Relativity Media via Everett Collection
It's easy to compare 3 Days to Kill to Luc Besson's flagship franchise Taken. The film itself practically encourages those comparisons, what with the older man who reluctantly returns to a life of killing for the good of his daughter. The hero's quest of hunting down international criminals in a stunning foreign locale is punctuated by all of the explosions and gore your heart could desire. Neither 3 Days screenwriter Besson nor director McG are attempting to blaze a trail or reinvent a wheel. They're simply attempting to create a film that will keep you entertained for two hours, and on that front, at least, they succeed.
Stepping into the Liam Neeson role this time around is Kevin Costner as Ethan Renner, who is either an assasssin or a spy that works for either the CIA or the Secret Service (it's not really all that important in the end), forced to walk away from the job after he is diagnosed with cancer (or maybe a brain tumor). In an attempt to spend his remaining months bonding with his estranged daughter Zoey (Hailee Steinfeld), he moves to Paris to settle down. Of course, that's when Vivi (Amber Heard), a CIA agent/spy/assassin arrives, along with an experimental new drug that could extend Ethan's life, which she will happily pass along... if he takes out their two most wanted criminals within three days.
From there, the film veers wildly between graphic fight sequences, with enough chaos and destruction to equal both Taken movies, and the story of Ethan and Zoey’s growing relationship. Much of the plot is confusing and barely explained – Ethan and Vivi vaguely work for the CIA, although they're unconcerned by the devastating destruction they leave in their wake. The drug is “experimental,” but how it helps or why it’s only available through a giant purple syringe is waived away by the presence of a stack of “research.” Ethan only has three days to complete his mission, but seems to hang around Paris for a lot longer. The villains are wanted by the government for being tangentially involved with a “dirty bomb.” There's a shoehorned-in subplot about family of African immigrants squatting in Ethan's apartment. But despite the fact that so many of these elements never find a way to coalesce into a coherent whole, once the body count starts to rise and the buildings start to fall, it's easy to simply ignore all of that in favor of massive explosions.
When the film works, Ethan's job and his relationship with Zoey blend together in a way that gives 3 Days to Kill some much needed heart and humor — like when he's interrupted in torturing a target by her constant phone calls — but when it doesn’t, the transitions between Ethan taking out the criminals he's hunting and his slightly cloying bonding experience with Zoey can be jarring. As Ethan, Costner is a serviceable action hero; he growls threateningly and stares fondly at Steinfeld when the script calls for it, but for the most part, he appears to be phoning it in. Of course, for this kind of film, that’s all he really needs to do, but it means that by the time the credits roll, much of his performance is already forgotten. As Zoey, Steinfeld does her best with the material, and makes some of the more emotional scenes between herself and Costner affecting. However, even she can’t save the father-daughter plot of the film from becoming trite and stale at times, and so her scenes mostly feel like a quick breather in between the rounds of graphic violence.
Relativity Media via Everett Collection
Heard feels out-of-place as Vivi, who is introduced as the buttoned-down second-in-command to the head of the CIA, but then proceeds to spend the rest of the film speeding around Paris in sports cars, and prancing about in a wardrobe of leather, corsets, and high heels. Costner is clearly in an older-man action film, but Heard is in another film entirely, one in which she’s a sexy super spy single-handedly taking down international criminals. Despite the fact that she’s mostly there to provide exposition and to look pretty, there are moments where you almost wish that she was the focus of 3 Days to Kill instead — or, at the very least, that one of the many subplots had been dropped in favor of expanding her character.
And yet, despite all of the unanswered questions and the weird disparities in tone, 3 Days to Kill is a surprisingly entertaining film. The fact that one of the best fight sequences in the film takes place in a supermarket, while Ethan and an unnamed hitman grapple behind a deli counter, means that it's ridiculous enough to keep you engaged, but it's still able to amp up the tension when it needs to. And when you need a break from watching people come perilously close to being decapitated, there's a well-timed visual gag already lined up. It hits all of the notes required of a cheesy action film, and even though it gets far too bogged down in sentiment at times, it's still got enough heart to add a little substance to the flimsy plot.
