Open Road Films via Everett Collection
David Ayer's Sabotage is just the latest stop in Arnold Schwarzenegger's comeback tour, though it probably won't do the actor too many favors. Schwarzenegger plays John "Breacher" Wharton, the leader of an elite DEA task force that specializes in taking down drug cartels. Each member of the team is a blunt instrument drunk off of their alpha male (and female) machismo, but to be fair, they are damn good at what they do. They're masters at going in hard, killing whoever needs killing, and heading to the strip club and drinking themselves into a stupor before the next round of street sweeping. Unfortunately, it turns out years of busting cartel bosses and being deeply unpleasant to everyone you come into contact with eventually catches up to you, and members of the squad start dying in ghastly and elaborate ways. And just like that, we have what basically amounts to an Agatha Christie novel with a gym membership and a pile of meth.
Unfortunately, and as expected, giving Agatha Christie a couple of reps at the gym and a pile of drugs turns her into a blithering idiot, because Sabotage is incredibly stupid. The central mystery somehow manages to be both preposterous and predictable at the same time. The film's one saving grace is its action. The action scenes are adrenal and exciting and unbelievably gory. Bloated corpses are poked and prodded, viscera hangs like ropes from a rafter. This film takes immense pleasure in being completely disgusting. It’s downright gleeful about it. Here's a full shot of a soiled toilet, just because. Here's a piece of skin hanging on some metal, why not. Isn't that cool?
While Sabotage does manage to thrill in spurts and stutters, there's absolutely nothing beating at the heart of the film. All of the main characters are completely and utterly repugnant, and you'll pity anyone who has to endure their company throughout the film. When characters do start to die, you won't feel all that broken up about it. In fact, you may even feel a twinge of joy, like the earth was suddenly unburdened from a pure source of rampant douchebaggery. Just imagine the most disgusting, and off-putting person you can, and then give them a gun, a badge, and a fierce sense of entitlement, and you have every single member of the film's DEA squad. They're all terrible.
And if that weren't bad enough, the acting ranges from mediocre to terrible. The usually wonderful Olivia Williams and the capable Sam Worthington continually forget which continent they're on, their accents dropping in an out like a bad radio connection; Schwarzenneger has a complete inability to emote anything apropos of the situation at hand. When looking upon a pile of ooze that was formerly in the shape of one of his best friends, his disappointment is more akin to seeing a temporarily occupied gym bench on chest day. All of the charm the actor showcased in something like the recent Escape Plan is washed out by Breacher's moping about his dark past, and when Schwarzenneger isn't allowed to be fun, then he's completely boring.
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Really, I should hate Sabotage. It’s a completely stupid and mean spirited film, but there’s a strange charm to the depravity of it all. There's an audaciousness to it. The film goes as far as it can to push limits, and succeeds at being appaling. It’s a film that knows how stupid and ugly it is and champions that fact. It’s playing in its own filth, and as gross as that is, at least it’s having fun. This is the kind of film that will be in heavy rotation at the local frat house. That’s doesn’t mean the film is good or even okay, but if you like watching horrific violence, awful mysteries, and awful people being awful, then boy do I have a film for you.
Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.