The revenge thriller Colombiana directed by Olivier Megaton stars Zoe Saldana as a woman who after witnessing her parents’ murder at the hands of ruthless narco-thugs grows up to become a professional assassin. The film which was written by Luc Besson and Robert Mark Kamen could very well serve as a companion piece or perhaps quasi-sequel to Besson’s 1994 classic The Professional. Whereas in that film Natalie Portman’s orphaned Mathilda is rebuked when she expresses her desire to become a “cleaner ” Saldana’s character Cataleya sees her trained-assassin dreams lovingly nurtured by her uncle Emilio (Cliff Curtis) a low-level crime boss in Chicago. Positive mentorship is so important.
She shows early promise. A first-act sequence in which Colombiana’s tone is cast sees young Cataleya (Amandla Stenberg) approached by the gunmen who’ve just finished executing her mother and father. Traumatized but composed she listens patiently as the oily lead goon played by Jordi Molla presses for information he knows she’s hiding. Just as the girl seems poised to comply she pulls out a giant knife pins the man’s hand to the table swears revenge and leaps out the nearest window. Her latent Bourne powers suddenly and inexplicably activated she leads her pursuers on a sprawling footchase through the streets of Bogota leaping from buildings sliding beneath barriers showing flashes of parkour before finally escaping to the sewers. The sequence is a microcosm for the film as a whole: slathered with action thin on plot utterly implausible.
Indeed Colombiana might be easily dismissed as another derivative and forgettable action film if it weren’t for the agile and focused Saldana grimly determined to wrest every ounce of character possible from the film’s perilously thin material. When we first meet her as the adult Cataleya she is already an accomplished assassin with dozens of kills under her belt. In between jobs she keeps a booty-call (Michael Vartan) on standby to fulfill her intimacy needs. He yearns for a deeper connection but she’s stubbornly closed-off only occasionally betraying glimpses of the emotional torment within. As essentially the inverse of the standard male assassin/ female love interest dynamic it stretches the limits of believability which is to say it’s entirely consistent with the rest of the film.
Colombiana’s plot such as it is turns on the most preposterous of coincidences and appears aimless for much of its second act. Cataleya takes out various high-level targets in sequences that are often thrilling in their complexity but their relationship to the main storyline – Cataleya exacting revenge against her parents’ killers – is unclear. Deprived of details Megaton expects us to subsist on action alone but it’s not enough to fill the void left by the absence of story. When Cataleya does eventually get down to the business of revenge it comes far too swiftly to provide any real satisfaction.
Source: Heat Vision Blog
Zoe Saldana is a trained ballet dancer and talented performer who once was relegated to roles as eye candy or sassy female co-star in below-par films like Drumline and Crossroads. Ever since James Cameron put blue body paint (thank you sir!) on her, though, she's been reborn as a sci-fi action heroine with a box-office heavy resume on her belt. Now, she's using that reputation to kick more ass in films and Luc Besson might have the perfect gig her.
THR's Heat Vision Blog reports that the Star Trek starlet is in talks to topline the French filmmakers latest project, an action drama known as Columbiana. Written by Besson and Robert Mark Kamen, Columbiana is set in Latin America and the U.S. Saldana would play a young woman who, after witnessing her parents' murder as a child in Bogota, grows up to be a stone-cold assassin. She works for her uncle as a hitman by day, but her personal time is spent engaging in vigilante murders that she hopes will lead her to her ultimate target: the mobster responsible for her parents' death. Personally, I'd like to see Saldana flex her acting muscles a bit more with something less physical. I know that she is capable of more than running and gunning, which she's guaranteed to do plenty of in the future with the Star Trek and Avatar sequels. It's time for Zoe to branch out: she should take a drama; she should take a comedy (and not a god-awful one like Death at a Funeral). She can be just as dangerous on screen without a weapon in hand. She should show the world why she's a star. Besides, Columbiana sounds awfully contrived and the character sounds pretty close to the one she just played in The Losers. Just saying...
