In the last seven years Denzel Washington has paired with director Tony Scott on four hyperkinetic ultra-saturated feature films: Man on Fire Deja Vu The Taking of Pelham 1 2 3 and Unstoppable. When he strays from the time-honored action collaboration you'd think the man would take a break from the format. Not so—as Washington's new film Safe House clearly demonstrates.
Daniel Espinosa director of the acclaimed Swedish crime drama Snabba Cash shoots his espionage thriller with Scott-ian flair complete with rapid camera movement a palette of eye-scorchingly bright colors and fragmented editing. If Safe House was emotionally compelling the stylistic approach might make the narrative sizzle—but the script is as simple and familiar as they come: Matt Weston (Ryan Reynolds) is a CIA agent with a monotonous gig. He's a safe housekeeper tasked with maintaining a stronghold in South Africa in case the feds need to stop by for some…interrogating. After a year of begging for field work and keeping the joint tidy Weston finds himself embroiled in the investigation of Tobin Bell (Denzel Washington) an ex-CIA notorious for selling information on the black market. A group of agents bring Bell in to Weston's safe house for a routine waterboarding but everything is thrown into chaos when the lockdown is infiltrated by machine-wielding baddies looking to put a bullet in Bell's head. To keep the captor alive Weston goes on the run with Bell in hand…never knowing exactly why everyone wants the guy dead.
The setup for Safe House provides Washington and Reynolds two fully capable action stars to do their thing and to do it well. The two characters have their own defining characteristics that each actor bites off with ferocity: Reynolds' Weston is a man drowning in circumstance built to kick ass but still out of his league and just hoping to get back to his gal in one piece. Bell has years of experience boring into the heads of his opponents and Washington plays him with the necessary charisma and confidence that make even his most despicable characters a treat to watch.
But the duo fight a losing battle in Safe House contending with the script's meandering action and ambiguous stakes that turn the Bourne-esque thriller into a grueling experience. Much of the movie is an extended chase scene where the object of the bad guys' desire is never identified. It's a mystery!—but the lack of info comes off as confusing. Safe House cuts back and forth between the compelling relationship between Weston and Bell and a war room full of exceptional actors (Vera Farmiga Brendan Gleeson and Sam Shepherd) given nothing to do but spurt straightforward backstory and typical "there's no time Mr. ______!" exclamatory statements. Caking it is Espinosa's direction which lacks any sense of coherent geography. The action is never intense because you have no idea who is going where and when and why.
Safe House is a competently made movie with enough talent to keep it afloat but without any definable hook or dramatic emphasis it plays out like an undercooked version of the Denzel Washington/Tony Scott formula. Which is unfortunate as four solid ones already exist.
Misery loves the Savages--always has. Ever since they were kids Wendy (Laura Linney) and Jon Savage (Philip Seymour Hoffman) have been plagued by the blasé blues. Even though they went their separate ways the siblings have remained somewhat close geographically--she lives in Manhattan he in Buffalo--and in their discontentment. But what made them this way in the first place their father (Philip Bosco) is about to reunite them. After losing his mind to dementia and his longtime girlfriend (Rosemary Murphy) to well death the old man officially needs to be looked after and that’s where Jon and Wendy reluctantly come in. Despite having not seen their estranged father in ages they fly out to his Arizona senior-citizen-friendly community immediately upon word of his downfall. What they didn’t plan on however is staying more than a couple days. Ultimately they take him back to Buffalo and place him in a nursing home about which Wendy constantly feels guilty. Now forced to live together and look in the metaphorical mirror the siblings Savage learn about self-discovery mortality each other and how to revive a decades-old rivalry as though it had never gone away. Given the way Laura Linney and Philip Seymour Hoffman constantly one-up each other in The Savages you’d think there was a real sibling rivalry at play. Of course it’s merely two of today’s very best actors giving par-for-the-course flawless performances. In so doing they create something beyond chemistry: a relationship so fractured and imperfectly perfect that it could only exist between an aging brother and sister. Whether the scene calls for fireworks or subtlety solo or together Linney and Hoffman are always up to the task. Linney is especially wide-ranging as Wendy still fights her midlife crisis. The veteran actress is often heartbreaking because Wendy is often heartbroken even when she tries to convince herself otherwise but Linney still manages to leave the window of hope cracked open--for us and her character. She truly encompasses everything in this her best performance to date. Hoffman is slightly more of a supporting player here but no less impactful. The Oscar winner is apathetic through much of the film but his terse outbursts of anger and/or sadness are stark reminders of his awe-inspiring range as an actor. Perhaps the most savage Savage is the patriarch played with grace by longtime actor Bosco. But instead of vilifying Lenny or making him worthy of all your pity Bosco makes him a rollercoaster of emotion as per Lenny's dementia. It’s been nine years since writer-director Tamara Jenkins’ last--and only other--feature-length film the twisted coming-of-age tale Slums of Beverly Hills which has given her plenty of time to think grow older and think about growing older. She philosophizes aloud in The Savages a movie that addresses everything you don’t want to but with a sardonic edge to it; in fact maybe this is as much a coping mechanism for her as it is an artistic endeavor. While the movie is primarily about the title siblings it essentially explores the human condition under their guise. But Jenkins does so in a way that is never preachy never obnoxious never sappy and always astutely observed. It’s her naturalistic approach to moviemaking that will turn what is ultimately a sharp dramedy into too much of a downer to please casual moviegoers looking for lighthearted fare in wintertime--this is NOT Little Miss Sunshine--but those who go in looking for a drama will be moved occasionally to laughter. Because The Savages is that rare deep movie: heavy on symbolism and meaning light on pretense and contrivance.