Power producer Neal Moritz’ (Green Hornet Fast & Furious) company is called Original Film which is ironic because he hasn’t made a truly unique motion picture in some time. His latest effort Battle: Los Angeles isn’t groundbreaking by any stretch of the imagination but packs enough punch to leave you saying “Thank you sir may I have another?”
Jonathan Liebesman (The Texas Chainsaw Massacre: The Beginning) directs this massive movie about a race of aliens colonizing our planet but as the title suggests the action is centered on the City of Angels. Instead of watching the world at war we witness the American military’s last stand on the West Coast by following a single squad of soldiers on the ground as they fight their way through the city to pick up scattered civilians before the Air Force levels Los Angeles. 2nd Lt. William Martinez (Ramon Rodriguez) leads the troop but is too young to be calling the shots in a cataclysmic event like this. Thank heavens Squad Sgt. Michael Nantz (Aaron Eckhart) was called back in for one last mission because it doesn’t take long for the rest of the battalion to realize that the reluctant hero is their best chance for survival.
It’s a good thing that Liebesman and his technical crew are on the top of their game in Battle: LA because most of the other aspects of the production are just downright foolish. Writer Chris Bertolini took the framework from a handful of classic war movies and applied them to his script resulting in highly predictable scenarios and a pace that marches to the beat of past genre entries like Independence Day and Black Hawk Down. His dialogue filled with military jargon and 5th grade humor is quite literally laughable at some points while the thinly crafted characters are all token “team members” that you’ve seen before in films like Jarhead from the soon-to-be-father who’s not sure if he’s going to make it back to his wife to the new recruit/virgin who’s too young to die to the guy with the chip on his shoulder. We get brief glimpses of their back-stories in the first twenty minutes of the movie but as Nantz says during his Bill Pullman moment when the tide begins to turn “none of that matters now.”
What does matter is that Battle: Los Angeles is a roaring thrill ride that barely lets up from start to finish. From the moment the soldiers hit the streets they’re thrust into a tense and gritty survival situation that vaguely mirrors the urban environments in which our Marines are currently engaged in the Middle East. Liebesman uses handheld cameras and close-ups to capture the calamity of combat giving the picture a documentary quality that helps it find some semblance of individuality. Though his actors aren’t required to do much acting (save for Michael Pena whose small role as a dedicated father stands out) and the script as stated is noticeably sub-par capturing their facial expressions as hovercrafts blow fighter jets out of the sky brings out emotion that most of them wouldn’t be able convey in a more traditional performance.
As I continue to heap praise upon the film’s technical achievements I must also note editor Christian Wagner’s chaotic cuts that heighten the soldier’s state of paranoia and the overall sound design of the picture. Until we get up close and personal with one of the aliens Liebesman doesn’t show us much; we have a hard time seeing them because they move so fast but we can hear their quick movements and the affect is quite unsettling much like the performances from Michelle Rodriguez Ne-Yo and a slew of the films co-stars.
Whether or not the filmmakers originally intended on making a movie that was more than the average alien invasion flick is neither here nor there. Is it a rehash of the most exciting moments in War of the Worlds or Red Dawn? Sure it is but it’s also an electrifying film that manages to be engrossing and entertaining in spite of its flaws.
Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.