Movie Review The Book of Eli

The Book of Eli (2010) 

Directed by The Hughes Brothers 

Written by Gary Whitta 

Starring Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Michael Gambon

Release Date January 15th, 2010 

Published January 14th, 2010 

I would characterize myself as an agnostic. I don't believe in a higher power but I am open to the idea that I myself am not all-knowing. How does my lack of faith inform my criticism? It doesn't really. The fact is Hollywood gives so little consideration to religion that it rarely comes up in a review. The new post-apocalyptic thriller The Book of Eli is, arguably, the most religious and faithful movie I have seen since I have been a critic. Rarely has religion been so unquestioningly treated in a movie and in all places, a big budget, ultra-violent, Denzel Washington thriller.

In The Book of Eli Denzel Washington plays the Eli of the title. Sometime in the distant future the world is a wasteland and Eli is simply walking. He knows where he is headed, west, but what he intends to find at the end of his journey, even he doesn't know. Eli is protecting a book that he is convinced can save what is left of humanity. Eli's travels take him through the tiny, barely civilized fiefdom of a man named Carnegie (Gary Oldman). Having discovered a rare source of clean water, Carnegie has used it as a way to create a small kingdom that he protects with roving gangs of motorcycle riding henchmen.

The henchmen are searching for a book that Carnegie is desperate to get his hands on and wouldn't you know it, it's the same book that Eli is desperate to carry west. These two were destined to meet and fight and surely one or both of them will die. Standing between the two is Carnegie's daughter Solara (Mila Kunis) who is drawn to Eli's quiet purpose driven life but also wants to protect her mother (Jennifer Beals) from her father's violent tendencies. She joins up with Eli in hope that he will teach her the fighting skill he uses to protect the book.

Directed by the brilliant brother duo Albert and Allen Hughes, The Book of Eli is gritty yet stylish in its post-apocalypse. The Hughes Brothers are masters of atmosphere and tense showdowns and when Denzel backs up under a shadowy overpass to fight off some cannibalistic bad guys, the flash of his super-cool sword cutting body after body is an awesome sight.

Denzel Washington is perfectly cast as Eli, a man of devout faith who prays nightly and knows the bible by heart. In this future the bible has been all but destroyed and Eli is a last man of faith. Carnegie too seems a man of faith but is really a charlatan who hopes to use faith as Roman Emperors did to control a weak minded populace. This tension drives the conflict as does the book Eli is carrying is a classic MacGuffin with a strong pay off.

Though I am not a believer, religion in movies doesn't bother me. In fact, I am more often irritated with movies that pretend religion doesn't exist. Characters in horror films rarely seem to pray when faced with certain death. Sci-fi too often belittles the millions of people of faith in favor of technology as a pseudo-religion.

It is terribly unrealistic for movies to ignore the millions of earnest believers who attend dutifully to their faith. The Book of Eli is the rare movie that takes religion and faith deathly seriously and while the hardcore violence may not exactly be Christ-like, it is in service of a character who is serious about his faith in God.

The Book of Eli is intense and violent but also devout and earnest about Eli's faith. Religious folk may be turned off by the grit and violence but they will no doubt appreciate the Hughes Brothers straight forward portrayal of Eli as a solemn, faithful soldier in service of God.

If the God stuff makes you uncomfortable, you can still appreciate the very cool ways in which the Hughes Brothers frame Denzel Washington slicing and dicing bad guys. Whether it's the stellar overpass scene or a Tarantino-esque bar fight scene, The Hughes Brother and Denzel know how to get their violence on.

The Book of Eli is gritty, bloody, tense and faithful all in one terrific movie.

Movie Review: Catch that Kid

Catch that Kid (2004) 

Directed by Bart Freundlich 

Written by Michael Brandt, Derek Haas 

Starring Kristen Stewart, Sam Robards, Jennifer Beals, Max Thierot, Corbin Bleu, James LeGros

Release Date February 6th, 2004

Published February 5th, 2004

With the success of Spy Kids, a whole genre is springing up - the Kids Action-Adventure movie. The newest example of this burgeoning genre is the kiddy heist flick Catch That Kid. Based on a Danish blockbuster called Klatretosen, Catch That Kid is a clever little heist picture with three terrific young actors and a director, Bart Freundlich, who's previous work would never lead you to believe he could pull this off.

Kristen Stewart stars as Maddy Phillips, the adventurous daughter of a mountain climber (Sam Robards), who once climbed Mount Everest. Unfortunately, Dad had a massive fall in his climb and now would prefer his daughter not climb. Maddy's mother Molly (Jennifer Beals) absolutely forbids her daughter from climbing. Of course, when we first meet Maddy she is scaling a water tower while on her cell phone lying to her mom.

Maddy's dad owns a local go-cart track where Maddy's friend Gus (Max Thierot) is a mechanic building engines for his brother’s go-carts. Maddy doesn't know it but Gus has a huge crush on her. So does Maddy's other friend Austin (Corbin Bleu), a computer geek who's skills will no doubt come in handy later in the film.

The film’s heist plot is set in motion when Maddy's Dad is suddenly struck paralyzed from the neck down, a recurring injury from his fall. The doctors say he will never walk again unless he can get to Europe for an experimental surgery. Unfortunately, that surgery costs 250 grand, money the family surely does not have. There is hope that Maddy's Mom may be able to get a loan from the local bank where she is currently installing a high tech security system but the evil bank manager Mr. Brisbane (Michael Des Barres) denies the loan.

So with the help of her friends, Maddy concocts an elaborate heist that will incorporate Gus' mechanical skills, Austin's computer skills and her climbing ability. While Gus plans the getaway and Austin cracks the security, Maddy must scale the bank walls and climb nearly one hundred feet in the air where the vault is suspended, part of a very cool, very complicated security setup that makes the film’s heist sequence a lot of fun and separates it from other heist films. Maddy must also watch her baby sister, while pulling this off, a nice comic touch.

While there is something a little unseemly about pre-teens who turn to crime in order to solve their problems, the film deftly dances around such moral quandaries. Director Bart Freundlich, who previous films were the adult dramas World Traveler and Myth Of Fingerprints, surprises us with his ability to direct such light, fun material. The pacing keeps the audience from worrying too much about the moral of the film and more focused on the action and the likable characters.

The young actors, especially Kristen Stewart, are terrific. It's the adult characters who are the problem. Jennifer Beals and Sam Robards don't have much screen time so they make little impression. Michael Des Barres as the villain is truly dreadful. The former rock singer preens and chews screen and just stinks up the screen whenever he is on. John Carroll Lynch has a small role as an assistant bank manager and like Des Barres, he is utterly grating.

Still there is enough good about Catch That Kid to outweigh the bad. Especially young Kristen Stewart who should have a big career ahead of her. The plot is fun and surprisingly original and exciting. As long as the film keeps it's pace and it's villains to a minimum, it's not a bad flick. A good way for mom and dad to kill an afternoon with the kids. On an odd note, the film was released under two different titles, Catch That Kid and Mission Without Permission. The film retained the title Mission Without Permission for certain foreign markets.