Lone Survivor [Title Spoiler: only one of ‘em survives]: follows a Navy Seal team as their recon mission goes south and they’re ambushed by Taliban militia. From the get go it’s a flag-waving military recruitment advert; glorifying the ‘Army Bro’ lifestyle and full of manipulative shots: wide aperture, emotional music, golden hour lighting. It takes a while to get going, but when the action starts the movie completely shifts gear. After a quick round of various viewpoints on killing potentially dangerous civilians (also the only real characterisation we get) there’s an epic, sustained and very intense action scene, that goes on just long enough to become a bit silly; as the protagonists are shot dozens of times but keep limping on, literally throwing themselves face first down massive cliff faces while mowing down seemingly infinite hajis with seemingly infinite clips of ammo. This set piece is grittier than most too, with blood splattering headshots, close-ups of wounds, shrapnel surgery – not much left to the imagination. This kind of action, and the way it’s shot make the film feel more like a HK influenced heroic bloodshed film than a traditional army or Hollywood action movie. The final five minutes are a tribute to the dozens American soldiers that died in this operation; a nice touch, but ultimately raises more questions about why America perpetually sacrifice so many young people to interfere in the middle-east. As a War Movie, Lone Survivor is pretty light, but as a no-brainer action film it works spectacularly, with one of the best gun battles in recent memory.
“Been around the world twice. Talked to everyone once. Seen two whales fuck, been to three world faires. And I even know a man in Thailand with a wooden cock. I pushed more peeter, more sweeter and more completer than any other peter pusher around. I’m a hard bodied, hairy chested, rootin’ tootin’ shootin’, parachutin’ demolition double cap crimpin’ frogman. There ain’t nothin’ I can’t do. No sky too high, no sea too rough, no muff too tough. Been a lot of lessons in my life. Never shoot a large caliber man with a small caliber bullet. Drove all kinds of trucks. 2by’s, 4by’s , 6by’s and those big mother fuckers that bend and go ‘Shhh Shhh’ when you step on the brakes. Anything in life worth doing is worth overdoing. Moderation is for cowards. I’m a lover, I’m a fighter, I’m a UDT Navy SEAL diver. I’ll wine, dine, intertwine, and sneak out the back door when the refueling is done. So if you’re feeling froggy, then you better jump, because this frogman’s been there, done that and is going back for more. Cheers boys.”
Contraband: a struggling ex-con must secure his family’s safety by doing one final smuggling run. Being a re-make of Rekjavik-Rotterdam, Hollywood does what it does best and strips out a lot of the smaller background stories, characters, undertones, and relationships that thickened up the original plot, and raised the stakes a little more. Wahlberg‘s steady, but disappointingly typecast as the everyman, and costume-wise, could be from any previous film. This is all minor compared to Giovanni Ribisi, what the fuck is he doing!? His lines were delivered in the most ridiculous accent I’ve heard in years. The rest of the supporting cast really do keep the film propped up, although nobody’s particularly stretched. It’s well-directed, with the urgency maximised and lots of nice shots that play with focusing – it feels quite European / independent. There’s a decent gunfight in the middle (audio is immense) and in true modern heist fashion lots of loose ends are tied up in the final 15 mins. Unfortunately, New Orleans felt like an excuse for decent music, and nothing more. As expected, this is pretty much a cut-down, edges-smoothed, version of the original. It’s decent, but I’d suggest seeking out the original instead.
The Mechanic: after wiping out his boss and mentor a Mechanic (Hitman) takes it upon himself to train the boss’s wayward son – but will the son find out his dirty secret… What can you really say about this one? Jason Statham playing another Jason Statham character in a Jason Statham film for the umpteenth time – if you don’t know the drill by now, please exit the cinema quietly. The story’s 100% predictable, right down to the very last Statham scene – absolutely no surprises. On the other hand the acting’s generally pretty damn fine and although there’s not as much Statham action as you’d expect, it’s all done really well and there’s some really memorable Statham deaths. Knowing what kind of Statham film this is – and needs to be – everything is geared at the lads; there’s the gratuitous nudity & Statham sex scene, antique cars, and laughable close up shots of manly men (i.e. Statham) firing big guns with huge bullet casings flying out the side. The fantastic Statham script pleases the crowd, with all the cheeky Statham hard-man line’s you’d expect; someone even tells Statham: “I’ll put a bounty on your head so big you own reflection will want to shoot you in the face” a quality Statham film line by any previous film standards. Disappointingly, there are two major distractions from this Statham fest in Ben Foster‘s scrawny little tramp beard and ridiculously shitty French muse hat – no points to the costume designer! If you like Statham doing his Statham thing in a Statham film this will certainly not disappoint Statham fans. The mechanic is nothing new, or nothing original but it’s a well-excecuted popcorn action flick. Statham!
Pandorum: pseudo-psychological space thriller about humans re-populating an earth-like planet. It’s essentially half Alien and half Sunshine. The shaky-cam turns all of the promising action scenes into a blurry mess, and all the ‘scary’ moments were just really cheap, and loud, jumps. A lot of the events are a bit convenient, but the technology’s believable and there’s some space-cleavage thrown in for the lads. The ending felt a bit rushed, rubbish and pretty predictable. Middle of the road space flick that offers up nothing new.