I say "creepy" because Untraceable’s theory could actually be a reality. The possibility of a tech-savvy psycho setting up a Web site that displays graphic murders could happen with the fate of each of the tormented captives left in the hands of the public: The more hits the site gets the faster the victims die--and in the case of Untraceable die in very gruesome ways. Of course Untraceable also gives us a peek at the good guys--the FBI division that is dedicated to investigating and prosecuting cybercriminals. Special Agent Jennifer Marsh (Diane Lane) is one such Internet expert who along with her co-worker (Colin Hanks) is stymied by KillWithMe.com’s untraceablity. But soon the movie turns predictable as the cat-and-mouse game gets personal and Marsh must race against the clock to stop the madman. Lane has certainly looked better in her past movies. For obvious effect they’ve made Agent Marsh rather worn-down with dark circles under her eyes and very little makeup as she sits in front of the computer hunting the bad guys all night on the late shift. The fact that she’s also a widow having lost her cop husband to the job and caregiver to her young daughter doesn’t help the woman get anymore rest. Then when the crap starts hitting the fan and people close to Marsh get hurt the actress really shows the pain on her already haggard face. Marsh even admits “I do a lot of things well but I don’t lose people well.” It’s a standard tough-FBI-agent role and Lane is very capable at it. Supporting her is Hanks (Orange County) as the resident comic relief (what little of it there is) as well as Billy Burke (Fracture) the local cop trying to help Marsh catch the psycho Internet killer. As for the killer himself the actor who portrays him (and I won’t give it away) is very effective in the role. There are a couple of other things Untraceable has going for it besides the chilling premise: director Gregory Hoblit who knows his way around a crime thriller having directed gems such as Primal Fear and Fracture and the dank Portland Oregon locale. Hoblit creates just the right amount of tension and dread as the clock ticks down and the race nears its end but something about an overcast rainy environ just lends itself to more doom and gloom doesn’t it? Of course there are also the torture scenes which add a certain level of Hostel-like horror. What Untraceable lacks is a compelling narrative. The bevy of writers involved (never the best of signs) tend to throw in too many conventional thriller plot points--like the red herrings on who the killer is before he’s revealed and explaining why the killer is doing what he’s doing. All these things dilute the film’s initial potential. Still let’s just hope this doesn’t spawn real-life copycats.
Although the title has “war” in it Sorkin thankfully steers clear of those woes. Set in the ‘80s the screenwriter instead focuses on the real-life story of one Charlie Wilson (Tom Hanks) a Texan congressman who likes women and booze--and helping the underdog. In this case it’s Afghanistan which has been brutally invaded by the Soviet Union. In order to help the mujahideen (Afghanistan's rebel fighters) repel the Russians from their occupied land Wilson aligns himself with two key people: blue-blood conservative and fervent anti-communist Joanne Herring (Julia Roberts) and temperamental CIA Agent Gust Avrakotos (Philip Seymour Hoffman). Together these three raise the covert budget from $5 million to $1 billion and get the weapons in the mujahideens’ hands. Needless to say the Soviet Union hightails it out of Afghanistan and falls apart while Wilson comes out smelling the sweetest. But in reality empowering the Afghan people only created a new monster. As Wilson aptly says at the end “…we f**ked up the endgame.” Hanks and Roberts haven’t been this cool in a movie since their heydays in the ‘90s. Hanks has particular fun as the jocular Wilson whose exterior would indicate a guy who only wants to have a good time but whose sharp mind deeply felt patriotism and sense of fair play make him the most unlikely hero. As his lovely costar Roberts seems to be aging like a fine wine turning in a very elegant performance as the Southern rich socialite who clearly has her own opinions and can play any game thrown at her. But the real humor comes from Hoffman as the sardonic Avrakotos a career CIA man who has seen and done it all with little to no recognition for his work. The actor is just having a hell of a year with great performances in both Before the Devil Knows You're Dead and The Savages. But if we could pinpoint one Hoffman performance the Academy might recognize this one would be it. Also good (and having a great year) is Amy Adams as Wilson’s loyal administrative assistant. The best part is that all of them work Sorkin’s dialogue like pros delivering the lines in that rapid style the West Wing creator loves best. Of course Charlie Wilson's War’s director is no slouch either. Mike Nichols is very familiar with this kind of talky dramedy. Perhaps broader in scope than his usual more intimate fare Nichols is still able to steer his cast to near perfection as a genuine actor’s director. He obviously has a nice rapport with Julia Roberts having already guided her to one of her better performances in Closer but seems to frame Tom Hanks and the rest with all the professionalism he has at his fingertips. No the only real problem with Charlie Wilson's War is that it is coming on the tail end of a slew of movies about troubles in the Middle East. Even though Hollywood thinks it’s a hot-button topic the audiences don’t necessarily agree. From The Kingdom to Rendition to Lions for Lambs and others moviegoers are just not responding despite the star power of a Jamie Foxx Reese Witherspoon or Tom Cruise. But out of all these movies Charlie Wilson's War has the best shot to rise above--not only because it has box office draws Hanks and Roberts attached but because it’s the most well-rounded and engaging of the bunch. Good luck Charlie!
