Late August/early September is known as a dumping ground for Hollywood a block of weekends for movies that don't fit into studios' strategical timeline. This could be for quality reasons ("when else are we going to put out this crappy movie?") or in the case of The Debt the movie might be too straightforward for its own good.
Oscar-winning director John Madden's (Shakespeare in Love) espionage thriller walks the fine line between action entertainment and award-season bait—leaving it in the unmarketable limbo known as "solid adult entertainment." The film a remake of a 2007 Israeli drama of the same name starts in 1997 centering on former-Mossad agent Rachel (Helen Mirren) and her two former teammates David (Ciaran Hinds) and Rachel's ex-husband Stephan (Tom Wilkinson). The trio cross paths once again with the publishing of a book written by Rachel and Stephen's daughter recounting the team's daring (and semi-successful) mission to kidnap and incarcerate a Nazi war criminal in 1965. It's with this solidifying of fame that the true events of their mission begin to trickle out.
The movie quickly flashes back to 1965 picking up with Rachel David and Stephen (now played by rising starlett Jessica Chastain Avatar's Sam Worthington and Marton Csokas) at the start of their mission. Like any group of gorgeous people forced to live in confined spaces romance begins to blossom with Rachel warming to the introverted David and Stephen waiting for the opportune moment to sweep her off her feet. While the trio prepares for the kidnapping—with your standard array of sleuthing calculated scheduling and intel-gathering—their relationships complicate giving The Debt a bit more depth than your run-of-the-mill Mission: Impossible-style spy movie. When it comes time to bag the Nazi everything seems to have fallen into place.
But unlike the stories told by their '90s counterparts the three agents find themselves in a stickier situation than expected. WIth one misstep the tension between the triangle boils and Madden to play games with our expectations. The script by Kick-Ass and X-Men: First Class writers Matthew Vaughn and Jane Goldman twists and turns bouncing back and forth between Mirren and Chastain's Rachel with ease. The spectacle in The Debt isn't delivered by elaborate set pieces but rather by the two actresses' performances. The duo without sharing a single scene click and unfold a complete arc beginning with Rachel's pride-filled aspirations to her chaotic downfall to Mirren's newfound mission to cover up the truth. Even when the movie dawdles (and it does around the hour mark) Mirren and Chastain keep us on board.
The other members of the ensemble don't have too much meat to chew on but Worthington impresses nonetheless tackling a character that's a complete 180 from his usual action-oriented muscle roles. His young David gives weight to the mission inhabiting a sense of devotion that explodes when he finally engages their Nazi hostage in a battle of words. Csoaks as young Stephen is just the slick realist prick the movie needs to make the team's downfall frighteningly disastrous and in turn the events of the present that much more dire.
The Debt doesn't have the expansive harrowing scope of Steven Spielberg's serious spy movie Munich but for a movie that doesn't really have a place on the Hollywood slate it delivers a square serving of drama and sharp performances. It tells its story and does so with the right amount of flair.
At the end of the summer that's a welcome surprise.
Superhero origin stories have been all the rage at the multiplex this summer with Marvel Comics alone accounting for two such films Thor and X-Men: First Class both of which happily surpassed critics’ expectations. Its latest Captain America: The First Avenger – so named as to provide us a helpful link to the Avengers movie coming next year – arguably faces the trickiest task of all three seeing as how Americans have not been in the most patriotic of moods in recent years. Could a flag-waving superhero really find purchase with a moviegoing audience that increasingly looks askance at such notions?
Surprisingly yes. That Captain America succeeds – and resoundingly so – is partly due to the producers’ decision to set the film during World War II a time where patriotism is a much easier sell. (And no viewer is too jaded to not enjoy seeing Nazis eviscerated en masse.) But proper credit must be given to director Joe Johnston who has crafted a breathlessly entertaining popcorn movie that unambiguously embraces its hero’s old-fashioned sensibilities and invites us to embrace them as well.
Chris Evans (The Losers Fantastic Four) plays Steve Rogers an earnest oft-bullied ectomorph whose lone wish is to ship off to Europe and fight on the front lines. But a plethora of physical ailments have combined to render him hopelessly unfit to serve however stiff his resolve. (To pull off the withered look of “Skinny Steve ” the filmmakers pulled off a nifty trick grafting Evans’ head onto the body of another actor Leander Neely.)
Rogers’ chance arrives in the guise of a government scientist the German émigré Dr. Abraham Erskine (Stanley Tucci as avuncular as a German-accented man can hope to be) who witnesses the young man’s idealistic ardor and recruits him to take part in secret military experiment. After proving his mettle in training Rogers is delivered a dose of Super Serum a PED that instantly makes him bigger stronger and faster than just about any other human alive.
