Writers: Luc Besson, Adi Hasak
Stars: Kevin Costner, Amber Heard, Hailee Steinfeld, Connie Nielsen
Release date: June 20th, 2014
Distributor: Relativity Media
Running time: 117 minutes
Best part: Costner’s hard-edged performance.
Worst part: The dodgy action-direction.
Known for tear-jerking baseball/ghost flicks and the movie that inspired Avatar‘s by-the-numbers storyline (Dances with Wolves), actor/director/producer extraordinaire Kevin Costner has been thrust back into the spotlight. Embarrassingly, I don’t think anyone was asking for his return. However, amiably, this All-American bloke is keen to repurpose his charming persona and limited range for a vastly different generation. In addition, this cool-calm-and-collected star hopes to reinvigorate a particular type of character – the father figure.
Now emblazoned with crows feet and grey-tinged stubble, this brand of Costner elevates, but never legitimises, ultra-moronic actioner 3 Days to Kill. Donning a suitable facade, this veteran Tinseltown icon has fallen into a morose and vapid trap. Sadly, Costner is now wrapped around ‘acclaimed’ writer/director Luc Besson’s gargantuan middle finger. Labelled by pop-culture as a “factory” or “school”, Besson’s stranglehold on French film production is fuelled by optimistic executives and stylish action beats. Repeating himself over multiple decades, this auteur has developed a knack for handing responsibilities, and blame, off to other writers, editors, cinematographers, and directors. Kicking off Pierre Morrel (Taken) and Louis Leterrier(Unleashed)’s perfunctory careers, Besson now places his trust in one of Hollywood’s most despised directors. However, before I talk about him, I should examine 3 Days to Kill‘s meaningless and confused plot. Trust me, this synopsis won’t take too much out of you. Costner plays grizzled CIA operative Ethan Renner. Suffering a bizarre illness, Renner’s health could potentially disrupt his next major assignment. Renner’s team, aided by CIA assassin Vivi (Amber Heard), is assigned to track down a dangerous arms dealer, the Wolf (Richard Sammel), and his lieutenant, the Albino (Tomas Lemarquis). After the mission is obliterated, Renner coughs up blood and passes out before waking up in a hospital.
As it turns out, Renner has malignant brain and lung cancer. Given 3-5 months to live, he heads to Paris to send some quality time with his estranged wife Christine (Connie Nielsen) and their daughter Zoey (Hailee Steinfeld). As you can tell, 3 Days to Kill‘s story neither says nor does anything original or intriguing. From the opening action sputter onward, the movie’s plot-points, twists, and character turns become visible from miles away. The narrative, copied and pasted from Besson’s previous efforts (Leon: The Professional, La Femme Nikita), makes for devising a fun game out of pinpointing certain French action-thriller tropes. However, given the budget, resources, and talent on offer, this derivative and inconsistent narrative just isn’t acceptable. Director McG (the Charlie’s Angels series, Terminator Salvation) treads over and slips across tired, old ground. Yet again, McG’s bizarre and inconsequential style covers farcical situations, spies, and explosive action sequences. Failing to eclipse his TV series, Chuck, 3 Days to Kill delivers frustrating flashbacks to McG’s preceding flop This Means War. In addition, like Renner’s illness, Besson’s style infects the movie’s more valuable conceits. Like that atrocity, this actioner mistakes genre-hopping antics for jarring tonal shifts. With useless comedic hijinks clashing with heartfelt moments, the movie’s tone is as shaky and destructive as Renner’s ailing condition. Haphazardly, the movie also juggles Renner’s parenting issues, an African family squatting in his dingy apartment, and several wacky torture sequences. Bafflingly, this concoction of Taken and The Transporter lacks stakes, pacy thrills, and grit.
“The longer I was gone, it felt like the harder it was to come back.” (Ethan Renner (Kevin Costner), 3 Days to Kill).
Despite the directorial foibles and insufficient screenplay, 3 Days to Kill delivers enough enjoyment to last…about 2 hours in the memory banks. In fact, this movie is worth little more than a lazy, hangover-induced Sunday morning. Sadly, the extensive run-time outlasts the movie’s more gripping aspects. After the second act, the narrative falls head-long into predictable revelations and tiresome shootouts. Wrapping up plot-lines in ethically questionable and unfulfilling ways, this action-thriller could, and should, send Besson and co. back to the drawing board. Despite this, this mindless actioner still delivers entertaining action sequences and witty lines. The shootouts and fist-fights, utilising Paris’ gorgeous aesthetic, are fun distractions in this po-faced schlock. However, in typical McG fashion, the sound design and editing fatally misfire. Held hostage by misplaced gunshots and quick-cuts, McG’s approach undercuts everything Besson’s work promises. Overcoming the woeful direction and dialogue, Costner’s inherent charm saves this bland and uninspired effort. After scintillating turns in Hatfields & McCoys and Man of Steel, this veteran star can still deliver touching performances. With Liam Neeson seemingly unavailable this time around, Costner skilfully adapts to each set-piece. Despite his limitations, his action moments elevate this forgettable effort. Meanwhile, taking on a pseudo-Sin City vibe, Heard overtakes Denise Richards for the title of ‘Sexiest Blonde to Envelop Unconvincing Roles’.
With Besson and McG at the helm, 3 Days to Kill is as predictable, tedious, and groan-inducing as you’d expect. Treating constructive criticism like a mind hindrance, Besson’s money-grubbing system deals perfunctory efforts out to desperate hacks. However, with Costner anchoring the silly narrative, this action-thriller is still more tolerable than Columbiana, Taken 2, and Lockout. Well done, McG – you’ve finally made something that’s considered better than something else.