Showing posts with label Clive Owen. Show all posts
Showing posts with label Clive Owen. Show all posts

Movie Review Valerian and the City of a Thousand Planets

Valerian and the City of a Thousand Planets (2017)

Directed by Luc Besson 

Written by Luc Besson

Starring Cara Delavigne, Dane DeHaan, Clive Owen, Rihanna, Ethan Hawke 

Release Date July 21st, 2017 

I cannot decide which is the more difficult type of review: positive without fawning, negative without being mean-spirited or ambivalent. The last type of review is where I find myself with the new movie Valerian and the City of a Thousand Planets:; utter and complete ambivalence. There is much to admire about the latest from director Luc Besson (The Fifth Element, Leon: The Professional, among others) but there is also plenty of empty, sci-fi spectacle.

Valerian and the City of a Thousand Planets stars Dane Dahaan (The Amazing Spider-Man 2, Chronicle) as Agent Valerian who, alongside his partner Sgt. Laureline (Cara Delavingne), are investigating a monstrous and ever growing space station that is home to some form of every species in the universe. Our agents are on hand, however, to investigate a threat to the so-called city of a thousand planets.

Read my full length review at Geeks.Media 



Movie Review The Boys Are Back

The Boys Are Back (2009) 

Directed by Scott Hicks

Written by Simon Carr

Starring Clive Owen, George McKay, Nicholas McAnulty, Emma Booth, Laura Frasier

Release Date November 12th, 2009 

February 1st, 2010

Maudlin theatricality in place of actual emotion, Director Scott Hicks' The Boys Are Back is a lifetime movie from down under. Starring Clive Owen as a father recovering from the sudden loss of his wife, The Boys Are Back is about grief and coping but only in the most general and easy to digest ways.

Joe Warr (Clive Owen) is twice an absentee father. He abandoned a son when he left London to be with Katy, a woman from Australia who he fell in love with at the end of his first marriage. After having a son with Katy, Joe took to the road for his career, he's a top sports writer crossing Australia covering sports.

On a trip home Joe takes Katy to a party and she is suddenly struck down. She died less than a day after being struck with illness. Now Joe is left with a six year old son, Artie (Nicholas McAnulty), he barely knows and at home for the first time for an extended period of time.

What is Joe's idea for bonding with his son? Something he calls free range parenting. The kid can do just about anything he wants. The house soon is a disaster while dad takes Artie for a drive on the hood of the car. When free range parenting begins conflicting with Joe's work he decides to invite his other son, Harry (George McKay), to stay with them and watch over Artie.

Naturally, this plan doesn't work either and soon Joe's job is in jeopardy, Harry is heading back to England and Joe's tentative flirtation with a woman at Artie's school, Laura (Emma Booth), is put on hold.

Scott Hicks hit it big in 1996 with his biography of Musician Savant David Helfgott, Shine. That film earned Hicks an Oscar nomination for Best Director and the film was nominated for Best Picture. Since then he found some success with his 2001 follow up Hearts In Atlantis but has been content directing high end commercials.

His most recent feature prior to The Boys Are Back was also a commercial, well a commercial rom-com, the brutally predictable No Reservation. That film foreshadows The Boys Are Back in theme and pretense. Both films are about loss and grief and both films fail to get beyond the idea of either loss or grief.

Instead, both The Boys Are Back and No Reservation are about the simpleminded emotional manipulations of children and death. In No Reservation the unendingly endearing Abigail Breslin is used only to mechanically maneuver audience sympathies. That job in The Boys Are Back falls on little Nicholas McAnulty and while he is efficient in his task he's also as nakedly obvious.

Clive Owen is a handsome actor who has had numerous opportunities for breakout stardom and just hasn't popped. His best work is morose and worn drama like Closer or the underrated I'll Sleep When I'm Dead. Asked to play light and dark, whole and worn in The Boys Are Back Owen goes for sullen and sad and simply stays there.

Going through the motions of presenting grief and loss as cheap melodrama, The Boys Are Back is pushy and cute and never for a moment earns any of the emotion it intends to elicit. Cut-rate maudlin tear jerker is a genre all its own and The Boys Are Back fits right in.


Movie Review: Duplicity

Duplicity (2009) 

Directed by Tony Gilroy 

Written by Tony Gilroy 

Starring Julia Roberts, Clive Owen, Tom Wilkinson, Paul Giamatti

Release Date March 20th, 2009

Published March 20th, 2009

Say what you will about the choices Julia Roberts has made over the years, she is a welcoming screen presence. She has the radiance of a 30's and 40's heroine combined with a very modern sexuality and sensuality. Call her America's Sweetheart if you like and attach whatever wholesome qualities you want to that title, the fact is, no one really likes to ponder what draws a man to 'America's Sweetheart'. Here's a hint, it's the same thing that draws us to the girl next door.

