Sabotage: a D.E.A. legend and his off-the-rails team of undercover NARCs are being hunted down by a cartel for skimming off $10M of the gang’s money in a recent raid. I know, I know, this one’s never going to win any awards – but in a world where studios are pussying out of 18-rated movies right, left, and center this is like a breath of fresh (or rotten) air. A dark, violent, dingy film that harks back to the 70s–90s cop films that had plenty of grit and edge. From the writer of Training Day, Street Kings and End of Watch you know you’re in good hands here. Machismo’d to the rafters, there’s a whole lot of big-dick swinging, heavy swearing, ‘cop banter’ – and the women in here are strippers, ‘sluts’ or a general nuisances to the lads. The story’s not as black-and-white as it first seems, and neither are the characters – as the film balances both intense action scenes with a well-crafted thriller storyline. You either love these sort of films, or you hate ‘em; and for me, Sabotage is a decent, violent cop film with a rock-solid ensemble cast and an interesting enough story to keep you tuned in.
Captain Phillips (Mild Spoilers): the Maersk Alamaba cargo ship gets hijacked by four AK-47 wielding Somali pirates whilst navigating ‘round the dangerous ‘Horn of Africa’. I can never tell if Tom Hanks is really good, or really samey (in the same way that Tom Cruise is always Tom Cruise) – although the only dodgy part of this performance was his accent. Unfortunately the film peaks too early, in the nerve-shredding boat boarding set piece, which even the big finale doesn’t live up to. Like most films at the moment, it’s a little flabbier than it needed to be, out-staying its welcome, with a hyper-extended finale in the cramped lifeboat, in which Greengrass slowly loses his grip on the audience. Also, if you know anything about legendary sniper shots, you’ll know how the film ends before you step in to the cinema, which is a bummer! All-in-all, a solid film – but note quite Oscar worthy.
Colombiana: when her parents are killed in front of her as a child, Cataleya spends the next 15 years training as an assassin, and plotting her revenge. Despite being a bog-standard assassin story this has the advantage of having a decent actress as the star – Saldana nails the portrayal of a complex ‘hitwoman’. The action throughout is above standard, right until to the close quarter combat scene at the end, which gets horrifically minced up in the editing. There’s some generic Latino music, and general stereotyping throughout, and with Luc Besson taking a writing credit this covers no new territory for him, but in the same breath, it shouldn’t disappoint any of his fans. As far as hitman flicks go, this one’s rock solid, and as sexy as they come.