Danny (Li) has lived his life with his "Uncle" Bart (Bob Hoskins) a fiery gangster who has trained Danny to be an enforcer and do his dirty work for him. In truth Bart has basically treated Danny like an animal--a dog to be exact collar and all--not a person. As soon as Danny's job of savagely beating those who had "wronged" his uncle is complete he goes back to his dark dank quarters. One day upon finding a benevolent blind man Sam (Morgan Freeman) playing a piano Danny discovers that he's more than merely a dog. Sam takes Danny into his home and teaches him about the piano and human relationships with the help of his step-daughter (Kerry Condon). All seems to be going well but the collar wrapped around Danny's neck is a link to his former violent life--and of course Bart. Heading down that path of redemption Danny winds up reluctantly going back to his uncle albeit in a different frame of mind. The tension builds as a massive showdown between Danny and Bart becomes imminent. It is only after his collar is taken off that Danny is unleashed.
It's usually not Jet Li's job to exude acting chops just execute the karate kind. But while the main thrust of Unleashed is the highly choreographed and entertaining fight sequences that show off his unbelievable skills the actor still tries his hand at keeping it real. Thankfully Unleashed is a decided improvement over most of Li's other nonsensical American movies (Cradle 2 the Grave anyone?) and is tailor-made for his broken English and acting range. Freeman on the other hand lends such an air of authenticity and workmanship to Unleashed that one wonders how the they were able to reel in the venerable actor hot off his Oscar-winning performance in Million Dollar Baby. He is simply perfect as the soft-spoken mild-mannered Sam. Then there is Hoskins. The robust British actor has had his fair share of Freeman-like success and has rightfully earned that same class of respect. But lately he seems to be taking any roles he can get no matter the size (see Son of the Mask. On second thought don't). It's clear playing Bart is a no-brainer for him but he tends to go unnecessarily over the top.
Director Louis Leterrier shows a knack for the action suggestive of a veteran filmmaker even though he's only made two movies. His first film 2002's The Transporter was a relative hit and as far as straight action movies and directorial debuts go it was a thing of beauty. The same can more or less be said for Unleashed. Simply put if this movie fails on any front it will not be due to a lack of blood sweat and tears from Leterrier. He captures both the fight sequences and the occasional poignancy with stark eloquence with every little detail in place. And the theatrics of it all--i.e. special effects loud-as-hell sound effects--doesn't hurt either. The Japanese-revenge genre is executed to a tee but he doesn't let it overstep its boundaries and turn the film into a cliché. It's not an easy thing to do and many directors would be unable to solve that conundrum. The only disparity between this project and his last is that he has probably less to work with this time around yet he has much more to lose. It's safe to say he does not crack under the pressure.
Top Bejing cop Liu Jian (Jet Li) conveniently called "Johnny" for us Americans is called by French police to capture a Chinese druglord hiding out in Paris. Johnny teams with a devious and dishonest French cop Richard (Tcheky Karyo) who double-crosses him leaving him framed for a murder and on the lam. Not only is Richard head of the Parisian police he happens to be the City of Lights' leading pimp and he's forced ex-junkie Jessica (Bridget Fonda) into cheap whoredom by holding her young daughter hostage. Johnny befriends Jessica and together they go after Richard armed with her street smarts and his--acupuncture needle bracelet? No kidding it's Johnny's secret weapon that he uses to put his enemies out of action.
Let's face it Jet Li's way better at kung fu than tongue fu--the poor guy couldn't act his way out of a paper bag. But like his character Johnny Li is just a good guy trying to do the best job he can and you have to give him some credit for trying hard. Besides he's a damn good martial artist. Karyo is way over the top chewing the scenery like it was his last meal--he is impossibly vile killing and maiming just 'cause. But Fonda takes the cake for worst performance as--would you believe--a whiny melodramatic "farmer's daughter from North Dakota" turned out against her will. (Honestly what's her track record lately? Monkeybone? Lake Placid? Somebody call John Travolta--they've found his next leading lady!)
Director Chris Nahon known for making commercials begs borrows and steals from Luc Besson (La Femme Nikita starring none other than Bridget Fonda)--ooh guess what? Besson is KOD's co-writer and producer. Well at least the Nahon-Besson team could have connected the dots before trying to make the audience do it for them. Nothing's explained; even the most obvious questions go unanswered. Why is the bad guy so bad? Where are the cops as a fight rages on and on in the police headquarters? Not to mention these martial arts scenes (why else would you watch this? Certainly not for Li's "acting") lack creative flowing choreography and instead are choppily cut gratuitously vicious and sometimes downright gross (like a guy gets two chopsticks to the throat) acts of violence.