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.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
Yes it’s true. Although it reaped deserved accolades and an Oscar win for its star Philip Seymour Hoffman Capote keeps you somewhat at arm’s length as you watch Truman Capote go through his agonizing journey to writing his one and only masterpiece In Cold Blood. Infamous however wears its heart on its sleeve drawing you in immediately. When we first meet Capote (Toby Jones) it’s in New York. As the toast of the town and confidante to some of Manhattan’s elite grand dames including Babe Paley (Sigourney Weaver) and Slim Keith (Hope Davis) Capote’s mood is light and airy his antics hilarious. Then once Capote travels to Kansas to cover the grisly Cutter murders with his dear friend Nell Harper Lee (Sandra Bullock) the frivolity is peeled away layer by layer. When he finally becomes so tortuously—and yes even romantically (it goes there)—entangled with killer Perry Smith (Daniel Craig) and the writing of his book hits its crescendo Capote emerges as a beaten-down and bitter man who ultimately can’t even be lifted by his high society friends. Infamous is infinitely more heartbreaking. It’s really hard to top Hoffman’s Oscar-winning performance as Truman Capote. He embodies the character with such exquisite and subtle suffering you don’t mind the fact he doesn’t look anything like the diminutive author. Toby Jones (Finding Neverland) however does look like Capote. A LOT like him and is just as capable at wringing out all of Capote’s brilliance and faults. But rather than dominate Jones’ eerie look-a-like characterization blends in more with Infamous’ scenery allowing some of the other colorful characters to step up to the plate. Weaver and Davis are effusive and catty as Capote’s Manhattan buddies who give hints on what’s to become of Capote later in his life when he finally goes too far and crosses these fine society ladies. Craig is also particularly effecting as Smith full of pathos and rage. But the real stand out is Bullock as Harper Lee. Her unassuming but quietly fierce take on the To Kill a Mockingbird author far outshines Catherine Keener’s Oscar-nominated performance in Capote. Bullock brings such an essence to the role that when watching Lee tell stories of when she and Truman were children you see the little girl Scout from Mockingbird so very clearly. Kudos all around. Director/writer Douglas McGrath has to got to be kicking himself. Seriously. Of course he’s going to say “Given the riveting contradictions in Capote’s character the rich range of people who made up his circle and the comic and dramatic turns that marked the period the real wonder is that there were only two scripts.” But the fact of the matter is Capote came first and furious getting all kinds of good strokes. Releasing another movie about the very same subject on its heels...well that movie is going to have a harder time. Period. And that’s a real shame. McGrath does some truly marvelous things with Infamous. He shows how a flamboyant gay writer spoiled chic who plays court jester to the very cream of New York society is set down in the wastelands of Kansas to write about a horrible crime. Capote’s antics at first are hilarious such as trying to wear cowboy boots and a cowboy hat just to fit in. But then the shift into the dark side as Capote delves deeper and deeper into the psyche of the killers keeps you riveted. It might be the same but Infamous is just as worthy.