Duplicity is the rare Roberts vehicle to acknowledge, if not fully, take advantage of exactly the qualities I am trying to be vague about. The spy thriller/romantic comedy places Roberts at odds and in bed with the always smoldering Clive Owen and the chemistry is alchemic.

Roberts is Claire, maybe her real name, maybe not. When we meet her she is being scoped by Owen's Ray. They hit it off quickly and soon she is showered and heading for the door with something belonging to him and he is unconscious on the bed. Cut to a few years later, Ray, now fully awake, is in Rome and runs across Claire. He, and now we, know she is CIA. He is MI6, British intelligence. He's a bit ticked off about the obfuscation and the robbery but mostly he just wants to see her naked again.

The two spend three days in a Rome hotel making love and a plot is launched. The two spies will get out of the covert ops biz and go private, corporate snoops. Find an industry, discover the deepest secrets and sell the results to the highest bidder. They finally settle on two companies with somewhat complicated ideas about what they are. All we know about Equikrom and Burkett & Randle is that the CEO's, played brilliantly by Paul Giamatti and Tom Wilkinson, loathe one another. They loathe one another to the point that each keeps a corporate spy team on the payroll to steal the other's R & D secrets. This is Claire and Ray's way in.

Duplicity however, is not really about the corporate types but rather about the unique and duplicitous relations between to well trained spies. Roberts and Owen are given by writer-director Tony Gilroy the opportunity to play a pair of screwball romantics who happen to be spies. There craft is deception and trying to figure when the one they love is deceiving them, for business or pleasure, is what they truly delight in.

Gilroy loves, LOVES writing witty repartee for these two characters. He loves it so much that by the end of the movie he seems to have run out and just stops. After exhausting his way through a timeshifting malaise of plotting, Gilroy comes to a certain point and simply ends the movie. It is as unsatisfying as it sounds. One character wins, the others lose and that's all folks.

What remains is a series of sexy, funny, playful scenes between Roberts and Owen that are nearly enough to make this whole mess work. Roberts matches Owen's constant smolder with the effect of tossing a gas can into a fire. These two actors truly enjoy each other's company and we enjoy them together. If only they weren't trapped in a time shifting maze of plot complications that we just don't care about.

Of course, a filmmaker likely couldn't make an entire movie about Julia Roberts and Clive Owen in bed together, but the idea is ten times moe entertaining as any two scenes in Duplicity. Roberts has always been sexy but we tried to forget that for some reason. She was caught with the label America's Sweetheart which had the effect of neutering her and rendering her more an icon of virtue than as a woman. Tony Gilroy and by extension Clive Owen certainly know Roberts is a woman and each is very interested in further examining her feminine qualities. Unfortunately, there is that whole spy thing that keeps getting in the way.

Movie Review Shoot'em Up

Shoot'em Up (2007) 

Directed by Michael Davis

Written by Michael Davis 

Starring Clive Owen, Paul Giamatti, Monica Bellucci 

Release Date September 7th, 2007

Published September 7th, 2007

What do you get when you mix Quentin Tarentino, Robert Rodriguez, the Wachowski brothers, Sam Peckinpah and Bugs Bunny? You get the sly, ultraviolent action flick Shoot'Em Up starring Clive Owen. Directed by Michael Davis, Shoot'Em Up is arguably the most violent movie of all time. It's also one of the biggest laughs of 2007. Part spoof and part hardcore action pic, Shoot'Em Up is the unholy culmination of the culture of violence in cinema.

Oh, and it's just damn entertaining.

When we meet Smith (Clive Owen), the ostensible hero of Shoot'em Up, he's sitting on a bus bench eating a raw carrot. Is he waiting for the bus? Is he a homeless guy? We have no idea. We can tell however, that when a frightened, pregnant woman, obviously in labor, runs by and is chased after by a man with a gun, that Smith is terribly annoyed to have his vegetable chomping idyll disturbed.

Involving himself in the situation, Smith takes out the guy with the gun. Unfortunately, that isn't the only guy with a gun who wants this woman and her baby dead. Indeed, an entire team of assassins, led by Mr. Hertz (Paul Giamatti), wants to make sure that mother and son do not get out alive. They do get mom but not before Mr. Smith helps her give birth, cutting the cord with a 9 millimeter shot.

This further offends Mr. Smith's delicate sensibilities and thus begins a war between hundreds of trained killers and one man with a gun and a baby.

Shoot'em Up is the most over the top violent movie in history. Schwarzenegger, Stallone and Seagal on their best day never fired this many bullets or killed this many bad guys. Nor have any of those action legends dispatched bad guys in so many unique, violent and comical ways. The violence, as directed by Michael Davis is a riff on those classic action cliches cemented in the 80's action classics like Rambo or Commando.

