Jason Statham headlining a gritty action thriller is as routine as the sun coming up. But the man has the role down to a science — whether he's a down-on-his-luck cop former CIA agent ruthless assassin or any of the other stock characters that open up the Pandora's Box of butt-kicking Statham can deliver. Safe embraces these expectations throwing together an amalgamated central character (Luke Wright a currently homeless former NYPD cop who was secretly black ops maybe assassin hired by the blah blah blah) who goes to battle with every bad guy New York City can offer. Russian mafia Chinese mafia corrupt cops — name the group Statham breaks their tracheae. If that sounds delightful and fresh Safe is a must-see.
Wright's metropolitan misadventure begins after he crosses path with a young Chinese girl Mei (newcomer Catherine Chan) whose endless memory holds the combination to a locked up unknown prize. Every immoral guy in town wants the information — Han Jiao (James Hong) and his gang who kidnapped the girl from her home country want their lost property back; Vassily Docheski (Joseph Sikora) wants to make his mob operation richer; Mayor Tremello (Chris Sarandon) and Captain Wolf (Robert John Burke) want to keep the whole thing under wraps so they continue extorting the crime families. Then there's Wright just a nice guy looking to do a nice thing for a girl in trouble. Commence gun fire and painful deaths.
Writer/Director Boaz Yakin does his best to innovate within the Statham formula utilizing some tricky camera work and snappy comedy dialogue. Simple things keep us on our toes; when Wright first rescues Mei from the clutches of pursuing goons the two jump into a car. We're in the back seat witnessing Statham slamming people back and forth the rear view mirror catching all of the action behind us. In a movie where violence is prioritized over plot the little things really count. Yakin knows it.
Tonally Safe never clicks and it's a major barrier for enjoyment. On one hand it's all about realism — the emotional trauma undergone by a child the real world implications of criminal activity and the bigger picture issues at hand (Sarandon's mayor character just had to go and make it a 9/11 thing didn't he). On the other countless people are gunned down in array of cartoonish violence. Safe isn't Crank; this fact makes rooting for Statham as he punches and shoots his way through crowds of mafiosos a little uncomfortable. The movie's too heavy for its own good even for a strongman like Statham.
It takes a special film to transform an audience of movie critics highly-trained skeptics who can dismiss the most painstakingly crafted work with a mere smirk and roll of the eyes into a bunch of glowing giddy teenagers but that’s precisely what happened earlier this week when Avatar James Cameron’s extraordinary new sci-fi epic screened for the first time. Count me among the awestruck rabble; Avatar is a truly astounding piece of filmmaking a leap forward in visual effects artistry that sets a lofty new standard by which future event films will be judged.
Avatar wastes little time before unleashing the spectacle. Perhaps sensing our collective anticipation Cameron serves up the barest of backstories before shoving off for Pandora the staggeringly lush planet upon which the film’s futuristic tale unfolds. Through the eyes of Jake Sully (Sam Worthington) a crippled ex-marine who navigates Pandora vicariously through a bio-engineered surrogate (aka an avatar) we’re introduced to the planet’s boundless breathtaking collection of natural and unnatural wonders all created from scratch rendered with uncanny fluidity and presented in the most realistic and immersive 3-D ever witnessed on film.
Occasionally Avatar’s technical triumph is betrayed by its maddeningly derivative storyline which borrows elements wholesale from Dances With Wolves The Last Samurai and countless similar films about oppressors switching sides and going native. Sent to gather intelligence on the Na'vi Pandora’s blue-skinned indigenous population for an Earth-based mining consortium Jake becomes enamored with the proud peace-loving natives and their groovy granola ways. Soon enough he’s joined their tribe taken a smokin’ hot native girl for a wife (Zoe Saldana) and organized an army to help repel the encroachment of the rapacious earthlings.
The Bad Guys (Avatar’s moral perspective is as monochromatic as Pandora is colorful) who initiate the assault on the Na'vi are led by a tag team of grotesque absurdly one-dimensional villains: Parker Selfridge (Giovanni Ribisi) the khaki-lad bottom line-obsessed corporate administrator of the mine; and Miles Quaritch (Stephen Lang) a bug-eyed musclebound sadist who commands the mine’s vast security force. As Pandora’s Cortez and Pizzaro they form a potent one-two punch of arrogant imperialist caricatures deriding the noble Na'vi with sophomoric slurs like “blue monkeys” and “fly-bitten savages that live in a tree.” Neither would think twice of eliminating them entirely in order to procure the exceedingly rare obscenely valuable element known as — I sh*t you not — Unobtainium.
Unobtanium? Really? It’s that kind of ham-fisted uninspired pap littered throughout Avatar that makes me want to tear my hair out. If Cameron devoted a fraction of his time and effort toward improving the script as he spent perfecting the bone structure of the viperwolf (one of Pandora’s innumerable animal species) we might have a bona fide classic on our hands. But in Avatar story and character development are treated as obstacles pockets of narrative brush that must be clear-cut to make way for construction of the next extraordinarily elaborate set piece.
And yet despite its flaws Avatar represents one of those exceedingly rare instances in which style triumphs over substance — and by a landslide. I don’t know if Cameron has revolutionized the movie-watching experience (as he famously promised) but he’s surely improved upon it.
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.