Which is a good thing because on the other side of the Atlantic a renegade Nazi scientist Johann Schmidt aka the Red Skull (Hugo Weaving doing a tremendous Christoph Waltz impression) has happened upon his own supernatural power source and he’s used it to quietly amass a private army dubbed HYDRA that is bent on supplanting Hitler’s world-domination scheme with its own. Soon all that stands between defeat at the hands HYDRA and its arsenal of advanced weaponry is the juiced-up visage of the newly-christened Captain America.
Portraying a stalwart straight-arrow bereft of angst or ambiguity isn’t the easiest of tasks for any actor but Evans does a commendable job of bringing depth and humanity to a character that all too easily could have come across as bland and one-dimensional. Johnston seems to recognize this potentiality as he looks primarily to his supporting cast to supply the personality: Tucci and Weaving stand out as do Tommy Lee Jones and Toby Jones playing an irascible army commander and a timid HYDRA toady respectively. The film’s romantic spark comes courtesy of the principal cast’s lone female representative the excellent Haley Atwell playing Rogers’ military liaison Agent Peggy Carter.
More than anything Captain America is a triumph of tone. A former ILM technician Johnston did visual effects for Raiders of the Lost Ark and Spielberg’s 1981 blockbuster was a conscious touchstone for his film’s throwback feel and aesthetic. (Another less deliberate influence would be a previous Johnston film The Rocketeer.) Captain America embodies the spirit of the old serials melded with a tongue-in-cheek comic sense and punctuated by action sequences that deploy the requisite CGI fireworks with a welcome measure of restraint. The film is decidedly of its era but never feels gratuitously nostalgic. And its production design is gorgeous: Red Skull’s lair in particular is a treasure trove of retro-futurist designs all of which seem directly lifted from 1940s World’s Fair exhibits.
Although the fate of where their big-footed creatures will alight to shoot The Hobbit is still undetermined, Peter Jackson and Fran Walsh have begun to officially cast the projects with Martin Freeman, as expected, set to play Bilbo Baggins. A host of other names was also announced Thursday.
Meanwhile, The Wall Street Journal reports that a meeting is set for Tuesday between New Zealand Prime Minister John Key and Warner execs in a last-ditch effort to keep the films in the country, although The Independent cites Fran Walsh as saying The Hobbit could soon be enrolling in Hogwarts.
A government spokeswoman told the WSJ that talks between Key and Warner execs are scheduled to take place in Wellington on Tuesday, but she would not specify who is attending the meeting on Warners' behalf.
According to The Independent, Fran Walsh told Radio New Zealand on Thursday that Warners wanted to shift production to the UK's Leavesden Studios where the Harry Potter movies were filmed.
"They've got a huge studio that Harry Potter have vacated, that they own...that they say would be perfect for us," she said, adding that other UK locations were being scouted.
Reuters further reported, citing estimates from economists at New Zealand's ANZ-National bank, that the nation's economy could lose as much as $1.5 billion if Warner Bros. relocates the project.
Back to casting … New Line COO/president Toby Emmerich, Warner Bros COO/president Alan Horn, MGM co-CEO Stephen Cooper and Jackson also announced on Thursday that Richard Armitage, Aidan Turner, Rob Kazinsky, Graham McTavish, John Callen, Stephen Hunter, Mark Hadlow and Peter Hambleton have all been set.
While Deadline reports that nothing's definite, there are rumblings that James Nesbitt and David Tennant are up for roles, while Stephen Fry, Saoirse Ronan and Bill Nighy are possible participants.
Regarding Freeman, Jackson said, "Despite the various rumors and speculation surrounding this role, there has only ever been one Bilbo Baggins for us. There are a few times in your career when you come across an actor who you know was born to play a role, but that was the case as soon as I met Martin. He is intelligent, funny, surprising and brave -- exactly like Bilbo and I feel incredibly proud to be able to announce that he is our Hobbit."