Shoot'Em Up at once is a loving homage to hardcore violence and an Airplane-esque send up of any film that ever tried to play this type violence as straight dramatic action. It's a difficult balancing act that is pulled off to near perfection by director Michael Davis. The director is aided greatly by cinematographer Peter Pau who gives every scene a hyper-realized stylishness.

The only problem with Shoot'Em Up comes when it tries to be about something other than being a violence delivery system. The conspiracy theory at the center of the plot is comical but treated with such seriousness and cynicism that it becomes a burden and a drag on the fun of the goofball violence that is the raison d'etre of Shoot'Em Up.

The Bugs Bunny allusions in Shoot'em Up are an endless source of humor. Whether it's Smith's love of carrots, his many endless escapes or his pitch perfect delivery of "What's Up Doc" after dispatching a bad guy. It all works to great comic effect. The carrot is a sensational, unexpected running gag. Keep an eye on the many uses of the carrot, including a visual pun on carrots being good for your eyesight.

That Clive Owen is still not a major star is a shock to me. Owen is both a skilled actor and a charismatic presence and a handsome fella. And yet he can't seem to break through at the box office. His terrific performance in last year's Children Of Men escaped both audience and awards attention. The thriller Derailed was a sleazy mistake while Closer was another mysterious failure.

Only Sin City has been proven a success but not one that Owen claims for himself (ensemble cast, popular director and graphic novel). Shoot'Em Up succeeds fully on Owen's star presence and gruff charisma. Smith is a reluctant hero at first but quickly becomes motivated and extremely violent for reasons that are entirely his own.

Paul Giamatti is a terrific foil as a comic bad guy. Though he elicits some big laughs, Giamatti ably delivers more menace than you might expect from the sensitive sad sack from the Oscar nominated Sideways or the avuncular artist of American Splendor. Giamatti knows his way around a fire arm but it is in directing his endless horde of henchmen where this character comes to life. The humorous bumbling of the bad guys and Giamatti's priceless apoplexy are golden moments in Shoot'em Up.

Violent to a degree that would turn Sam Peckinpah's head, Shoot'em Up is at once an homage to and a send up of classic Schwarzenegger-Stallone-Van Damme action epics. No film has likely fired this many bullets or dropped this many bodies and done so with as much style and wit. That is not to say that I loved Shoot'Em Up. The plot is beyond ludicrous and the various twists and conspiracies become rather irritating.

Nevertheless, the violence is so entertaining and Clive Owen is so much fun, I have to recommend Shoot'Em Up.

Movie Review: Derailed

Derailed (2005) 

Directed by Mikael Hafstrom 

Written by Stuart Beattie 

Starring Clive Owen, Jennifer Aniston, Vincent Cassell, Melissa George, Xzibit 

Release Date November 11th, 2005

Published November 11th, 2005 

When Jennifer Aniston was on "Friends" she was undeniably a star. When she co-starred with Jim Carrey in her first blockbuster movie role in Bruce Almighty, again she looked like a star. Unfortunately, outside her hit TV show and without Jim Carrey to fall back on Jennifer Aniston looks anything but a star in the dreadful thriller Derailed, a misguided attempt to recast Jennifer Aniston as a femme fatale.

Alongside an equally miscast Clive Owen, Aniston struggles with a ridiculous plot, poor direction and a thriller concept that is entirely devoid of thrills.

Though Jennifer Aniston is clearly the draw of Derailed, Clive Owen is the star of the film as Charles, a bored husband and father who jumps at the chance to meet a sexy stranger on a train. That sexy stranger is Lucinda (Aniston), a banker, also married with a child but unhappily married as she is rather quick to confess. The two share a few moments on the train, then lunch the following day, drinks the next night and finally a seedy hotel.

It is in the hotel that a minor fling becomes a huge mess. Just as Charles and Lucinda are getting intimate, the door bursts open and in comes Laroche (Vincent Cassel), a petty thief who they assume just wants a few bucks. If only that was all he wanted.  Unfortunately, before he leaves he beats Charles severely and then rapes Lucinda.

Here is where the films logic becomes derailed, pun intended. So should Charles and Lucinda call the police and report what happened? If they do their spouses will find out what happened and they will lose everything. So it's understandable then that they just let it be. Charles tells his wife Deanna (Melissa George) that he was mugged.  She thankfully does not ask about going to the police, and both Charles and Lucinda go their separate ways.

Not long after, however, Charles gets a call from Laroche asking for twenty grand or else he will tell his wife Deanna that he cheated. Charles again has ample opportunity to come clean to his wife and call the cops but because the plot requires his stupidity, he pays the money. This, despite the fact that he needs the cash to pay for the care of his sick daughter Amy (Addison Timlin), who needs constant care for diabetes.

