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.
Casino Royale starts at the beginning as James Bond (Craig) takes his first baby steps as a Double O agent. His first assignment is to track down a terrorist cell in Madagascar but he’s a bit of a loose cannon and things quickly go awry. Bond’s superior M (Judi Dench) is soon regretting giving the arrogant Bond the promotion. Nonetheless Agent 007 takes it upon himself to follow a lead to the Bahamas and discovers that all nefarious dealings point to Le Chiffre (Mads Mikkelsen) a nasty fellow who has money ties to terrorist organizations. Le Chiffre is planning to raise money in a high-stakes poker game at the Le Casino Royale in Montenegro—and Bond gets in to beat him at his own game. Along with a hefty bankroll M also sends the beguiling accountant Vesper Lynd (Eva Green) to keep Bond in check. They are skeptical of each other at first but as the danger escalates it becomes apparent there is a growing attraction—and affection—between them. Natch. Can these two crazy kids make it work immersed in the cutthroat world of international intrigue? Well this is Bond after all—and we know how he ends up. Craig absolutely gets it. Whatever doubts people may have had when Craig was first announced as the new Bond are washed away in the first few minutes of the film. Sure if Casino Royale was anything like the last few Bond movies then maybe the understated Craig wouldn’t have fit in as well. But this is a different Bond. The British actor plays him not as the icon we’ve come to know but as a flawed man warts and all who flies by the seat of his pants isn’t necessarily refined and yes can even fall in love. Craig also raises the acting bar. His brief scenes with the impeccable Dench for example simmer and pop unlike anything we’ve seen before in a Bond film. Danish film star Mikkelsen (Pusher) is quite effective as the main baddie with a particularly gruesome physical malady while the always good Jeffrey Wright (Syriana) shows up as CIA Agent Felix Leiter. The one weak link unfortunately is Green (The Dreamers). She certainly looks the part of a “Bond girl ” but her Vesper is supposed to be whip-smart able to engage in witty banter with 007 and the French actress can’t quite pull it off. Craig needs more of a challenge. Too bad Judi Dench isn’t 30 years younger; she would have been perfect. Casino Royale the first book in the Ian Fleming series is basic Bond 101. Director Martin Campbell--who helmed Goldeneye Pierce Brosnan’s first and probably best foray into the franchise--strips it of all the far-fetched gadgets (save for a few new-fangled PDAs) and over-the-top action sequences leaving just good clean action devoid of any invisible cars armored Russian tanks and the such. Oh wait Bond does use a bulldozer at one point but that comes briefly in the middle of a rather extensive and hair-raising foot chase. It just proves action can be just as riveting without having to completely suspend your disbelief. Casino Royale is also rare in that it shows how Bond became THE James Bond the one we’ve seen in countless movies over the years in the stylish tuxes drinking the martinis driving the Aston-Martins and bedding all the beautiful women. Casino Royale breathes new life into the franchise and one can only hope they can keep up the good work without once again lapsing into the ridiculous.