is failing. Although he is supposed to know The Mayor (Bill Murray) has no clue--and frankly doesn’t care that much since he has his own exit strategy. The only ones extremely concerned are teens Doon (Harry Treadaway) and Lina (Saoirse Ronan) who discover an ancient document and end up racing against the clock following the clues they hope will lead them--and the rest of the people of Ember--to safety beyond their doomed city. Irish actress Saoirse Ronan best known for her amazingly sophisticated Oscar-nominated performance in Atonement has a face the camera loves. With wide expressive eyes and deep concentration she makes City of Ember that much more compelling simply by the way her face registers a moment. You can tell what she’s thinking without her ever saying a word. She’s quite something. Treadaway (Control) isn’t nearly as effective but he fits the action-hero shoes well. Murray seems to be up to his I-hate-kids tricks (shades of W.C. Fields) but has fun with his vain Mayor. But most of the other adults are somewhat wasted including Toby Jones as the Mayor’s henchman; Marianne Jean-Baptiste as Lina’s ally; Martin Landau as an old laborer who works in the city’s pipes; and finally Tim Robbins as Doon’s inventor dad. They all have the makings to be interesting characters but there’s just not enough about them on screen. I suppose reading the book would help. Director Gil Kenan is a still a kid at heart it’s easy to see. Having made his directorial debut with the visually stunning Monster House he moves into familiar territory with City of Ember tackling the live-action milieu this time around. The city itself is fantastic to look at from the millions of overhead street lights illuminating Ember to Lina’s yarn-filled apartment where she lives to even the smallest details such as a door knob. Kenan takes you down deep into this underground mecca to the point you almost feel claustrophobic. City of Ember certainly isn’t a flick for the younger audiences either with dark scary things lurking in the Pipeworks of the city. Kenan however isn’t quite savvy enough yet to elicit good performances from his actors which is where City of Ember falters a bit--save for Ronan; Kenan just lucked out with her. No matter this adaptation is about the visuals and the thrill of escaping from City of Ember and it delivers the goods on all accounts.