Relativity Media via Everett Collection
It's easy to compare 3 Days to Kill to Luc Besson's flagship franchise Taken. The film itself practically encourages those comparisons, what with the older man who reluctantly returns to a life of killing for the good of his daughter. The hero's quest of hunting down international criminals in a stunning foreign locale is punctuated by all of the explosions and gore your heart could desire. Neither 3 Days screenwriter Besson nor director McG are attempting to blaze a trail or reinvent a wheel. They're simply attempting to create a film that will keep you entertained for two hours, and on that front, at least, they succeed.
Stepping into the Liam Neeson role this time around is Kevin Costner as Ethan Renner, who is either an assasssin or a spy that works for either the CIA or the Secret Service (it's not really all that important in the end), forced to walk away from the job after he is diagnosed with cancer (or maybe a brain tumor). In an attempt to spend his remaining months bonding with his estranged daughter Zoey (Hailee Steinfeld), he moves to Paris to settle down. Of course, that's when Vivi (Amber Heard), a CIA agent/spy/assassin arrives, along with an experimental new drug that could extend Ethan's life, which she will happily pass along... if he takes out their two most wanted criminals within three days.
From there, the film veers wildly between graphic fight sequences, with enough chaos and destruction to equal both Taken movies, and the story of Ethan and Zoey’s growing relationship. Much of the plot is confusing and barely explained – Ethan and Vivi vaguely work for the CIA, although they're unconcerned by the devastating destruction they leave in their wake. The drug is “experimental,” but how it helps or why it’s only available through a giant purple syringe is waived away by the presence of a stack of “research.” Ethan only has three days to complete his mission, but seems to hang around Paris for a lot longer. The villains are wanted by the government for being tangentially involved with a “dirty bomb.” There's a shoehorned-in subplot about family of African immigrants squatting in Ethan's apartment. But despite the fact that so many of these elements never find a way to coalesce into a coherent whole, once the body count starts to rise and the buildings start to fall, it's easy to simply ignore all of that in favor of massive explosions.
When the film works, Ethan's job and his relationship with Zoey blend together in a way that gives 3 Days to Kill some much needed heart and humor — like when he's interrupted in torturing a target by her constant phone calls — but when it doesn’t, the transitions between Ethan taking out the criminals he's hunting and his slightly cloying bonding experience with Zoey can be jarring. As Ethan, Costner is a serviceable action hero; he growls threateningly and stares fondly at Steinfeld when the script calls for it, but for the most part, he appears to be phoning it in. Of course, for this kind of film, that’s all he really needs to do, but it means that by the time the credits roll, much of his performance is already forgotten. As Zoey, Steinfeld does her best with the material, and makes some of the more emotional scenes between herself and Costner affecting. However, even she can’t save the father-daughter plot of the film from becoming trite and stale at times, and so her scenes mostly feel like a quick breather in between the rounds of graphic violence.
Relativity Media via Everett Collection
Heard feels out-of-place as Vivi, who is introduced as the buttoned-down second-in-command to the head of the CIA, but then proceeds to spend the rest of the film speeding around Paris in sports cars, and prancing about in a wardrobe of leather, corsets, and high heels. Costner is clearly in an older-man action film, but Heard is in another film entirely, one in which she’s a sexy super spy single-handedly taking down international criminals. Despite the fact that she’s mostly there to provide exposition and to look pretty, there are moments where you almost wish that she was the focus of 3 Days to Kill instead — or, at the very least, that one of the many subplots had been dropped in favor of expanding her character.
And yet, despite all of the unanswered questions and the weird disparities in tone, 3 Days to Kill is a surprisingly entertaining film. The fact that one of the best fight sequences in the film takes place in a supermarket, while Ethan and an unnamed hitman grapple behind a deli counter, means that it's ridiculous enough to keep you engaged, but it's still able to amp up the tension when it needs to. And when you need a break from watching people come perilously close to being decapitated, there's a well-timed visual gag already lined up. It hits all of the notes required of a cheesy action film, and even though it gets far too bogged down in sentiment at times, it's still got enough heart to add a little substance to the flimsy plot.