The money puts off Laroche only temporarily as he once again comes calling, even showing up at Charles' house, asking this time for one hundred grand. Can you guess that Charles still is not smart enough to call the cops? Of course he isn't, but to his luck the screenplay by Stuart Beattie provides a street smart African American ex-con named Winston (rapper RZA pronounced "riza") as a mail room worker at Charles office who offers to help him out for only ten grand.

By this point in the film I would not have cared if Charles enlisted the help of the entire Wu Tang Clan to get the bad guys off his back. Derailed is such a clueless mess of a movie that watching it is more frustrating than a game of Sudoku blindfolded. The lapses of logic are staggeringly stupid and though it's become old hat to call bad thrillers predictable I have to break out that old chestnut as well. Ads for the film ask that we don't give away the big twist and I won't, watch two minutes of the movie and you will guess the twist on your own.

Derailed has one of those idiotic plots that could be cleared up with one smart action by the main character or attention to one minor detail by one of the supporting characters. The players in Derailed must remain willfully ignorant in order for this plot to work and that is endlessly frustrating for the attentive movie goer.

Maybe the most frustrating thing about Derailed is the performance of Clive Owen. Sleepwalking his way through this ridiculous role, Owen's Charlie is passive even when threatened repeatedly and entirely manipulated by the plot at every turn. What may I ask was supposed to make Charlie an interesting thriller hero? He cheats on his wife while she is at home taking care of their sick daughter. He blows the savings meant to save his daughter's life to cover up his affair and when his family is threatened directly by the bad guys he does nothing but accept his third ass whipping in the movie. I hated Charlie as much as I hated the lowlife bad guys who took his money.



I feel very bad for Jennifer Aniston. After losing her husband Brad Pitt to Angelina Jolie and watching those two strike box office gold with Mr. and Mrs. Smith, she finds her first gig since the breakup to be arguably the worst performance of her career. Worse even than that Leprechaun sequel she was in before "Friends". It's not entirely her fault.  I'm sure someone convinced her to forego her good judgement and believe that this insipid plot could actually work if they sexed it up a bit, but even the sex in Derailed is a letdown.

Clive Owen continues a baffling string of monotone dull performances. Someone in Hollywood desperately wants Clive Owen to be a big star but his performances in Beyond Borders, King Arthur and now Derailed show an actor bored with unchallenging material and allowing that boredom to seep into his performance. When challenged in movies like his breakthrough performance in Croupier, in the thriller I'll Sleep When I'm Dead and the scathing relationship drama Closer, Owen shows he has real acting chops. Stop trying to force Clive Owen to be a star, he clearly doesn't want it.

Derailed is an abysmal movie, a worst of the year list kind of movie. A forgettable, stupid unrelentingly bad B-movie dressed up with A-list actors slumming in idiot parts.

Movie Review: Children of Men

Children of Men (2006) 

Directed by Alfonso Cuaron

Written by Alfonso Cuaron

Starring Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofor, Charlie Hunnam

Release Date December 25th, 2006

Published December 24th, 2006

Alfonso Cuaron has said that his latest film, the futuristic thriller Children Of Men, is an allegory to our times. A warning of problems to come if we continue on our current path. The film alludes to ideas about immigration policy, war in the middle east, terrorism and death with dignity. These ideas are introduced but none are given great weight. It's as if just mentioning these hot button issues is enough to bring importance to a movie that is otherwise a chase thriller with an interesting premise.

The fact is,Children Of Men is not about its story or characters. Children Of Men is about director Alfonso Cuaron and his ability as a director. Using long, unbroken takes and some dazzling cinematography, Cuaron impresses with style and technique but does so at the expense of his story.

In 2027 woman haven't given birth in nearly 20 years. The world's youngest person, an 18 year old, has been killed and chaos reigns throughout the world. England is the last hold out of civil order, though the chaos is banging at the door. Immigrants from around the world have attempted to immigrate causing the government to round up foreigners and place them in camps. Those who fight are killed, those who don't are sent back to the chaos and famine of their home countries.

In the midst of the tumultuous times a former activist named Theo (Clive Owen) is slowly drinking himself to death. Having lost his own baby son more than a decade and a half ago, as well as his wife, Theo has given up. His ex-wife Julian (Julianne Moore) has not. Now the leader of an insurgency, Julian has come to the aid of an immigrant teenager, Kee (Claire Hope Ashitay) who holds the future of humanity.

Kee is; by some miracle, pregnant and Julian knows she can't protect her. Turning to Theo for help, she leaves it to him to take Kee to a utopian group of scientists and thinkers called the human project where it's hoped her pregnancy can reveal the key to saving humanity.

That is what I could make of the plot of Children of Men, a movie that is more style than substance. Director Alfonso Cuaron claims the film is an allegory to modern times however, his metaphors are shallow and underserved. This alarmist tale of government oppression and societal crumbling has a dark vision of the future that is supposed to be a warning of things to come and a comment on how things currently are but it fails to be convincing in either metaphoric conceit.

