Criminal Review: Title Fits Description


Director: Ariel Vromen

Writer: Douglas Cook, David Weisberg

Stars: Kevin Costner, Gary Oldman, Tommy Lee Jones, Gal Gadot

criminal-poster


Release date: May 19th, 2016

Distributor: Summit Entertainment

Country: USA

Running time: 113 minutes


1/5

Review: Criminal

3 Days to Kill Review – Dead on Arrival


Director: McG

Writers: Luc Besson, Adi Hasak

Stars: Kevin Costner, Amber Heard, Hailee Steinfeld, Connie Nielsen

three_days_to_kill


Release date: June 20th, 2014

Distributor: Relativity Media

Country: USA

Running time: 117 minutes


 

2/5

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.

Kevin Costner.

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.

Amber Heard.

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).

Connie Nielsen & Hailee Steinfeld.

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.

Verdict: A misstep in Costner’s career renaissance. 

Jack Ryan: Shadow Recruit Review – Kenneth’s Clusterf*ck!


Director: Kenneth Branagh                        

Writers: Adam Cozard, David Koepp (screenplay), Tom Clancy (series)

Stars: Chris Pine, Kevin Costner, Kenneth Branagh, Keira Knightley      


Release date: January 17th, 2014

Distributor: Paramount Pictures

Country: USA

Running time: 105 minutes


 

2½/5              

Best part: The dynamic performances.

Worst part: The convoluted plot.         

By rebooting the ever-engaging and eternally popular Jack Ryan series, Paramount Pictures, obviously, has all-eyes on the potentially gargantuan rewards. With an intriguing spy-action premise, cracking cast, effective marketing, and franchise-level reputations to uphold, Jack Ryan: Shadow Recruit contained the perfect ingredients for a kick-ass reboot. After all, action movies usually obtain hefty profits and franchise-boosting opportunities. This is Hollywood – where uninspired, critically lambasted action movies receive sequels, prequels, and reboots thanks to overwhelming commercial success. Unfortunately, Shadow Recruit, though enjoyable, is another forgettable spy-action flick with healthy box-office returns in sight. Despite the positive elements, this instalment becomes an irritating, confused, and uninteresting action-thriller.

Chris Pine.

Despite the deceptive marketing campaign, Shadow Recruit had the potential to be a lively and eclectic reboot. As is Hollywood’s ravenous nature, reboots are, essentially, designed to remove debilitating/franchise-killing cells whilst injecting an electrifying cure into a near-lifeless corpse. Admittedly, this drastic studio-executive/focus-group driven methodology has re-configured and enhanced several big-budget franchises. Given a high-tech facelift and energising boost, this action-thriller franchise, once again, comes out swinging. Despite my analogies and comparisons’ bizarreness, these comments are somewhat accurate. The reboot presents one of pop-culture’s most celebrated and cunning super-spies’ origins. Here, the story dodges the previous instalments whilst acknowledging their significant entertainment value. This instalment kicks off in 2001, with an adolescent Jack Ryan (Chris Pine) studying in London. Following loud footsteps and chatter, Ryan dashes to the nearest TV. He watches on in horror as two planes crash into the World Trade Centre. Fuelled by patriotism and pragmatism, Ryan joins the US Military in 2003. Serving in Afghanistan, Ryan proves, to his comrades and himself, that he belongs in active duty. Ryan, quickly becoming a Marine Corps Second Lieutenant, suffers horrific injuries when his helicopter is shot down over mountainous regions. Recovering from his debilitating injuries, with physiotherapy and medical student Cathy Muller(Keira Knightley)’s assistance, Ryan is determined to head back into military service. However, CIA agent Thomas Harper (Kevin Costner) has other ideas. Luring Ryan into CIA operations, Harper believes that terrorist cells are using stock exchanges to transfer vast sums. Sent into the New York Stock Exchange undercover, Ryan ably investigates the system to uncover suspicious activity.

Kevin Costner.

