Now, I used to be really into these serial crime dramas from Tom Clancy and Clive Cussler, but then Cussler described a forest as “Shrek-like” and even I knew that was stupid back in freshman year of high school. So, I stopped reading them and subsequently lost interest in the genre and missed the whole Vince Flynn bandwagon. But my parents didn’t and they absolutely love the books, so if you’re wondering who reads those books in the grocery store's meager book section -- it’s them.
Anyway, despite being mass-market spy novels, Flynn’s adaptation of American Assassin got a big boost with an Oscar winning director: Edward Zwick. He helmed The Last Samuari and Blood Diamond and should bring a grounded grittiness to the film that will probably be ridiculous. How ridiculous? Let’s go to the studio-provided plot summary:
American Assassin tells the story of legendary CIA agent Mitch Rapp. Long before he began hunting terrorists, Rapp was a gifted college scholar/athlete. Then, tragedy struck and Rapp was recruited into the nation’s most elite covert operations program. After completing training designed to teach the kind of lethal skills necessary to target our most dangerous enemies, here and abroad, he is a man reborn with a mission of retribution.
Tragedy struck when you were recruited by an elite CIA program after you were a gifted student athlete? Oh, you poor thing.
When Michel Gondry was hired to helm Columbia Pictures’ The Green Hornet I became immediately more enthusiastic about the project than I was before. Even after all the publicized production woes I was sure that his avant-garde aesthetic and bittersweet style of storytelling would put a fresh spin on the standard superhero flick. However sandwiched between the frat-house comedic sensibilities of Seth Rogen and the energetic guidance of explosion-savvy producer Neal Moritz there just wasn’t enough room for the artist to conjure his movie magic.
That’s why the film though not frustratingly formulaic feels incredibly manufactured: more a product of convenience for its stars and studio than a standalone piece of entertainment. Perhaps it’s just because superhero cinema is so commonplace today I’m beginning to feel jaded about movies like this but while watching the film I wondered whether or not Rogen and Co. consciously adhered to the tried-and-true checklist of the genre’s conventions. Tragic motives for fighting crime? Check. Maniacal villain? Check. Flipping SUV’s? Check? Predictable plot? Unfortunately check. Every element of the movie from jokes to pacing is easy to foresee but that doesn’t mean it’s not somewhat entertaining.
Rogen who co-wrote the picture with his longtime collaborator Evan Goldberg will continue to amuse audiences with his every-man persona even when miscast as a billionaire playboy turned masked vigilante. The Green Hornet doesn’t sound like anything he has written before; the limitations of language in a broad blockbuster result in less laughs than the raunchy R-rated comedies he’s best known for but the delivery of the dialogue is his best weapon against tonal conformity. Still post-modern humor is abundant throughout the film with plenty of pop-culture references that are good for a grin or two.
The biggest surprise came in the form of Jay Chou. A hugely successful pop singer in his native Taiwan (as well as other Chinese-speaking regions of the world) his charisma transcends language barriers in the iconic role of Kato created by the legendary Bruce Lee. Though technically the sidekick Chou displays more depth than Rogen ever has and outshines his co-star in nearly every creative department. Christoph Waltz as the violent villain Chudnofsky doesn’t generate the electricity he did in his career-defining role in Inglourious Basterds but had significantly lower-brow material to work with. He goes through the motions with a smile on his face that suggests he’s not quite sure how (or why) he got into this picture in the first place. On the other hand I’m sure that Cameron Diaz knew exactly why she was hired to portray Britt Reid’s sexy secretary Lenore Case. Between her performances in 2010’s Knight and Day and this Ms. Diaz has hit a new career low. The only difference is that her character was central to the story in the Tom Cruise summer vehicle; here she’s nothing more than eye-candy.
As stated before if I’ve got one regret above all regarding The Green Hornet it’s that director Gondry wasn’t allowed to make the movie his own. His stamp is present in only a handful of sequences where visually inventive special effects serve the story and in many cases enhance it. He makes the most of the adequate 3D conversion in these select scenes (including a revelatory summation of the events that lead to the films climax and the closing credits both which are very cool) whereas in the rest of the picture it’s just unnecessary. I had hoped his involvement meant that the narrative was going down an unconventional path but in the end his contributions to the film amount to little more than rainbow sprinkles atop a very vanilla piece of cinema.