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3 Days to Kill does exactly what it needs to, and little more. It doesn't want to make you think — in fact, it actively encourages you not to — and it doesn't try to accomplish anything that will stay with you after the credits have rolled. All 3 Days to Kill wants is to keep you amused for a few hours, with a few explosions and some mindless fun. In the end, that's sometimes that's all you really need out of a movie.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Superhero origin stories have been all the rage at the multiplex this summer with Marvel Comics alone accounting for two such films Thor and X-Men: First Class both of which happily surpassed critics’ expectations. Its latest Captain America: The First Avenger – so named as to provide us a helpful link to the Avengers movie coming next year – arguably faces the trickiest task of all three seeing as how Americans have not been in the most patriotic of moods in recent years. Could a flag-waving superhero really find purchase with a moviegoing audience that increasingly looks askance at such notions?
Surprisingly yes. That Captain America succeeds – and resoundingly so – is partly due to the producers’ decision to set the film during World War II a time where patriotism is a much easier sell. (And no viewer is too jaded to not enjoy seeing Nazis eviscerated en masse.) But proper credit must be given to director Joe Johnston who has crafted a breathlessly entertaining popcorn movie that unambiguously embraces its hero’s old-fashioned sensibilities and invites us to embrace them as well.
Chris Evans (The Losers Fantastic Four) plays Steve Rogers an earnest oft-bullied ectomorph whose lone wish is to ship off to Europe and fight on the front lines. But a plethora of physical ailments have combined to render him hopelessly unfit to serve however stiff his resolve. (To pull off the withered look of “Skinny Steve ” the filmmakers pulled off a nifty trick grafting Evans’ head onto the body of another actor Leander Neely.)
Rogers’ chance arrives in the guise of a government scientist the German émigré Dr. Abraham Erskine (Stanley Tucci as avuncular as a German-accented man can hope to be) who witnesses the young man’s idealistic ardor and recruits him to take part in secret military experiment. After proving his mettle in training Rogers is delivered a dose of Super Serum a PED that instantly makes him bigger stronger and faster than just about any other human alive.
Which is a good thing because on the other side of the Atlantic a renegade Nazi scientist Johann Schmidt aka the Red Skull (Hugo Weaving doing a tremendous Christoph Waltz impression) has happened upon his own supernatural power source and he’s used it to quietly amass a private army dubbed HYDRA that is bent on supplanting Hitler’s world-domination scheme with its own. Soon all that stands between defeat at the hands HYDRA and its arsenal of advanced weaponry is the juiced-up visage of the newly-christened Captain America.
Portraying a stalwart straight-arrow bereft of angst or ambiguity isn’t the easiest of tasks for any actor but Evans does a commendable job of bringing depth and humanity to a character that all too easily could have come across as bland and one-dimensional. Johnston seems to recognize this potentiality as he looks primarily to his supporting cast to supply the personality: Tucci and Weaving stand out as do Tommy Lee Jones and Toby Jones playing an irascible army commander and a timid HYDRA toady respectively. The film’s romantic spark comes courtesy of the principal cast’s lone female representative the excellent Haley Atwell playing Rogers’ military liaison Agent Peggy Carter.
More than anything Captain America is a triumph of tone. A former ILM technician Johnston did visual effects for Raiders of the Lost Ark and Spielberg’s 1981 blockbuster was a conscious touchstone for his film’s throwback feel and aesthetic. (Another less deliberate influence would be a previous Johnston film The Rocketeer.) Captain America embodies the spirit of the old serials melded with a tongue-in-cheek comic sense and punctuated by action sequences that deploy the requisite CGI fireworks with a welcome measure of restraint. The film is decidedly of its era but never feels gratuitously nostalgic. And its production design is gorgeous: Red Skull’s lair in particular is a treasure trove of retro-futurist designs all of which seem directly lifted from 1940s World’s Fair exhibits.
Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.