Review: Olympus Has Fallen (2013) is violent and stupid, a 'direct-to-VHS Die Hard rip-off' on steroids.

Olympus Has Fallen
2013
120 minutes
Rated R

by Scott Mendelson

If taken at face-value, Antoine Fuqua's Olympus Has Fallen is pretty much morally indefensible. Written by Creighton Rothenberger and Katrin Benedikt, the film offers a level of jingoistic fear-mongering  the likes of which are more commonly associated with a 1980s Chuck Norris vehicle and/or the likes of Cobra.  It is astonishingly violent yet acts as if the safety of a single person is all that necessitates a happy ending.  While the slightly similar 'president in peril' epic Air Force One at least implicitly asked what cost in lives should be spent to preserve the life on a man who happens to hold a certain elected office, Olympus Has Fallen has no such weighty ideas on its mind.  It is not so much a Die Hard rip-off but a high-budget ($80 million) ode to the flurry of cheapie straight-to-VHS knock-offs that flourished in the late 1990s, complete with simplistic plotting and implausible levels of violence.  It isn't terribly smart and it peaks in the first act, but damned if I didn't enjoy the picture nonetheless.

Review: Dead Man Down (2013) shoots itself in the foot with a moronic and wrongheaded finale.

Dead Man Down
2013
110 minutes
rated R

by Scott Mendelson

Up until the very end of the picture, Dead Man Down is a mostly serviceable crime drama.  It has fine work from Colin Farrell and Noomi Rapace along with worthwhile supporting turns by Terrance Howard and the always appreciated Domonic Cooper.  It doesn't set out to turn heads or reinvent the wheel, but it tells its grim story of revenge and tortured romance with just enough aplomb to merit a casual viewing.  But oh that ending... I have no idea what screenwriter J.H. Wyman or director Niels Arden Opley were thinking and I can theoretically give them the benefit of the doubt that they just couldn't decide on a thoughtful finale.  I'd like to think they just gave up and went on 'bad screenwriting autopilot'.  It's frightening to think that these two professionals thought that the last reel constituted a worthwhile conclusion to their otherwise worthwhile yarn.  It's tough to review a movie where your biggest gripe involves the very end without actually revealing what happens at the end, so maybe we'll get to that later.

Trailer: Olympus Has Fallen looks like a terrific old-school action blast with a cast to die for.

Good lord this looks like great fun!  If this is supposed to be the "B-Level" movie about terrorists taking over the White House (proceeding the Channing Tatum/Jamie Foxx action thriller White House Down), then I can't imagine how good that Roland Emmerich action picture might be.  Antoine Fuqua is a generally solid action filmmaker and the cast (Gerald Butler, Aaron Eckhart, Morgan Freeman, Dylan McDermott Ashley Judd, Melissa Leo, Cole Hauser, Angela Bassett, Robert Forster, and Rick Yune) is to die for.  Yes it's mired in cliche, but tell me you didn't grin a little bit when you correctly predicted Butler gravely intoning "I'm the best hope you have!".  It's a little odd to have Ashley Judd for such a small part, unless A) she's still alive in the end or B) she wanted a paycheck to finance her probable US Senate run in 2014.  Either way, this looks like an old-school action blast from the proverbial past, a gee-wiz Die Hard/Air Force One hybrid that is hopefully high-energy, production value-rich, genre fun.  Olympus Has Fallen opens on March 22, 2013.  Come what may, it looks like we may get at least one good Die Hard movie this spring after all.  This one was barely on my radar and now it's among my top must-sees of the season.  Nice work, Film District marketing!

Scott Mendelson

Trailer: Looper looks like an old-school 'movie' in the best sense of the word.

Well, this looks like pure unadulterated genre fun.  Yes it looks not all-that different from any number of action thrillers, but I'm the guy who gave a "B" to Lockout.  Kudos for apparently casting Emily Blunt as something other than the stock love-interest (Piper Perabo seems to be filling that role, despite being five-years older than Joseph Gordon-Levitt no less). Kudos for getting the exposition out of the way and not revealing all-that much after the first-act hook.  There are certainly hints of twists and turns (Jeff Daniels looks like a walking story turn) and this looks like a rock-solid B-movie blast.  Point being, this is another fine example of the most promising trend of the last few years: the return of the 'movie'.  You know what I mean.  It doesn't cost $150-$300 million.  It has real stars and real character actors playing in the genre sandbox.  It's not based on a well-known source material and it may even be wholly original.  It's not a tentpole or would-be franchise starter, it's just (hopefully) a good story well-told with good actors delivering sharp dialogue.  You know... a 'movie'.  *That's* what Looper looks like and what it represents.  Looper drops September 28th.  As always, we'll see...

Scott Mendelson 

Review: Lockout (2012) delivers distinctly 1990s-style B-movie action goods.

Lockout
2012
95 minutes
rated PG-13

by Scott Mendelson

The funniest moment in Lockout, especially in hindsight, is a credit that appears which states that the film is 'based on an original idea by Luc Besson'.  Written and directed by James Mather and Stephen St. Leger, the film is the sort of genre rip-off that is so old that it almost feels new again.  This film is as unoriginal as a movie can be without being a sequel, remake, or reboot.  That it is none of those things inspires a token amount of warm feelings, which in turn says something about the state of the industry.  Guy Pearce may be attempting to create a new Snake Plissken, but the film's template is pure unadulterated Die Hard.  More than that, Lockout feels less like a riff on Die Hard than a science-fiction and comparatively large-budget variation on the countless direct-to-VHS Die Hard rip-offs that prospered during the uber-late hours of HBO-5 or Showtime-6 just before DVD hit the mainstream.  With occasionally awful special effects, a bare minimum of decent acting, and a down-and-dirty sensibility that belies its existence as a mainstream theatrical feature, Lockout feels less like Die Hard on a space prison as No Contest on a space prison.      

Review: Torn between being a stand-alone drama and an all-encompassing history lesson, Angelina Jolie's ambitious In the Land of Blood and Honey (2011) is the very definition of a noble failure.

In The Land of Blood and Honey

2011
127 minutes
rated R

by Scott Mendelson

Angelina Jolie's director debut is caught between two very specific goals.  On one hand, it wants to be a thoughtful, adult romantic drama that happens to be set during a period of rather ghastly civil war.  On the other, because there really hasn't been a major motion picture set during the Bosnian war that raged primarily from 1992-1995, writer/director Jolie feels a need to craft a somewhat definitive account of the conflict. As a result, much of the picture feels like a glorified book report, with characters ham-fistedly explaining the nature of the conflict, the living conditions of the victims, and character arcs.  The film constantly violates the 'show-don't-tell' rule, with lead characters explicitly stating their emotions and their character arc.   Like Atom Egoyan's Ararat (which dealt with the 1915 Armenian genocide), the film spends much time feeling less like a movie and more like a verbal power-point presentation.  The film earns kudos for revealing a bit of somewhat forgotten history, and it deserves plaudits for telling its story from the point of view of actual participants, rather than 'an outsider looking in'.  But no matter how noble its intentions, the film fails as a history lesson and a stand-alone drama.