Based on James Bradley’s bestselling book of the same name Flags of Our Fathers is Saving Private Ryan meets Stand By Me. Buried in the collective national conscious the Associated Press photo of six American soldiers raising a flag of victory over Iwo Jima is the basis of the film. Bradley’s father Doc Bradley (played by Ryan Phillippe in the film) who was one of the flag-raising soldiers never fully shared the details of the experience with his son but Flags meditates on some of those unanswered questions. The Iwo Jima conflict fortified by crags of Japanese snipers lays siege to thousands of messy casualties and the tattered flag--immediately seized by U.S. government officials to rallying and recruit soldiers--emerges as a symbol for American pride while the five Marines and one corpsman who raised it are basically forgotten. Heavy dramatics are saved for Adam Beach (Windtalkers) as Ira Hayes the Native American Marine who degenerates into madness. He represents the bittersweet languor of lost ambition and broken spirits. Director Clint Eastwood is actually the film’s best actor even though he isn’t in the movie. We can see his simmering restraint in the Flags’ acting ensemble as he guides his actors into finely tuned performances. From Beach to Phillippe to Paul Walker (2 Fast 2 Furious) Eastwood gets the most out of his young cast by playing them down. Similar to real-life soldiers allegiance to the team is the actors’ goal creating authenticity. Intense stress requires the actors to have genuine instincts. But by intentionally constructing a more lived-in feel there is consequently no flashy or Oscar-worthy stand-outs. To his credit Walker who usually goes for the brain-dead million dollar paychecks tries something different here while in his pivotal role Beach plays the juicy role as best as he can. Still Beach’s breakdown scene is quite honestly one-dimensional and doesn’t have the same dramatic impact as say Born on the Fourth of July’s Tom Cruise. Of Flags’ likely award recognitions the acting seems to have the least chance of reaching the winner’s circle. Vintage Eastwood is a lion in winter directing as though there’s no tomorrow. With Flags he interweaves numerous themes to create a war movie which despite its cliché-filled genre is constantly real in tone. The film is historically credible from the American perspective only but Eastwood has also directed a companion piece Letters from Iwo Jima about the Japanese side which hits theaters next year. Complex themes of celebrity worship also give the film a post-modern jaded Iraq War-era vision. Then there are the visuals. Eastwood incorporates breathtaking CGI shots of the fleet of warships reminiscent of Troy on top of an old-style photographic framing black and white and green all washed-out. It’s like looking at a scrapbook of old photos on a high-definition CD-ROM. Naturalistic scenes--sprawling in their panoramic framing with cactuses and hills of black sand--remind us we’re watching one of America’s cinematic icons at work. Flags could be Eastwood’s third Best Director Oscar--and will likely net him $100 million-plus at the box office.
Zak Gibbs (Jesse Bradford) finds what looks like a wristwatch while scavenging through a box of his father's junk. What he doesn't know is that the watch is actually a device that makes its wearer move so quickly that the rest of the world appears to be moving in slow motion. The device was sent to his father (Robin Thomas) a science professor and dilettante inventor by a former student (French Stewart) who is being held captive by an evil corporation. Now the evildoers want their watch back and kidnap the professor while Zak unaware that his father is in grave danger runs around town with a cutie pie exchange student (Paula Garces) freezing time. Of course the two teens eventually join forces and save the day. Not only is the film's plot is so unbelievably implausible the characters are ridiculously typecast. The most insulting is Zak's black friend Meeker (Garikayi Mutambirwa) who dreams of winning a DJ competition. Eager to help him win Zak and his gal pal go into hypertime and make like puppeteers moving Meeker's arms and legs so that in real time it appears as though he's a good dancer.
Jesse Bradford (Bring It On) is the most redeemable thing in this film. His character Zak is a conventional teen who is smart but not brilliant and clever without being a hero. But unfortunately Bradford is stuck in this mess of a movie acting alongside the pretty but frothy Paula Garces. Like most girls in the movies nowadays her character Francesca de la Cruz is a vixen that cleverly puts guys in their places and can single-handedly beat up a villain. French Stewart is Dr. Earl Dopler the watch's creator. Although his brainy character is the opposite of his airheaded Harry on Third Rock From the Sun Stewart seems like he is the same persona simply reading a different script. Robin Thomas (The Contender) and Julia Sweeney (Whatever It Takes) play Zak's parents. Both are pretty standard fare: Thomas the parent married to his work at the expense of his relationship with Zak while Sweeney is a regular June Cleaver type.
Why Jonathan Frakes better known as Commander Riker on Star Trek: The Next Generation or anyone for that matter would put their names on this project is unfathomable. From the hideously flashy and noisy opening credits to the predictable denouement Clockstoppers is about as entertaining as nails scraping against a chalkboard. The ridiculous story accompanied by flimsy special effects was penned by too many writers to mention. This may explain the massive plot inconsistencies--are they not supposed to count because this film is aimed at younger viewers? At one point Zak comes to the realization that for others to come in and out of hypertime they must be touching him. But there are several instances throughout the film that clearly contradict this. The watch also makes its users age rapidly but seems to spare Zak his friends and the evildoers of this fate. And is there no gravity in hypertime? Zak and Francesca were able to toss Meeker around the stage like he was weightless. And is Meeker a typical cheery Jamaican caricature with thick dreadlocks in the film for no other reason than to offend? His character disappears halfway through the film after being redeemed by his white rescuers.