Children of Men is not an allegory, it is rather a movie about how the action is filmed and not why the action is taking place. Working with super long takes, Cuaron uses his camera in unbroken scenes that traverse big action movie chases and war scenes without a single edit. It's an impressive technical achievement. It's also an extraordinarily showy exercise. Like a dog begging for attention, the filmmaking tricks of Children of Men sit up, beg and roll over.

The worst thing about Children of Men is how cheap and manipulative the plot is. Of course, all movies are manipulative. However, the best movies allow you to suspend disbelief and forget you are being manipulated. Children of Men uses a cheap screenwriting trick, the child in danger plot, to manipulate audiences into feeling tension that the adult characters and the plot they are trapped in cannot.

I will grant you that much of the technological trickery employed by Alfonso Cuaron is so good that you can forgive much of the very shallow plot. The extended, unedited takes are compelling visuals that you can't help but marvel at. Also, I was surprised how visually impressive the film is without Cuaron's usual flourishes of color. In his Great Expectations, Y Tu Mama Tambien and Harry Potter, Cuaron's visuals overflowed with color. Children of Men goes in the opposite direction, desaturating the screen leaving a gray, light green hue that is as effective as his use of bright colors in previous films.

The color palette matches the mood of the film. Gloomy and oppressive and while that doesn't sound appealing, in execution and as part of this story, the color palette is visually engaging.

Another appealing element of Children of Men is the star performance of Clive Owen. No actor embodies weariness the way Owen does. Look at his roles in I'll Sleep When I'm Dead, Closer and Sin City, no actor looks more tired or beaten up by the world as Owen. His gloom ridden role in Children of Men was made just for him.

The character of Theo has lost everything when we meet him. He can barely muster the energy to not give a damn. Watching him come back to life as he helps Kee escape is appealing for the way Owen plays it, even if the rest of the movie is not interested in character development. Owen and the rest of the cast of Children of Men were on their own trying to bring their characters some life while Alfonso Cuaron focused on unique ways to shoot them.

Children of Men is a technical marvel. Alfonso Cuaron and cinematographer Emmanuel Lubezki dazzle us with camera work, lighting, settings and chases and the films centerpiece, long unbroken takes. Dazzled we are but the technical brilliance can't disguise a shallow thriller plot clothed in faux importance. Saying your movie is important in metaphor is one thing, actually being important is another.

Movie Review Inside Man

Inside Man (2006) 

Directed by Spike Lee 

Written by Russell Gewirtz

Starring Denzel Washington, Clive Owen, Chiwetel Ejiofor, Jodie Foster, Christopher Plummer

Release Date March 24th, 2006 

Published March 23rd, 2006 

Spike Lee is unquestionably my favorite director and, in my opinion, the finest filmmaker working today. His films focus on important topics--sometimes directly, sometimes esoterically. His latest film, however, is not his usual timely topical drama. In Inside Man Spike Lee crafts his first mainstream thriller and despite its lack of relevance, Inside Man is Spike Lee at his usually crafty and skillful best.

On a typical day in New York City an indistinct truck from a painting company pulls up in front of First Manhattan Bank. A group of people in masks jump out, gather their equipment and head inside the bank. We already know they are not here to paint anything. These 'painters' are part of what we are told is the 'the perfect bank robbery.'

Clive Owen stars as Dalton Russell. He is the leader of this group of bank robbers in the new thriller Inside Man and he is the only robber we will get to know throughout the film. His accomplices are innumerable and so well hidden you will have a hard time keeping track of how many of them there are. One or two of them strip off the painting gear and mingle with the crowd and because their looks are so indistinct, they easily slip into the crowd of bank customers who are now hostages.

Opposite Russell and his cohorts is a clever detective and hostage negotiator named Keith Frazier, played by Denzel Washington. In a few quick, establishing scenes we find that Detective Frazier is under investigation by internal affairs over some missing money in a drug case. Thus, why he and his partner, played by the excellent Chiwetel Ejiofor, are not the boss's first choice to take over the hostage situation now unfolding at First Manhattan Bank. Add to that the fact that this will be their first hostage negotiation as the lead detectives, and you can understand why the department is nervous.

Finally, there is one more angle to play out in the elaborate and clever plot of Inside Man. This one involves a woman of mysterious political influence, Madeline White, played by Jodie Foster. Her job is to help high-profile millionaires keep hidden deep, dark and destructive secrets. Her new client? The owner of First Manhattan Bank Arthur Case (Christopher Plummer).

Now aware that his bank is being robbed, Mr. Case is deathly concerned about something he has hidden in a safe deposit box in the bank. He knows Madeline only by reputation. She fixes big problems by any means necessary and seems to have no moral hang ups. By the time the story plays out she will have used her considerable influence to get a face to face meeting with the bank robber Dalton Russell and live to tell about it.