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3 Days to Kill does exactly what it needs to, and little more. It doesn't want to make you think — in fact, it actively encourages you not to — and it doesn't try to accomplish anything that will stay with you after the credits have rolled. All 3 Days to Kill wants is to keep you amused for a few hours, with a few explosions and some mindless fun. In the end, that's sometimes that's all you really need out of a movie.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Support is growing for Roman Polanski, and so is a backlash. Some French politicians are not siding so closely with the artistic community in their defense of the jailed filmmaker while other folks from all over are weighing in with indignation that Polanski should receive special treatment.
More names have been added to the petition started in France, which Wiretap was first to post on Monday morning while a similar one has now been floated. At least one big-name French filmmaker, however, has chosen to abstain from adding his support even though he says of Polanski "our daughters are friends."
Scores of prestigious filmmakers and industry players have now added their names to the petition, which began being circulated on Sunday, including Martin Scorsese, Woody Allen, Patrice Chereau, Luc and Jean-Pierre Dardenne, Buck Henry, Diane Kurys, Jean Labadie, Claude Lelouch, David Lynch, Richard Pena, Jacques Perrin, Jerry Schatzberg and Andre Techine.
Further, French sales, distribution and finance outfit Wild Bunch tells Wiretap it has pulled Jan Kounen's Coco Chanel & Igor Stravinsky from the Zurich Film Festival in a sign of protest. Coco & Igor was the closing night film at Cannes this year.
Further, another petition has now been started by Henri-Bernard Levy, which reads:
"Apprehended like a common terrorist Saturday evening, September 26 in Zurich, as he came to receive a prize for his entire body of work, Roman Polanski is now in prison. He risks extradition to the United States for a thirty-year-old affair whose principal plaintiff repeats with hue and cry that she has put the story behind her and abandoned any idea of legal proceedings. Seventy-six years old, a survivor of Nazism and of Stalinist persecution in Poland, Roman Polanski risks spending the rest of his life in jail for deeds which should normally be beyond the statute-of-limitations in Europe.
"We ask the Swiss federal justice system to free him immediately and not to turn this brilliant filmmaker into a martyr of a political-legal imbroglio that is unworthy of two democracies like Switzerland and the United States. Good sense, as well as honor, demands it."
Signatories on that petition include Salman Rushdie, Milan Kundera, Neil Jordan, Mike Nichols, Diane von Furstenberg and Paul Auster.
On the other side of the fence are some of France's politicians who have come out to accuse President Nicolas Sarkozy's administration of jumping too quickly to Polanski's defense. Included among them are Daniel Cohn-Bendit, a French deputy in the European Parliament from the Green Party and Jean-Marie and Marine Le Pen - the father and daughter from the extreme right National Front party who said officials were supporting "a criminal pedophile in the name of the rights of the political-artistic class," The New York Times reports.
One person from the artistic class whose name has been absent from any petition is Luc Besson. "Our daughters are good friends," Besson told France's RTL radio. "But there is one justice, and that should be the same for everyone."
The Wrap reports that in Poland, the prime minister asked his Cabinet members to subdue their angry calls for the release of Polanski, noting that the case involved "punishment for having sex with a child."
Polanski's lawyers have asked that the director be released from Swiss custody where he now resides following his arrest on Saturday on a 31-year old warrant stemming from having pleaded guilty to sex with a minor.
"Our first concern, and principle concern, is that Mr. Polanski be set free" from jail while "remaining on Swiss territory," Polanski’s French attorney Herve Temime said, TW reports. "He has a chalet in Switzerland. He would naturally accept to be placed under house arrest during the follow-up of the extradition proceedings."
