Liam Neeson is that rare breed of actor who grows more badass with age who at the cusp of 60 appears quite credible besting men 30 years younger – or anyone else foolish enough to provoke him. In The Grey – a gripping but ponderous man-versus-wild epic directed and co-written by Joe Carnahan (The A-Team) – his foe is no less formidable than Mother Nature in all her fury. She has met her match.
Neeson plays Ottway a man whose sole job on an Alaskan oil rig consists of gunning down the occasional wolf that makes a run at an oilworker. (Fences apparently being in short supply in the Arctic.) Ottway is a hard stoic sort and one gets the strong sense that he tended toward irascibility even before his wife departed (for reasons not made clear till late in the film) taking with her his remaining purpose for living. He gains a new one appropriately enough when his flight home crashes down in the Alaskan wilderness killing all but a handful of its passengers. Ottway his survival skills honed in a previous life emerges as the only person capable of guiding them to salvation.
Carnahan surrounds Neeson with an ensemble of familiar types the most notable of which are Talget (Dermot Mulroney) the family man Henrick (Dallas Roberts) the conscience and Diaz (Frank Grillo) the jerk. They encounter the predictable male team-building hurdles puffing chests and locking horns before Ottway asserts himself as the Alpha Male. Figuring they’ll perish before salvation arrives they agree to make the perilous trek to the nearest human habitat braving any number of dangers the most fearsome of which are the ravenous “rogue wolves” that roam the landscape. (The film shot in British Columbia in conditions that were apparently every bit as brutal as they appear on-screen certainly looks authentic – both beautiful and ominous.)
When they aren’t battling the predatory lupine menace the men have time – far too much time – to reflect upon their plight and its existential implications. The Grey would have been perfectly enjoyable as a straightforward survival epic the “Liam punches wolves” movie promised by the trailer but Carnahan is intent on imbuing the film with a philosophical poignancy wholly unsuitable for a film featuring lines like “We’re in Fuck City population five and dwindling ” and “We’re gonna cook this son of a bitch!” – the latter uttered at the capture of one of the wolves. As a film Carnahan’s macho metaphysics leave The Grey feeling a bit overcooked.
Gavin O’Connor’s (Miracle Pride and Glory) stirring new drama Warrior is an underdog tale set in the nascent sport of Mixed Martial Arts fighting. In its relatively short life MMA has yet to inspire much quality cinema of note. It now has its Rocky.
Warrior’s twist on the traditional underdog formula is to provide us with dual protagonists: the fightin’ Conlon brothers Brendan (Joel Edgerton) and Tommy (Tom Hardy). Neither have spoken to each other since the dissolution of the parents’ marriage fourteen years earlier. Both of late have fallen on hard times. Tommy is an Iraq war veteran who has turned to pills and booze since returning from abroad; Brendan is a high school science teacher and devoted family man victimized by the financial crisis. Circumstances compel them both to seek salvation in the fight game.
Conveniently enough the opportunity of a lifetime arrives in the form of Sparta a brand-new winner-take-all MMA tournament that awards its champion a cool $5 million – more than enough for Brendan to save his house from foreclosure or for Tommy to make good on his pledge to provide for the family of a friend killed in Iraq. By this point we know for certain that fate has determined Brendan and Tommy will meet in the final and we know for certain how utterly ridiculous this scenario is. And yet we accept it because by this point Warrior already has us in its corner.
The origins of the brothers’ enmity are ultimately traced to their father Paddy (Nick Nolte) a monstrous alcoholic whose abusiveness led their mother and Tommy to flee fourteen years prior. Brendan stayed behind and Tommy never forgave him for it. When we see Paddy he’s broken-down husk of a man God-fearing and 1000 days sober his face creased with shame and regret. Neither son can stand the sight of their old man but Tommy in need of someone to train him for the tournament reluctantly enlists his father’s help. Paddy eyeing a last chance at redemption enthusiastically complies.
Cue the training montage. A fighter rising from obscurity to the upper echelons in his sport within a matter of weeks is hard to swallow; when two fighters do it it’s a borderline insult to the sport. MMA aficionados might blanch at watching Tommy and Brendan gain one unlikely win after another; more likely they’ll be too absorbed by the action to care. It helps that Hardy and Edgerton both look the part and are both skilled enough at their craft to lend the film’s many brutal fight scenes a distinct realism. It helps even more that the story and the actors' stellar performances have us firmly aligned with their goals.