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Woody Allen’s neurotic-speak works wonders coming from a New Yorker but coming from a Brit? Not so much. The British could very well be just as phobic as anyone else but they are also repressed and trying to force the neurosis out just doesn’t ring as true. Nevertheless Allen is bound and determined to film abroad these days and thus once again sets Cassandra's Dream in contemporary London where we meet two brothers struggling to better their lives financially. The more blue-collar Terry (Colin Farrell) has a gambling problem and is in debt up to his eyeballs while enterprising Ian (Ewan McGregor) dreams of leaving his family’s restaurant and moving to California with his newfound love Angela (Hayley Atwell) an ambitious actress. Their only hope is their wealthy uncle Howard (Tom Wilkinson) but the boys quickly find out you can’t get something for nothing. You see Uncle Howard is also in a bit of trouble and he asks his nephews to help him out of his jam--with sinister consequences. First of all Farrell and McGregor look about as related as a dog and cat. Secondly they don't seem at ease in the film partly because their characters are anxious but also partly because they don’t mesh as well with Woody Allen’s sensibilities. Farrell fares a bit better since his natural Irish tendencies towards emotional outbursts fit the character well. His Terry is the one with the conscience and murdering someone just doesn’t sit well with him. McGregor on the other hand plays Ian almost robotically saying the words with as little emotion as possible which doesn’t do Allen’s dialogue any justice. Wilkinson falls under the same category as McGregor but his character is the one most morally challenged so playing it cold sort of works. The women in Cassandra's Dream are fairly wasted including newcomer Atwell as the manipulative actress and Sally Hawkins as Terry’s sweet and concerned girlfriend. Even the boys’ mother played by veteran stage actress Clare Higgins (The Golden Compass) comes off screechy. The cast must have all been thrilled to be in a Woody Allen movie to be sure but it just seems like Allen didn’t get them. Cassandra's Dream suffers from some of the same hang-ups as Match Point. Even though many heralded that 2005 movie as Woody Allen’s return the film had the same problems namely the ill-fitting British cast. At least Match Point had an American Scarlett Johansson whom Allen could pour all his tried-and-true fixations into--the paranoia the obsessiveness and the ultimatums. But Cassandra's Dream really proves that as a filmmaker Allen has become a stick-in-the-mud. He really hasn’t changed his tune in 25 years exploring the same themes over and over again and it’s finally getting old. When his films turn dark it’s usually about how murder can corrupt the soul. Natch. Sometimes the murderers however bothered they are by their deeds get away with it; sometimes they don’t. But rarely does Allen veer from this path making Cassandra's Dream a now very stale rehash of Crimes and Misdemeanors without the benefit of having at the very least some good old-fashioned Allen-styled American-acted neurosis to back it up.
Arthur Kriticos (Tony Shalhoub) is trying to keep his small family together after losing his wife and the mother of their kids Kathy (Shannon Elizabeth) and Bobby (Alec Roberts) in a tragic fire that left them homeless. Out of nowhere one enigmatic Uncle Cyrus (F. Murray Abraham) wills Arthur a bizarre yet dazzlingly beautiful mansion made almost entirely of glass and filled with priceless antiques. There's not much that could go unseen behind the transparent walls except for perhaps 12 pesky ghosts of disturbed folks like onetime mental patients and a kid whose head got in the way of an arrow. It just so happens old Cyrus with the help of his psychic phantom-wrangler Rafkin (Matthew Lillard) has been summoning up a few restless spirits so he can open the Eye of Hell and take over the world or something. They just need one more spirit to finish the job.
All right who's blackmailing Oscar-winner Abraham into taking roles like this? The man should have thrown the script out sight-unseen and then fired his agent. Rah Digga yet another rapper-turned-wanna-be-actress is there to offer some sassy comic relief as the kids' nanny--she's fun in a usual sort of way. Shalhoub-ho hum. Elizabeth? Yawn. She's not even in half the movie. Lillard it can be said is about the only bright spot in this otherwise not-silly-enough not-cheesy-enough not-funny-or-scary-enough horror movie. He's got the right idea as he tries to camp it up as a borderline hysterical psychic who has guilt issues about being able to see everyone's secrets with his "gift." But worst of all is the usually great Embeth Davidtz (um Schindler's List?!) as a--get this--ghost's rights activist who thinks she's channeling Zelda Rubenstein from Poltergeist as she hisses the obvious: "This house is not a house!"
The only thing scarier than F. Murray Abraham taking a role in this movie is that it ever got made at all--then again we have the Dark Castle folks (the same ones who brought us that masterpiece remake The Haunting a few years ago) to thank. They forgot to hire a director and a scriptwriter instead putting visual effects guy Steve Beck behind the camera to show us some semi-interesting special effects (it is a ghost movie after all and you better score some points there). Unfortunately the movie is uneven makes little sense and strives for both laughs and scares but achieves neither with cornball dialog and silly stereotypes; it's wildly gory to boot. Everyone's gonna say the ultra-modern haunted house is the star of Thirteen Ghosts and with good reason. The production design in this movie is amazing and the idea of ghosts hiding behind clear walls is an intriguing if ultimately wasted concept.