The Whole Ten Yards picks up about two years after the events that changed the lives of Oz (Matthew Perry) Jimmy "The Tulip" (Bruce Willis) Jill (Amanda Peet) and Cynthia (Natasha Henstridge)--and made them a whole lot richer. Nice-guy dentist Oz is now married to Jimmy's ex-wife Cynthia and living in Brentwood Calif. where he still practices dentistry. They seem happy but Oz is so paranoid someone will come after him that he keeps an arsenal of weapons in his home which is teeming with high-tech surveillance equipment. His suspicions however are not so farfetched: Turns out Cynthia is in cahoots with Jimmy who is now married to Jill and living in Mexico and they're planning to rob Hungarian mobster Lazlo Gogolak (Kevin Pollak) who's just been released from prison. But Lazlo has an agenda of his own. He wants to kill Jimmy for the murder of his son rival hitman Yanni Gogolak a couple of years ago. When Lazlo kidnaps Cynthia to get to Jimmy (he figures Oz will spill the beans on his whereabouts) poor Oz runs off to Mexico and pleads for Jimmy's help. What Oz and Jill don't realize however is that they are part of a much bigger revenge plot against Lazlo perpetrated by their own spouses Jimmy and Cynthia.
The only thing that makes The Whole Ten Yards engaging is the returning cast who have a playful and endearing on-screen chemistry. Willis and Perry are at the forefront reprising their roles as Jimmy "The Tulip" Tudesky and Nicholas "Oz" Oseransky respectively. The actors craft their characters well and uniquely and the conflicting personalities they create--Willis' cool and collected Jimmy and Perry's nervous and scatterbrained Oz--make watching their interactions entertaining. When the two discover that the hostage in the trunk of their car has died for example Willis stands there unflinchingly while Perry yelps "It looks like he got shot in the foot! Who dies from being shot in the foot?" Peet blends in with her own brand of humor; her klutzy character Jill is hilarious without trying to be which is the key to her performance. Jill's hung up on the fact that although she's a professional marksman she's never had a real kill--she's so accident-prone that her targets always die by default. Also returning for the sequel is Pollak who played Yanni in the first film. Here he returns as Yanni's father Lazlo aged with the help of prosthetics and makeup. It's a great idea and the result is pretty funny although the character is cartoonish.
Director Howard Deutch makes a valiant effort with this sequel to the 2000 hit; there's continuity in the characters although their lives have progressed since the events of the last film. The problem with The Whole Ten Yards is its story penned by Mitchell Kapner and George Gallo. While The Whole Nine Yards had an elaborate storyline it was easy enough to follow--everyone was basically trying to kill one another. Here the plot's equally convoluted but rather than interesting twists and turns we get inconsistencies and dead ends. Take Jimmy's new Suzy Homemaker role for instance. As the film opens Willis is traipsing around his Mexican villa in bunny slippers wearing a 'do-rag on his head fussing over dinner and the fact that the potatoes are supposed to be "floating around the lobster not just stuck there." We find out it's all an act but the reasons are never disclosed. By the time the film ends audiences will be asking themselves what it was all for. Perhaps the filmmakers thought the sight of Willis as a dowdy housewife would make moviegoers laugh so hard they'd forget to ask why.