While Steven Spielberg's Saving Private Ryan helped define the style of a modern day war film it was his HBO mini-series Band of Brothers that truly captured the World War II experience. The multi-part saga dealt with every nook and cranny of the US military's involvement in the war from large scale battles to intimate character details. The new movie Red Tails developed and produced by Spielberg's Indiana Jones collaborator and Star Wars mastermind George Lucas attempts to cover the same ground for the sprawling tale of the Tuskegee Airmen—albeit in a two hour compressed form. The result is a messy handling of a powerful story of heroism. The good intentions make it on to the screen...but the drama never gets off the runway.
Red Tails assembles a talented cast of young actors to portray the brave men of the 332nd Fighter Group a faction of the Tuskegee Airmen. The ensemble is reduced to a jumble of simplistic one-note characterizations: Easy (Nate Parker) the do-gooder with a dark past; Lightning (David Oyelowo) the suave rebel who never listens to orders; Junior (Tristan Wilds) the fresh-faced newbie ready for a good fight; and the rest a nameless group of underwritten yes men all with just enough backstory to make you interested but never satisfied. Thankfully with the little material they have to work with the gentlemen excel. Rapper-turned-actor Ne-Yo is a standout as the quick-witted Smokey overshadowing vets Terrence Howard and Cuba Gooding Jr. (who spends most of the movie chomping on a corn cob pipe and grinning).
With the plethora of characters comes too many plot threads and Red Tails stuffs its runtime with everything from epic flyboy dog fights romantic interludes (Lightning finds himself infatuated with a local Italian woman) office politics alcoholism and even a POW camp escape. If there was a true lead character the movie may have succeeded in stringing the events together in a coherent narrative but instead Red Tails is choppy and uneven. The aerial battles for all their CG special effects nastiness are incredibly exhilarating but when the movie's not tackling the intensity of a battle (which it does often) it comes to a near halt. That mostly comes down to history standing in the way—the crux of the story focuses on how segregation caused the military's higher ups to avoid utilizing the Red Tails in true battle. Meaning there's a lot of talk on how the team should be fighting as opposed to actually doing it.Director Anthony Hemingway tries to do this important historical milestone justice but the execution flies too low even under made-for-TV movie standards. Red Tails is a dull history lesson occasionally spruced up with Lucas' eye for action. The charisma of the the main set of actors goes a long way in keeping the film tolerable but they can't fill the gaping hole where the emotional hook belongs. This is a movie about heroes yet not once are the filmmakers able to pull off a moment that feels remotely brave. Which is unfortunate—as it's a story of the utmost importance.
Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.