O’Conner a veteran of the genre deploys the underdog tropes at his disposal freely but assiduously crafting a tale that is unabashedly far-fetched but grounded in characters who are intensely appealing and who feel authentic. The storytelling is clumsy at times – that Nolte’s character listens to a book-on-tape of Moby Dick throughout the film feels particularly heavy-handed – but Warrior wisely steers clear of bombastic speeches or cloying sentiment.
Warrior’s climactic final fight in which the estranged brothers at last meet in the ring is both gut- and heart-wrenching. When the film’s suitably happy ending does eventually arrive the film gives way ever-so-briefly to hokeyness. But after what these kids have gone through you can forgive them for getting a little emotional.
Looking like it was ripped from the headlines The International focuses on the corrupt dealings of a fictional bank that will go to any means possible to serve as a conduit for illegal weapons sales to people who shouldn’t be getting them. Enter an Interpol agent (Clive Owen) who is teamed with a New York assistant District Attorney (Naomi Watts) to go after a network of suave crafty Europeans bent on carrying out their dirty business as they always have. Following their trail around the world in such locales as Berlin Italy New York and Istanbul the two become targets in an unending high stakes game of murder and intrigue.
Looking more unkempt and unshaven than ever Owen totally connects with the role of an eccentric agent who stumbles on to a worldwide conspiracy which eventually leads to a group of corrupt bankers. Who knew? It makes you realize what an ideal James Bond he would have been. Unfortunately Watts just isn’t his match. She comes across as bland and lost never able to get a beat on this lawyer who is caught up in an international scandal. Forced to utter obvious lines like “This isn’t over” at the 80-minute mark she has zero chemistry opposite Owen. German director Tom Tywker who broke out with the riveting and stylish Run Lola Run 10 years ago has his best outing since that film carefully navigating the numerous and colorful locations with just enough pacing and attention to detail to keep this from turning into yet another Bourne ripoff. He seems totally in control of the complicated and dense storyline pulling off a sensational set piece at New York’s Guggenheim Museum (actually meticulously re-created in a Berlin warehouse) where Owen gets involved in a shootout to end all shootouts with numerous bad guys. It’s a stunning scene running about 15 minutes -- and a textbook example of how to shoot an action sequence. It’s reminiscent of some of the best cold war spy thrillers of the ‘60s and ‘70s and that’s a high compliment. See it.
Based on the award-winning book by Bernhard Schlink The Reader is an extraordinary provocative and controversial story set in post-World War II Germany. It starts when 15-year-old Michael (David Kross) becomes ill with scarlet fever and is helped home by sympathetic woman named Hanna (Kate Winslet). After his recovery he returns to thank her and is drawn into a clandestine affair with this intriguing woman more than twice his age. Their relationship grows stronger especially when he starts reading to her. But then she suddenly disappears leaving a devastated Michael who now must move on with his life. Little does he know that eight years later while he is in law school he would see Hanna again -- as one of the defendants in a court case against Nazi war criminals. Shocked at revelations about her secret past he also discovers something that will change both their lives forever. Granted Kate Winslet is one of the finest young screen actresses but her range in The Reader will astonish you. It’s an extremely tricky part that could easily lose the audience’s sympathy if done incorrectly but Winslet handles it with aplomb. She runs through the whole gamut of emotions -- aging from her 30s to 60s -- all at once sexy mysterious conflicted contrite as well as many other colors. As Michael newcomer Kross is devastatingly good the most impressive acting discovery in a long time. Although he plays 15 he was 17 at the start of filming and production had to shut down until he turned 18 for the graphic sex scenes. As the story flashes forward Ralph Fiennes takes over the role as the older Michael and does so with a touching sincerity. Lena Olin also has a strong cameo as a Holocaust survivor with definite opinions of Hanna. Although this is only acclaimed stage director Stephen Daldry’s third film he once again shows a mastery of the medium far beyond his limited cinematic resume. Like The Hours and his debut film Billy Elliot he has crafted another film to savor. The Reader isn’t necessarily the most comfortable film to watch but Daldry guides the subject matter with a delicate and steady hand giving us a complex and touching love story between the most unlikely couple. It also delves into how one generation of Germans can come to terms with the horrors of another. Daldry’s directorial restraint and power perfectly serves David Hare’s impressive screenplay and delivers a memorable movie-going experience.