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.
Much has changed in the world of finance since Oliver Stone first explored its grubby innards in 1987’s Wall Street a film that netted Michael Douglas a Best Actor Oscar for his iconic portrayal of scheming corporate raider Gordon Gekko. Technological advances regulatory changes a terrorist attack a global economic meltdown and the emergence of China as a dominant player have combined to transform the securities industry in the two-plus decades since Gekko paraphrasing Ivan Boesky first captured its more sinister aspects in those famous words “Greed is good.”
What hasn’t changed is Stone who remains every bit as hubristic and heavy-handed as ever. With his sprawling spotty follow-up Wall Street: Money Never Sleeps he has once again taken it upon himself to put forth the definitive portrait of the culture of money and the film suffers badly for it. Set in 2008 in those halcyon days just prior to the subprime mortgage crisis and its subsequent leveling of financial landscape the film is told through the wide eyes of young Jake Moore (Shia LaBeouf) the 21st-century heir to Bud Fox’s mantle. (Charlie Sheen who portrayed Fox in the first film resurfaces in a fun but ultimately pointless cameo in the sequel.)
Jake we are told is a successful proprietary trader but his countenance more closely resembles that of a venture capitalist. (The risky practices and alleged conflicts of interests of prop traders are widely believed to be among the causes of the financial collapse; the Obama administration has recently proposed their ban.) Though he’s as profit-driven as any other young Wall Street turk he also boasts something of an idealistic streak and hopes to use his position at the prestigious investment banking firm of Keller Zabel to further the cause of a cutting-edge green energy startup. No doubt it’s this noble trait that appeals to his girlfriend Winnie (Carey Mulligan) a progressive pixie who runs a muckraking leftist blog and who also happens to be Gekko’s estranged daughter.
Jake’s bright future takes a dark turn when rumors of over-exposure to “toxic assets” swallow up first his company Keller Zabel and then its founder Lou (Frank Langella) who opts to retire beneath a speeding subway train after the Federal Reserve denies his request for an emergency bailout. Devastated by the suicide of his boss and mentor Jake vows to exact revenge upon the slithery brute he believes to be the source of the poisonous rumors: Bretton James (Josh Brolin) a prominent partner at Churchill Schwartz (read: Goldman Sachs) Keller’s chief rival.
And where exactly does Gordon Gekko figure in all of this? After the opening sequence during which he emerges from a lengthy prison stay to find no one waiting to greet him Gekko doesn’t re-enter the story until about the 30th minute and lurks mainly on its periphery for much of his screen time. In the years since his incarceration for the various misdeeds chronicled in the first film he’s rebranded himself as a sort of populist crusader against speculator avarice hawking a book about the ills of the financial system entitled Is Greed Good? (“You’re all pretty much fucked ” he instructs a lecture audience.) Gekko’s got a grudge of his own against Bretton his one-time protege turned state’s witness in his securities fraud conviction and he agrees to supply Jake with crucial insider info in exchange for help in brokering a reconciliation with his daughter Winnie.
All of this is set against a backdrop of the collapses and bailouts of the 2008 financial tumult — a topic that could easily warrant its own film. (Indeed HBO is currently readying its adaptation of Aaron Ross Sorkin’s book about the crisis.) His ambition outstripping his ability Stone labors awkwardly to integrate the macro of the crisis with its many backroom deals and soap-opera intrigues and the micro of Jake’s increasingly complex relationship with Gekko. Mulligan’s character meant to serve as the film’s emotional anchor as well as its conscience is ultimately little more than a distraction diverting us from the story’s more compelling elements. The last third of the film which focuses on Gekko’s reemergence as a Wall Street player feels tacked-on as if driven by data from test audiences dissatisfied with his relatively minor presence in the early goings.
There are moments in Money Never Sleeps where Stone successfully invokes the heady verve of the 1987 film but for a story dealing with such titillating subject matter its pace too often drags to a near-halt as it wallows excessively in Gekko family melodrama. (The performances it should be noted are all terrific though LaBeouf is an exceedingly tough sell as a would-be BSD.) And a topic as sexy as money should never ever be boring.
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.