action movie

The Family: when a very violent family settles into a new neighborhood

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Michelle Pfeiffer in THE FAMILY

In the dark comedy The Family, the family of an American mafioso has been relocated to Europe under the witness protection program.  However, they are so violent that they keep blowing their cover and have to move again.  Here, they have just failed to fit themselves in to the sunny French Riviera and have been moved again to chilly Normandy.

The recurring joke in The Family is that these people escalate almost every human interaction into severe violence and that all the family members are highly skilled.  The mafioso is played by Robert De Niro, his wife by Michelle Pfeiffer, and both very ably deliver the deadpan comedy.  But the best performances (in the best written roles) are by Dianna Agron (Quinn in Glee)  and John D’Leo as the couple’s teenagers.  Tommy Lee Jones is also VERY briefly in the movie, as are Vincent Pastore and Dominic Chianese of The Sopranos.

Luc Besson (The Professional, District B13), the French director who celebrates American action movies, gets to make an American action comedy set in France.  I enjoyed The Family much more than I thought I would because I expected another lame culture clash comedy and instead got a darker comedy.  Still, it is what it is – a broad comedy – but a competent one.

Skyfall: updating the Bond franchise

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Daniel Craig returns as Her Majesty’s Action Hero, James Bond in Skyfall, an updating of the Bond franchise.   The core of the franchise is still the Bond character – impossibly suave, sexy and insurmountable.  Daniel Craig pulls it off as only Sean Connery could.  Craig’s 007 is more shopworn this time, with a drinking problem and a battled scarred (albeit Adonis-like) body.  But Craig’s Bond can still jump inside a moving train and then reach inside his jacket sleeve to adjust his cuff.

This episode’s Bond supervillain is played by an especially menacing Javier Bardem plus peroxide.   When filmmakers change Bardem’s hairstyle, something just happens to make him extra creepy.

It’s tough to impress an audience these days with cool gizmos, when we have guys sitting in Nevada watching SUVs in Afghanistan on satellite transmission and then  blowing them up by remote control.  So in Skyfall, Bond goes retro and brings back the Aston Martin with the ejector seat and the machine gun headlights.

Skyfall also sets up the changing of the guard for franchise, retiring Judi Dench and adding Ralph Fiennes, Ben Whishaw and Naomie Harris.  Naomie Harris is an especially welcome addition – beautiful, engaging and able to pull off an action scene.

But the real reason to watch Skyfall is for the action.  It’s tough to top the first sequence, which features a motorcycle chase on the rooftops of Istanbul’s Grand Bazaar turning into a fight on top of a moving train.  Skyfall is one of the better pure action flicks this year.

DVD of the Week: Let the Bullets Fly

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Ever seen a movie where the outlaw rides into town and sticks up for the little guys against the local bully of a crime boss?  Well, maybe so, but you probably haven’t seen a movie like Let the Bullets Fly (Rang Zidan Fei), which is set in southeastern China in the Chinese warlord period around 1919.

For one thing, it’s an unusually exuberant film that’s extremely funny for an action western.

For another, it’s a deeply cynical assessment of government corruption.  It quickly becomes apparent that the professional bandit is more honest and reliable than any of the local institutions.  (That subtext is not lost on the Chinese public.)

And the Chinese movie fans have embraced Let the Bullets Fly.  It’s the highest-grossing Chinese language movie ever, and is the all-time #2 most popular movie in China (behind Avatar).

Writer-director Wen Jiang plays the stalwart bandit hero who substitutes himself for the newly arriving appointed Governor (played by You Ge as a hilariously unabashed sleazeball).  Jiang’s bandit comes up against the local baddie (Chow Yun Fat), who doesn’t want to relinquish any of his power or ill-gotten gains.  As the two match wits, a fast, funny and utterly rambunctious ride ensues.

In this case, 1.3 billion Chinese are correct – this is one fun movie.

Cinequest – Let the Bullets Fly: can 1.3 billion Chinese be wrong?

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Ever seen a movie where the outlaw rides into town and sticks up for the little guys against the local bully of a crime boss?  Well, maybe so, but you probably haven’t seen a movie like Let the Bullets Fly (Rang Zidan Fei), which is set in southeastern China in the Chinese warlord period around 1919.