Unlike Hanna and The American, this spy-actioner doesn’t strive for originality, charm, grit, or ambition. To continue on, I’ll stress that the plot, as time passes, becomes considerably more convoluted and uninteresting. Ryan is then sent to Moscow to meet with Russian businessperson and playboy Viktor Cheverin (Kenneth Branagh). With Ryan and Cathy’s relationship issues threatening the mission’s stability, Harper reins everyone in to stop Cheverin’s diabolical scheme. It would be simplistic and predictable to lambast this action-thriller for being bland and unimaginative. However, despite the resources on offer, the movie never strays from conventional spy-thriller material. Ryan, one of author Tom Clancy’s creations, is one of literature and entertainment media’s most intriguing characters. Born from Clancy’s impressive knowledge of covert operations, sleeper-agent programs, government methodologies, and military intelligence, Ryan is a cunning, nimble, and modest spy. Adapting Clancy’s works, this franchise once increased action cinema’s worthiness. As pulsating and impactful action-thrillers, The Hunt for Red October, Patriot Games, and Clear and Present Danger succeed thanks to tightly wound narratives and entertaining performances. Unfortunately, The Sum of All Fears and Jack Ryan: Shadow Recruit are nonsensical and unintentionally laughable. Explaining this narrative’s core ingredients is like asking a cat to explain astrophysics. Once Ryan’s motivations are established, the extended prologue awkwardly veers into uninteresting corporate-espionage territory. From there, Ryan’s analytical mind is tested on screens, charts, and numbers. To Wall Street aficionados, the first third will be delightfully entertaining. However, the movie quickly loses focus, purpose, and character.

Kenneth Branagh.

With Tinker Tailor Solder Spy‘s alienating coldness and The Fifth Estate‘s computer-reliant plot mechanics, the first third won’t keep action-movie-obsessed viewers entertained. With befuddling exposition, debilitating jargon, and joyless characters, the dramatic aspects also become steadily tiresome. However, after Ryan lands in Moscow, the movie hurriedly transitions into a mindless action romp. With its convoluted techno-espionage plot eviscerated by explosive action sequences, Shadow Recruit switches form one spy-action sub-genre to another. In the following two thirds, this instalment borrows from the Bond, Bourne, and Mission Impossible franchises. Lacking the previous Jack Ryan instalments’ edginess and balance, Shadow Recruit is a frustrating and egregious 2-hour distraction. Like Salt and The Bourne Legacy, the disappointing narrative, wavering pace, and derivative revelations severely dampen this otherwise diverting experience. Lacking Spy Game and Breach‘s intensifying darkness and socio-political relevance, Shadow Recruit becomes yet another tedious and expansive action flick. Although brash preconceptions overwhelm most action flicks, plot-holes, contrivances, and stupefying characterisations become increasingly distracting. Throughout this befuddling spy-thriller story, the character’s questionable and perplexing antics pull the audience out of this experience. The movie, though slick, stylish, and picturesque, depicts the American and Russian Governments as childish and moronic factions. With another Cold War approaching, our characters lack intelligence and agency. 

“You Americans like to think of yourselves as direct. Perhaps you are just rude.” (Victor Cherevin (Kenneth Branagh), Jack Ryan: Shadow Recruit).

Keira Knightley.

Despite these desperate situations, no one follows basic protocols or ethically sound methodologies. Why does Ryan tell Cathy he’s a CIA analyst? How do the characters jump between settings without being stopped by authorities? Also, why doesn’t Harper tie off loose ends? Despite the nonsensical screenplay, Branagh’s direction is derivative of Sam Mendes, Martin Campbell, and Paul Greengrass’. The action sequences tumble and fall tirelessly. Shaking cameras and quick cuts distort the energetic set pieces. The standout sequence, involving Ryan and a heavy-set assassin, is a rare highlight. However, the motorcycle/car stunts and chases boost this movie’s schizophrenic tone. Punches, stabs, and bullet wounds add some impact. Shadow Recruit‘s cinematography and production design provide several eye-catching moments. Copying Skyfall‘s emphasis on nighttime sequences and mesmerising compositions, the immaculate settings and locations widen this banal action-thriller’s scope. In addition, the cast excels despite the derivative and underwhelming characterisations. Pine, sporting his Captain Kirk swagger full-time, is a charismatic and commendable on-screen presence. His boyish charm, physicality, and range solidify this engaging role. With smarter material, Pine could’ve cemented another major franchise. Costner’s resurgence delivers this intriguing and entertaining character. This impressive casting solidifies Ryan and Harper’s friendship. Branagh elevates his racially insensitive antagonistic character. With a thick accent and purposeful mannerisms, he overcomes the character’s wafer-thin motivations. However, Knightley awkwardly adjusts to her irritating and nosy character. On top of Knightley’s wavering accent, her character is a nonsensical and unnecessary hindrance.

Shadow Recruit, despite the glowing positives and immense potential, can’t overcome the genre’s overblown and stupefying conventions. With its been-there-done-that story, underdeveloped characters, and derivative direction, this action-thriller doesn’t delve beyond the surface. With this series’ more memorable instalments becoming action-movie gems, Shadow Recruit doesn’t match its predecessors or this century’s most influential spy-action flicks.

Verdict: A punchy yet generic and confusing action flick.