Meanwhile, the mood in blog comments both in the US and in France is for the most part against Polanski. Of the nearly 30,000 respondents to an online poll from French daily Le Figaro, more than 70% feel he should be judged (then again, Web site L'Internaute also has a poll wherein over 70% of respondents think he should be freed).
That 70% figure is an interesting one: On CNN, a poll asking whether he should be extradited to the US also shows 70% in favor.
And on blogs like Deadline.com and Hollywood-Elsewhere.com, the comments skew overwhelmingly against Polanski.
Now that Harvey Weinstein has weighed in via a piece in The Independent, will his comment that he is "not too shy to go and talk to the Governor of California" to ask him to look at the situation hold much sway?
It's unlikely given the stance of the LA District Attorney's office. Spokeswoman Jane Robison responded to questions from FoxNews.com thusly:
Q. Will the DA respond to pressure from Tinseltown's biggest bigwigs?
A. Will the DA consider their plea to give up on extradition?
Q. Does the DA have any plans to meet with the directors allying themselves with Polanski?
For the Full story, click here to go to Hollywood Wiretap
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Based on a headline-grabbing true crime that has long fascinated the French and inspired work by such esteemed writers as Jean-Paul Sartre Simone de Beauvoir and Jean Genet Murderous Maids is the story of sisters Christine Papin (Sylvie Testud) and Lea Papin (Julie-Marie Parmentier) who in 1933 murdered Madame Lancelin (Dominique Labourier) and her daughter Genevieve (Marie Donnio) in their elegant home in Le Mans France. Also from Le Mans Christine and Lea--like their elder sister Emilia who fled hardship for a religious life--had difficult childhoods. Their mother Clemence (Isabelle Renauld) who lived a life of poverty and menial work was largely indifferent to her daughters although she favored Lea. Her taste in men was unfortunate: Her husband had raped Emilia and her current lover a crass veteran makes advances toward Christine. After Christine leaves a series of demeaning jobs in wealthy homes she eventually lands a position with wealthy lawyer Lancelin and his family and is able to get a job there for Lea to whom she has grown unusually attached. When the relationship between the sisters becomes incestuous Christine grows jealous of Lea's closeness to Madame Lancelin. Worse she suspects that her employer is aware of their relationship. Christine finally loses control one evening when Madame Lancelin and her daughter unexpectedly return home early. Christine violently attacks the two women and persuades Lea to collude in the vicious assault. Nabbed by the authorities Christine eventually ends up in an asylum where she dies and Lea serves time quietly in prison.
Testud won the Cesar (France's highest film award) last year for most promising actress in Les Blessures Assassines and no wonder. She is brilliant and wholly believable as the tortured complex sister driven to incest and murder. Testud suggests pain so real that you almost fathom the horrific ends she goes to. As the quieter and more vulnerable sister Parmentier is also superb. She is able to convey a muted ambivalence and confusion simmering under her vulnerable surface. All other performances including those of Renauld as their amoral mother and Labourier as the hapless bourgeois madame are also right on the mark.
Jean-Pierre Denis who also co-wrote the screenplay adaptation from the book The Papin Affair does an extraordinary job of evoking his deeply troubled characters their clueless employers and the starkly contrasted milieus and rigid moral and social climates that infused their lives. Denis wisely lets the authentic costumes and settings (the film was actually shot in Le Mans) tell much of the story. His decision to dispense with a music track in favor of natural sounds and the pitch-perfect performances he coaxes from his actors add to the chilling authenticity. The crisp imagery that Denis' cinematographer Jean-Marc Fabre delivers amounts to a provocative tableaux--a doomed mix of magnificent comfort and unsightly squalor. The film which was nominated for 4 Cesar Awards is also a handsome production rich in fine performances--especially those of Testud and Parmentier. One scene that depicts the incest between the two sisters may disturb many but it is in keeping with Denis' reverence for the cold hard ugly facts and the mysterious psychological and social underpinnings that were integral to this legendary case.