For one thing, it’s an unusually exuberant film that’s extremely funny for an action western.

For another, it’s a deeply cynical assessment of government corruption.  It quickly becomes apparent that the professional bandit is more honest and reliable than any of the local institutions.  (That subtext is not lost on the Chinese public.)

And the Chinese movie fans have embraced Let the Bullets Fly.  It’s the highest-grossing Chinese language movie ever, and is the all-time #2 most popular movie in China (behind Avatar).

Writer-director Wen Jiang plays the stalwart bandit hero who substitutes himself for the newly arriving appointed Governor (played by You Ge as a hilariously unabashed sleazeball).  Jiang’s bandit comes up against the local baddie (Chow Yun Fat), who doesn’t want to relinquish any of his power or ill-gotten gains.  As the two match wits, a fast, funny and utterly rambunctious ride ensues.

In this case, 1.3 billion Chinese are correct – this is one fun movie.

DVD of the Week: Drive

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Drive is a movie that you haven’t seen before – a stylishly violent noir tale unfolding on a brilliantly filmed canvas.

Ryan Gosling stars as a stunt driver by day, criminal getaway driver by night.  He hardly talks and doesn’t emote.  Indeed, his character is listed in the credits as “Driver” and sometimes referred to in the dialogue as “The Kid”.  He is motivated only by his pursuit of adrenaline rushes and the opportunity to do something good for a vulnerable mom (Carey Mulligan).  Indeed, Gosling is superb.

But the real star of Drive is its Danish writer-director, Nicolas Winding Refn.  The film has a noir plot but Refn eschews the shadowy black and white of traditional noir for especially vivid scenes of Los Angeles.  For example, early in the film, Gosling enters a convenience store and the screen is filled with the garish colors of junk food packaging.  It’s one of the most artfully lit and photographed scenes in the last year.

Drive abounds in nice touches. While being hunted by the cops, Gosling’s driver is listening to both the police scanner and a radio broadcast of the Lakers game; unexpectedly, it turns out that there is an essential reason that he’s listening to the Lakers.

This movie contains some extreme violence – violence that is intentionally extreme for its effect.

The cast is excellent, with especially memorable turns by Albert Brooks, Bryan Cranston (Breaking Bad) and Oscar Isaac.

(I admired Refn’s 2008 Bronson, the story of a Britain’s “most dangerous convict” who parlayed a seven-year sentence into 34 years (30 of them in solitary) by repeatedly taking hostages and beating up the SWAT teams that rescue them.   Roger Ebert called Bronson “92 minutes of rage”.)

Drive has been nominated for the Sound Editing Oscar (but is up against some tough competition).

2011 in Movies: the year of the smart action film

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SOURCE CODE

These days, explosions and chases in movies have become indicators of dumb and dumber.  But, this year, we’re seeing a welcome rebirth of the smart action film.

Like last year’s Inception,  Source Code, The Adjustment Bureau, Drive and even Hannah, brought some originality to the genre.  Drive was the most visually interesting, but Source Code combined great production values with a great hook in Ben Ripley’s screenplay:  Supersoldier Jake Gyllenhaal can inhabit the brain of a terrorism victim for the same 8 minutes – over and over again.  Each time, he has 8 minutes to seek more clues. Can he build the clues into a solution and prevent the terrorist atrocity?

The smart action movie: a welcome trend, indeed.

13 Assassins: a cut above

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Director Takeshi Miike’s take on the samurai movie is the best contribution to the genre since Kurosawa.  Brilliantly staged and photographed, this is one of the best recent action films in any language or setting.

It’s a familiar set-up: an honorable samurai must assemble and lead a team of thirteen to kill a psychotically sadistic noble.  But first they must hack their way through the bad guy’s 200 bodyguards.  What sets 13 Assassins apart is the inventively booby-trapped town and the frenzied pace of the climactic battle.  It even has exploding boars!

Kôji Yakusho, a veteran with 72 acting credits, gives an impressive performance as the lead assassin.  You may remember him from Shall We Dance? or Babel.