Mechanic Resurrection: a retired hitman gets pulled back into action when his new girlfriend is captured and he’s forced to whack three seemingly unconnected criminals. Being the sequel to a somewhat derivative remake expectations going in aren’t exactly high; but the film just about meets them. Everything that isn’t an action/fighting scene is there to set up the next action/fighting scene; including a nonsensical plot and some ultra-dubious character motivation: within 10 mins a pragmatic contract killer has fallen and is risking it all for a random babe?!? It’s also ‘subconsciously Bond,’ with multiple exotic locations, submarine pen shootout, Rio cable cars, exploding boats etc. Not content leaning on one franchise, the story’s also centered around three “Impossible missions”: a prison kill, swimming pool kill, and boat-chaos… all fun, but none are particularly tense as Arthur Bishop never loses the upper hand. We get a rent-a-baddie (Hazeldine) with no charisma, personality, or memorable traits; and a rent-a-babe (Alba) with a suspiciously small wardrobe and whose cleavage is deeper than her character. On the upside, Jason Statham is back in his bone-breaking action lane; Tommy Lee Jones is chewing it up (but is literally in two scenes) and the film has an aesthetically pleasing, vibrant, Lucy-esque visual style (although some of the CGI is very ropy). Mechanic Resurrection is an uninspired action film with only one reason to watch it; Statham returning to his action roots… if you like mile-high body counts, entertaining dispatches, and Jason Statham punching & shooting his way through obstacles look no further than this.
Criminal Activities [mild spoilers]: when they get a bad investment tip a group of friends try to settle their debt to a mob boss by kidnapping a rival gangster’s family member. I was pleasantly surprised at how entertaining this crime caper was – the henchmen side-story (which stars the director) is particularly rib-ticking. The script and performances are surprisingly funny, but there are so many “Fucks” in here it feels like the film is going for a Guinness record – which is a bit of a shame, as it distracts from the good jokes. There are also some very well handled and well placed moments of serious tension and drama that really sink the hooks in to the viewer. The big issue is that it completely hangs on a very large and very wild twist that you could never have guessed on your own (and requires about 10 mins of runtime to fully explain). I hate lazy comparisons, but this one’s quite unique: think Lock Stock and Kiss Kiss Bang Bang – and you just don’t get many good films in this sub-genre. How much you ultimately enjoy Criminal Activities will depend on your tolerance for a big old slap in the face at the end – although there’s plenty fun to be had on the way.
Blackhat: when a Chinese powerplant is hacked (and blown up) using parts of his old code a l33t h4x0r (‘elite hacker’ to you and I) is released from prison to help the FBI hunt down the threat. Q: how do you sex up a computer attack at the hardware level? A: lots of flashy and swooshy CGI of bits, bytes, circuits, electricity, keyboards, transistors – obviously. Unfortunately, none of the actors really shine, because none of the characters feel developed beyond their required contribution to the story line. Even parts of the plot don’t really work, like the weird romance angle, which feels like it’s just in there to broaden the film’s appeal: strangers becoming sacrificial lovers in a couple of days, just because the film required it. Pushing that stuff aside, you still get a solid Michael Mann film with two big shootouts (a decent one at an airport, and a fucking great one in a shipyard) and a very realistic crime scenario: from the IT Security stuff and hackers evading surveillance, through to the inter-departmental squabbling and larger China-US relations – it all feels authentic. You can see how this film could flop – it’s about hacking / security / information, non of which are popular movie subjects – but I fail to understand the hate/backlash for Mann: he’s one of the few directors that could shoot a dumpster and make it look fantastic; he is pure cinema – abusing colours, locations, and an always-moving camera. Blackhat uses a somewhat wooden story to ask bigger questions about technology and global security – and with all of the slick visuals you’d expect from a world-class director.