Directed by Spike Lee, Inside Man does not reinvent the wheel in terms of suspense or the heist genre. What it does is take the familiar elements of the genre and simply do them better than other similar films. Working from a clever, but not exactly groundbreaking, script by first-time screenwriter Russell Gewirtz, Lee directs his first straight-edge thriller with little or no direct social commentary, his usual milieu.

The trick Spike Lee pulls off in Inside Man is bringing his considerable talent and intelligence cache to bear on a very familiar plot and genre. The film works because Spike Lee is a very talented director who knows how to build tension and suspense with his camera and by allowing his talented cast to do what they do without the interference of typical plot points.

Yes, those typical plot points, the negotiation, the red herrings, et al, are still there but the actors are not required to play to those elements. Rather they play around them allowing us to bring our own experience with this type of film into our understanding of the plot. Listen to the actors casually reference other so called heist pictures. Consider those mentions as signposts reminding us in the audience we are watching a heist picture. Meanwhile the actors play to the beat of their characters which gain depth and complexity with each passing scene.

Inside Man is a brilliantly constructed thriller patched together by arguably the best director working today. It serves not only as a wildly entertaining genre film, but also a reminder of Spike Lee's talent, which has gone atrociously underappreciated in recent years as films as disparate and exceptional as Bamboozled, She Hate Me and 25th Hour have come and gone with little notice. Watch Inside Man and remember, Spike Lee is still a genius.

Many indie artists have talked about the few mainstream compromises they must make to finance more relevant projects. The dichotomy comes down to one for the suits at the studio and then one for me. Until his recent box-office struggles, Spike Lee never had to make such a compromise. If Inside Man is the kind of studio compromise that Spike Lee must make to get his more relevant features made, then bring on the compromise.

Lee's skill with the thriller genre more than rivals his skill with social commentary.

Movie Review: Elizabeth The Golden Age Starring Cate Blanchett

Elizabeth The Golden Age (2007) 

Directed by Shekhar Kapur 

Written by William Nicholson. Michael Hirst 

Starring Cate Blanchett, Clive Owen, Geoffrey Rush, Rhys Ifans, Abbie Cornish, Samantha Morton 

Release Date October 12th, 2007

Published October 11th, 2007 

It's been less than a decade since Cate Blanchett burst upon the scene in Elizabeth. Up till then; a working actress in England, 1998 saw Cate Blanchett get the role of a lifetime playing the virgin queen Elizabeth, one of the most revered figures in English history. Now Ms. Blanchett returns to the role that earned her an Oscar nomination. Elizabeth: The Golden Age falls well short of the dramatic heights scaled by the original. However, Ms. Blanchett is as regal and beautiful as ever and finds just the right grace and style to keep The Golden Age from tipping over into utter melodramatic disaster.

Picking up less than a decade from where Elizabeth left off, Elizabeth The Golden Age finds Queen Elizabeth presiding over a divided country. Christians and protestants are at odds all over Europe and in Spain King Philip (Jordi Molla) is leading the christian cause with his Spanish Inquisition. In England, the struggle of Christians is epitomized by Queen Elizabeth's rival, Mary Queen of Scots (Samantha Morton), who English Christians have claimed as their true queen.

While trying to avoid a holy war of a religious division as well as actual war with Spain, Queen Elizabeth is looking into the idea of marriage as a diplomatic tool. She finds few of any of England's allies to be a suitable match. However, there is an Englishman who has caught her eye. His name is Sir Walter Raleigh (Clive Owen).

Freshly returned from America, where he established the colony of Virginia in honor of England's virgin queen, Raleigh begins a flirtatious dance with the queen as well as with the queen's closet friend Annette (Susan Lynch). With war against Spain imminent and Mary Queen of Scots scheming in secret with potential assassins, the last thing the queen needs is romantic drama. Can Elizabeth balance her personal life with the duties of royalty and protecting England? Historians are likely snickering at such a question.

Elizabeth: The Golden Age plays fast and loose with history in order to craft a daytime soap opera of epic proportion. The grand guignol drama of Elizabeth is often worthy of the catty likes of Dynasty or Melrose Place. Just watch the hissy fit that Blanchett's Elizabeth is forced to play upon learning of Raleigh and Annette's affair. Heather Locklear on her best day could not have done better. That Ms. Blanchett is only momentarily set back by such lame histrionics is a true testament to her talent.

Director Shekar Kapur's true talent is opulent settings and grand costuming. Elizabeth: The Golden Age will no doubt compete for Oscars in set design and costume for the lavish colorful creations of Kapur and production designer Guy Dyas and costumer Alexandra Byrne. The lush beauty of Elizabeth The Golden Age and Cate Blanchett's ability to act and perform the work of a wonderful clothes horse, nearly make Elizabeth The Golden Age worthy of a recommendation. Nearly. 

