Universal Pictures via Everett Collection
Seventeen years ago, Harrison Ford grumbled four simple words that defined a genre, a demographic, and a country: "Get off my plane." In a pre-9/11 world, there was no shortage of jingoistic glee in a movie like Air Force One, in which a man's man American president doled out justice to a militia of Russian loyalist terrorists who made the silly mistake of attempting to hijack his flight home from Moscow. In 2014, we don't have the luxury of facing a plotline like this with reckless merriment. There's a damp gravity to the premise behind movies like Non-Stop, which in another time would have been nothing more than Taken on a Plane. But rigidly conscious of the connotations that attach to a story about a hijacking of a civilian international flight into John F. Kennedy Airport in New York City, Non-Stop doesn't play too fast and loose. It still plays, and has some good fun doing so, but carefully.
From the getgo, we're anchored into the grim narrative of Liam Neeson's U.S. Air Marshall Bill Marks, who settles his demons with a healthy spoonful of whiskey. A dutiful officer even when liquored up, Marks eyeballs every nameless face in London's Heathrow Airport, silently introducing the bevvy of characters who'll come into play later on. After takeoff, Marks finds himself on the unwitting prowl for the anonymous party who's attempting to take down the red-eye through a series of manipulative text messages, well-timed threats, and clandestine killings. Chatty passenger Julianne Moore and flight attendant Michelle Dockery join Marks in his efforts to identify the mysterious criminal before the entire aircraft falls to his or her whims. So less Taken, more Murder, She Wrote.
Our roundup of suspects challenges our (and their) preconceived notions, and quite laughably — most vocal among Neeson's fellow passengers are a white beta-male school teacher (Scoot McNairy), a black computer engineer with an attitude of entitlement (Nate Parker), a softspoken Middle Eastern surgeon whose headwear gets more than a few focal shots (Omar Metwally), a middle-aged white businessman whose latest account landed him more than your house is worth (Frank Deal), an irate black youngster draped in irreverence (Corey Hawkins), and a white, bald, machismo-howling New York cop who secretly accepts his gay brother (Corey Stoll). Just a few talking heads short of Do the Right Thing, Non-Stop manages to goof on each man's (notice that they're all men — Moore, Dockery, and a barely-in-the-movie Lupita Nyong’o are kept shy of the action for most of the film) distaste for and distrust of one another as they each try to sidle up to, or undermine the harried Marks.
Non-Stop plays an interesting game with its characters and its audience, simultaneously painting the ignorance of its characters with a thick coat of comedy while pointing its finger straight out at us with accusations that we, too, thought it was whoever we just learned it wasn't, and for all the wrong reasons. "Shame on you!" Non-Stop chides, adding, "But let's keep going, this is fun!"
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It is fun — that's the miraculous thing. Without any "Get off my plane"s or "Yippee ki yay"s, Non-Stop keeps its action genre silliness in check (okay, there is a moment involving an airborne gun that'll institute some serious laugh-cheers), investing all of its good time in the game of claustrophobic Clue that we can't help but enjoy. It sacrifices some of its charm in a heavy-handed third act, tipping to one side of what was a pretty impressive balancing act up until that point. But its falter is not one that drags down the movie entirely. Fun and excitement are restored, sincerity is maintained, and even a few moments of sensitivity creep their way through. We might not live in a world of President Harrison Fords any longer, but Air Marshall Liam Neesons could actually be a step up.
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WHAT IT’S ABOUT?
The uber-anticipated sequel Transformers: Revenge of the Fallen picks up shortly after the events of the blockbuster first film. With evil Megatron’s carcass buried at the bottom of the ocean Optimus Prime and his Autobot comrades working together with an elite group of human soldiers are now focused on hunting the remaining Decepticons scattered across the globe. Sam Witwicky hero of the 2007 movie is busy preparing for his first year at college while his unlikely girlfriend Mikaela Barnes stays behind to tend to her father’s auto-repair shop. Little do they know however that back on Cybertron a Decepticon elder known as “The Fallen” is hatching a scheme to invade Earth where hidden somewhere on the planet is the last known source of energon the life-blood of all Transformers. If he succeeds the devastation left in his wake will no doubt spell the end of the human race. With the fate of Earth hanging in the balance Sam and Mikaela must once again have to team up with Optimus and the Autobots to defeat this powerful new foe.
WHO’S IN IT?
All the major human players from the first Transformers film are back for the sequel including Shia LaBeouf Megan Fox Tyrese Gibson Josh Duhamel and John Turturro. Newcomers include Ramon Rodriguez who plays Sam’s conspiracy-obsessed college roommate Leo and The Office’s Rainn Wilson who enjoys a notable cameo as a pompous physics professor.
Of course the actors merely serve as background filler for the real stars of the show: those titular talking-alien robots. And director Michael Bay fills up the screen with enough mechanical eye candy to dazzle even the most skeptical gearhead. Returning characters include Optimus Prime Bumblebee Ratchet Ironhide Barricade Jazz (don’t act surprised) Starscream Frenzy and Megatron (again don’t act surprised).
Several new Autobots are introduced to the mix: Mudflap and Skids a pair of jive-talking ceaselessly annoying hatchbacks; Jolt a Chevy Volt; Sideswipe a silver Corvette; and Jetfire an elderly Decepticon turncoat who walks with a cane speaks with an English accent and transforms into an SR-71 Blackbird. Additions to Decepticon side include: The Fallen who we learn is the Decepticons’ real head honcho (consider him the Emperor Palpatine to Megatron’s Darth Vader); Soundwave a communications specialist who sinks his tentacles into a satellite and spies on us from above; Ravage a panther-like creature; Wheelie a radio-controlled truck who talks like Joe Pesci; “the Doctor ” a sort of mad scientist who speaks with a German accent (naturally); and the Constructicons a group of construction vehicles that fuse together to form a massive four-legged beast.
No director does over-the-top explosion-laded action better than Michael Bay and Transformers: Revenge of the Fallen features several staggering set pieces. The CGI work on this film makes the last one look like it was designed on a Commodore 64.
Any scene in which people talk — and several of the ones in which robots talk too. Just as the action and visual effects are beefed up for the sequel the bad jokes and cringe-worthy dialogue are as well. Highlights include two dogs humping John Turturro in a thong a robot humping Megan Fox’s leg a sequence involving Sam’s stoned mom and a glimpse of a very large pair of testicles on one very large Decepticon. The latter will likely go down as the “nipples-on-the-Batsuit” moment for the Transformers franchise.
The show-stopping climax set in the Egyptian desert is one extended riotous battle royale packed with so much robot-on-robot action you’ll feel overwhelmed at times.
NETFLIX OR MULTIPLEX?
This big-budget spectacle begs to be seen at the multiplex — IMAX if possible. Just bring a pair of earplugs for the dialogue sequences. You might want to bring some Dramamine as well as Mr. Bay went a little overboard with his trademark circling-camera sequences this time around.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.