To Live and Die in LA: when his partner is murdered by a counterfeiter a rabid secret serviceman will do anything to avenge him. All the classic cop tropes are in here: the three days left on the job veteran, mismatched and reluctant partners, etc etc. However, instead of the one-dimensional ‘good cop bad cop’, we get two complex and grey characters going through a moral minefield. For relatively unknown actors (at the time), the performances across the board are rock solid, particularly young Willem Dafoe’s slimy and menacing ultra-villain. The star for me is Friedkin; his direction here is outstanding and the opening 15 minutes or so has some bold editing, imagery, and musical choices – almost giving the film a bona fide arthouse vibe, and really putting the viewer on the back foot. Everything from an intense crazy car chase (wrong way through traffic) through to nail-biting tension (a split screen break-in) is handled superbly. The plot is the only thing that lets the film down a bit; it’s a simple revenge story that becomes unnecessarily convoluted through lots of tertiary characters and tangents. That being said, the film is always interesting and memorable – with the anti-hero cops on the edge, and characters on the fringes of society in out-of-the-ordinary situations (jail, strip club, dance troupe…) Depending on your tolerance, this film may be ‘too 1980s’ to handle: the fashion, dominating synths, neon title cards, and homo-eroticism that didn’t quite make it to the 90s. I feel sorry for William Friedkin: after two major successes (The Excorcist and French Connection) critics have been queuing up to stick the boot in to everything he’s done since. For my money he’s one of the most rock-solid film-makers, and one of the few that uses the medium to really get in your head – his framing, soundscape, editing, imagery, and commitment to shocks and disruption are awe-inspiring. To Live and Die in LA is an 80s cop film that stands the test of time because of the talent involved – not for the faint-hearted though.
Bring Me the Head of the Machine Gun Woman (Tráiganme la cabeza de la mujer metralleta): a geeky gamer must track down and kill a sexy assassin – The Machine Gun Woman – to save his own life. Although marketed as a Tarantino / Grindhouse flavoured low-budget B-movie it feels more like a guerilla film: short, cheap, and resourceful… natural light, minimal FX, no frills. The plot is split into missions/chapters marked by Grand Theft Auto fonts, and more generally the film is shot from the games’ camera angles, to give the feel the lead is playing his own version of GTA. If you’ve ever watched anyone playing a game like GTA, it’s not that much fun… and while this has a some bloody & violent set pieces, and a few brief nudie shots, it’s nowhere near as wild as it needs to be to keep you engaged with the computer game format. At just over 70 minutes, it’s already very short – but it still struggles to sustain the story and interest in parts. The other problem is that the film would have been better from the machine gun woman’s point of view; giving her more than 15 mins of screen time, and at least a smidgen of back story or motivations – instead she appears in full prostitute–fantasy glory, does some smolderingly sexy posing, kills some guys with ease, then wiggles her beautiful arse back out of shot… I know, I know – it’s not the worst thing you’ll ever see. Bring Me the Head of the Machine Gun Woman tries to mix old-fashioned grindhouse with modern video games, but didn’t have the conviction to sustain either – e.g. the classic ‘film grain’ effect is only put on the first and last few minutes. Less like Machete, more like MaShoeString (Budget). Sorry you had to read that, it was the best I could do. A serviceable film for the teenage male gamer market.
B-Movie Score: 6/10
The November Man: a lethal ex-CIA agent is brought back in for a simple extraction that tangles him up with a Russian politician, the CIA, and his former protegé. It’s one of those films set in the Soviet Bloc in which ‘everebadee talkz Eengleesh‘. It also boasts two former James Bond stars reprising the best bits of their roles – and for what it’s worth, it’s great to see Broz’s charisma again as he pouts and shouts his way from scene to scene in a antiheroic fashion. For a political/thriller there’s more than enough solid action scenes: car chases, foot chases, gunfights (complete with some John Woo style jumping / slow mo). There’s a shape-shifting plot that’s fun to follow, especially because the entire film is back to back plot-action-plot-action, that only briefly dips in the middle. It’s not all roses however; some of the sub-plots (like the mentor / master angle) feel very clunky, there’s a couple of weird directorial choices (like mad Dutch angles everywhere), and the woeful title isn’t explained until last 10 minutes – and it barely makes sense. Most importantly, there’s very little to distinguish this from a thousand other similar sub-Bourne movies based on shady CIA operations. The November Man is a solid – but unremarkable – Spy Thriller that sits just above the middle ground with entertaining performances and action.
In the Electric Mist (Dans la brume électrique): a New Orleans detective is trying to link the murdering of local prostitutes with a 1965 lynching and corrupt local businessmen. So you’re sitting there thinking this is a normal(-ish) police investigation then 40 minutes in BAM! Our lead is taking advice from – and having conversations with – a Confederate soldier ghost… WTF?? For a sleepy town there’s also a whole lotta murdering happening with very little law intervention. Tommy Lee Jones plays the lead pretty well, but as a grouchy, craggy, snarly, old-school detective – it’s nothing we haven’t seen already. By the time the final act rolls round there’s almost too much going on; new murders, old murders, suspicious movie set, troubled film stars, conspiracies, kidnapping. The confusion is compounded by almost everyone having a comically hillbilly name, and some fairly hooky narration. In the end ‘Electric Mist’ is watchable enough, but completely unremarkable, flat, and has a look and ‘vibe’ of a film that could be 20 years older than it is. Ultimately, it’s a pretty big waste of an impressive cast.