Playing from a soap opera level narrative; Cate Blanchett pulls off an exceptional performance. Her Elizabeth is quick witted, cunning and brave with vulnerability that is very disarming. She is as strong in ostentatious costume as she is in battle armor preparing to lead her soldiers into battle. It's stunning how powerful Blanchett is in overcoming what is a truly underwhelming script.

Clive Owen and Geoffrey Rush also fight their way through the histrionics of Elizabeth: The Golden Age to varying success. Owen does spark with Blanchett in their few romantic scenes. In fact they spark so well that it's impossible to believe that Owen's Sir Walter would go for Susan Lynch's winsome girl Annette over Blanchett's blazing, womanly Elizabeth. As things play out, the only reason we see Owen with Lynch is because history recalls Elizabeth as the virgin queen.

As for Geoffrey Rush, the script truly lets him down. As Elizabeth's long time consigliere he is forced by this narrative to be blind and foolish until he is not. There is a subplot with his brother that is supposed to explain his foolish behavior but it's botched so badly that Rush's character is left adrift. Rush is far too good an actor to play a character made to look this silly. 

There is the potential for yet another Elizabeth movie if rumors are true. The virgin queen did live for many years past the end of The Golden Age. Fans of Shakespeare In Love will recall that an elder Elizabeth, played in Oscar winning glory by Dame Judi Dench, presided over the era of Shakespeare's England. I'm not at all opposed to seeing Cate Blanchett reprise this role as even in this supremely flawed film she is an electric performer.

Here's hoping another Elizabeth can be more than merely an opulent example of how beautiful Cate Blanchett is in very expensive costumes.

Movie Review Gemini Man

Gemini Man (2019)

Directed by Ang Lee 

Written by David Benioff, Billy Ray, Darren Lemke

Starring Will Smith, Clive Owen, Mary Elizabeth Winstead, Benedict Wong 

Release Date October 11th, 2019 

Published October 10th, 2019 

Gemini Man stars Will Smith as Henry Brogan, the world's foremost assassin. We meet Henry in the midst of a mission. Henry is perched on a mountain top waiting for a train. Henry's task is to kill a potential terrorist who is aboard this high speed, moving train. Henry is going to attempt to assassinate his target from 200 yards away while the train is moving. It's a shot only a few people in the world can make and Henry Brogan does not miss. 

Unfortunately, Henry doesn't actually know who this target was. The information given to him by his intelligence handler says the man was a scientist working to create weapons for terrorists. In reality, the man was working for the American government. The assassination of this man has put Henry on someone else's hit list. Henry was set up and to stay safe, he will have to go on the run and try to find the people who set him up. 

Opposite Henry and looking to take him out is Clay Veras (Clive Owen). Veras is Henry's former commander and the man who set Henry up. He's now also in charge of capturing or killing Henry now that he's a fugitive. Veras has a small army at his command as an independent military contractor but he's not going to use it. Instead, Clay has something more unique in mind. 23 years ago, Veras extracted Henry's DNA and set about creating a clone of his best assassin. The goal was to raise a new Henry, one with fewer flaws and no conscience. 

Gemini Man was directed by Ang Lee and produced by Michael Bay from a script by David Benioff (Game of Thrones) and Billy Ray (Shattered Glass). The premise of the film is clever and with Ang Lee at the helm, Gemini Man has a sheen of professionalism and a genuine narrative energy. The look of Gemini Man is crisp and expensive with strong cinematography and the unique look of an Ang Lee movie with his odd angles and use of closeups. 

Late period Will Smith movies showcase Smith's choice to appear dignified at the expense of his charismatic energy. He's still a movie star handsome but less lively and energetic as in his earlier work such as Bad Boys or Men in Black. No longer chasing jokes, Smith is now more eager to appear youthful in action than in spirit. It's a tradeoff that doesn't resonate with me but I understand it. While I might prefer the more lighthearted version of Smith, his late period self-seriousness does lend gravity to the sci-fi lite aesthetic of Gemini Man. 

In Gemini Man we see a youthful Will Smith CGI recreation and it's relatively convincing outside of a couple of rubbery, early 2000's shots. The narrative of the young Henry Brogan, nicknamed Junior by Owen as his surrogate father, is rather apt for who Will Smith is now. It's as if the current Will Smith had had his charismatic, live wire energy bred out of him in order to create a more perfect action star, badass persona. 

Gemini Man is convincing enough in its technology and that lends a strong helping hand to the action which is legitimately pulse-pounding. I was genuinely excited throughout Gemini Man by the big action set pieces, especially chases through Cartagena, Columbia, and Istanbul, Turkey in which young and old Will Smith match each other move for move with the older Smith able to repeatedly out-wit the younger version despite the younger version having superior physicality. 

Strangely, Gemini Man is light on the identity aspect of the story, the one you might expect to drive the plot more. Despite this being an Ang Lee movie with a script by a pair of writers who know a little about crafting characters, Gemini Man appears to be far closer to the vision of Jerry Bruckheimer rather than three authorial voices. The action of Gemini Man is far more at the heart of the movie than any examination of the notion of battling oneself to find peace. 

The theme of identity is so subtle as to only be implied just by the premise. Gemini Man rarely slows down long enough for Henry to think much about what it's like to face a version of himself that is trying to kill him. I appreciate the subtlety to a point. That said, there appears to be a scene missing that might deepen the subtext into something more memorable. Instead, the character of Henry Brogan appears to find it notable that he's facing a clone of himself but not enough for him to spend much time thinking about it. 

The script appears to take the easy way out rather than go into depth about the moral quandaries of being a professional killer. Instead, the movie appears to prefer the moral question of whether cloning is right or wrong, a quaint notion that feels like something from a movie in the 1990's. I'm not saying the argument over genetic cloning has been resolved but it hasn't been top of mind since Dolly the sheep was a thing. Thus why it feels quaint and more than a little bit of a cop out to be the moral crux of Gemini Man. 

It occurs to me now that I am nearing the end of this review that I have not once mentioned actress Mary Elizabeth Winstead who plays the female lead in Gemini Man. So forgettable, underwritten and unnecessary is the character of Danny that I barely remembered to mention her. That's not a commentary on Winstead's performance, she's solid. Rather, it's a commentary on how bereft of interest in female characters that the filmmakers are. 

At a loss to do anything with the character of Danny, since she is not a romantic interest of either Henry or his clone, the filmmakers turn her into a plot convenience, she's there to move things along as needed, or as a nod to the modern aesthetic of the tough chick, the strawman of modern feminine empowerment. Through the character of Danny the filmmakers are saying "Hey look, she can beat up a guy. See, how progressive we are? She may not have complexity but she can do what the boys can do so we can consider ourselves progressive by association." 

That said, I don't hate Gemini Man. It's legitimately well made with a terrific pace and gripping action. Ang Lee is a pro director and the fast paced action kept my attention while the Will Smith characters invested me in their story. I don't think there is much more to Gemini Man than cheap thrills but as cheap thrills go, it's better than many other action movies. Will Smith is still an actor I am eager to watch in a lead role and I still enjoy his personality, even as he has dialed back on the aspects of his personality that I have always found most appealing. 

Gemini Man is worth seeing on the big screen, if there isn't something you are more interested in seeing. It will also be a solid bit of distraction on Blu-Ray, DVD or streaming early next year. 

Movie Review The International

The International (2009) 

Directed by Tom Tykwer

Written by Eric Warren Singer

Starring Clive Owen, Naomi Watts, Armin Mueller-Stahl, Brian F O'Byrne 

Release Date February 13th, 2009 

Published February 12th, 2009 

Director Tom Tykwer is best known for the cult classic Run Lola Run, a film that consists of one woman running almost non-stop for nearly 90 minutes with an occasional bit of dialogue and a little gunfire. For his latest and most high profile effort to date, the new thriller The International, Tykwer applies a similar formula as Lola only with a little more dialogue and gunfire but still plenty of running.

Clive Owen stars in The International as an agent of Interpol on the trail of the shady dealings of a devilish bank. This bank, run from Luxembourg, is weeding its way into the international arms market. To get there they engage in assassinations to smooth their way.

Anyone who has ever stood against the bank has died and now Clive and his partner, a New York district attorney played by Naomi Watts, are at the top of the hitlist. They must gather the evidence they need to bring down the bank before the bank's killers bring them down permanently.

The International has a certain timeliness to it that may appeal to the American zeitgeist or hit too close to home. Bankers and banks in the day and age of bailouts and bonuses make great boogeyman. Who wouldn't want to see Clive Owen kicking some banker butt. On the other hand, those who subscribe to the theory of movies as escapism may be turned off by leaving banks on CNN on their TV and finding more bankers in their movie theaters.

The filmmakers don't have anything to say about bailouts or bonuses, the movie instead bores us conspiracies involving debt accumulation. Thankfully, it doesn't linger too long on the conspiracy before director Tykwer gets to what he does best, running and shooting.

The International is a run and shoot movie. There is running and shooting in Luxembourg, running and shooting in Rome and running and shooting in New York City in an explosive and dazzling scene set inside the famed Guggenheim museum. Using the famed architecture to great advantage, the makers of The International craft one of the best gun fights we've seen at the movies in a very long time. This scene alone may be worth the price of a ticket.

The International is a movie of great energy and action invention. Clive Owen in all his rumpled, 5 O'clock shadowed glory sells the dull conspiracy by keeping the intensity at a constant simmer and managing to keep up with his director's hectic pacing. For the fan of big time action only, I recommend The International.

Movie Review Megalopolis

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