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Tomorrow, When the War Began: Unrealistic War Drama
This is ultimately a war film, but the story doesn’t subscribe to the same traditional elements of the genre. Rather than focusing on the battle and the politics of war on a grander scale, it looks at it from a civilian’s point of view. While the characters are numerous, the attempt to cover a broad cross section of personalities often ends up in a portrayal of clichéd stereotypes.
A film that relies so heavily on a character-driven plot, naturally also relies on the performance of its actors. Unfortunately, the young cast fails to deliver, and the film as a whole lacks the drama and action that you’d expect from a subject matter like this one.
The brief and infrequent action scenes stand out as impressive and entertaining, but at times border on the ridiculous. In one scene for example, heavily armed military vehicles are pursuing two girls in a truck, and are powerless to apprehend it.
Tomorrow, When the War Began is an overall weak production that lacks realism, intensity, and features a distinctively average cast. The green light has been given to produce the sequel, which is based on the second novel in the Tomorrow series, with the third part also being considered. Picking up where this film finishes, the sequel will hopefully develop the series into a better watch.
Taking on what’s probably one of the most implausible premises known to man, the latest offering from Training Day director, Antoine Fuqua, goes a little too far on bending the laws of reason and logic in the exceptionally contrived, cheesy and the remarkably violent, The Equalizer.
The story follows the life of one Robert McCall (Washington); a friendly, cautious and an unassuming middle-aged man who spends his days working the floors of a local Home-Mart, before returning home to a tidy one-bedroom apartment to eat his dinners alone. Suffering from a serious case of insomnia – and what appears to be a generous touch of OCD – Robert spends most of his evenings at a local diner, rearranging cutlery, reading books and enjoying the unobtrusive company of other restless souls.
On one such night, he befriends Teri (Moretz); a troubled young woman - and a frequent diner visitor – who earns her cash working as a high-end hooker for anunforgiving Russian pimp, Slavi (Munier). It’s obvious to Robert, who takes an instant liking to the young girl, that she has lost her way and encourages her to change her world and pursue her dreams of becoming a singer. Unfortunately, things don’t go so well for Teri, who - as Robert soon finds out - is landed in the hospital by her employers.
Unable to sit back and ignore, Robert decides to take matters into his own hands and soon finds his way to Slavi – and the rest of his crew - to buy Teri’s freedom from them. However, when the Russians decline, Robert has no choice but to take extreme measures; a move which quickly puts him in the crosshairs of the Russian mob.
The Equalizer is actually based, very loosely, on a little television show from the late eighties. However, the similarities stop at the character’s name; everything else has been changed and tailored to fit Washington’s trademark bad-ass passiveness, which just so happens to echo his character from the highly superior Man on Fire. Taking its time to develop, the first half of the film is dedicated to introducing us to the main character which is actually pretty engaging. However, the script loses its shape the minute the violence is unleashed. It's here that Fuqua, who also decides to channel in every single cliché from the book of revenge, crumbles and the idea of a man fighting – totally unaided - against the Russian mob seems like something that is probably better saved for the Die Hard franchise instead.
One thing is for certain, though, without Washington’s captivating and grounded presence, The Equalizer wouldn’t have amounted to very much.
Following in the footsteps of the 2014 teen- tear-jerker, The Fault in Our Stars, R.J Cutler’s onscreen adaptation of yet another best-selling young-adult novel explores the perils of young love in the terribly formulaic and melodramatic, If I Stay.
The story is centred on Mia (Moretz); a shy high-school junior who dreams of one day becoming a great concert cellist. Her super-cool, rock-loving parents, Kat (Enos) and Denny (Leonard), are very supportive of her dreams; however, Mia – who constantly doubts her own talent – is not so sure that she will be able to make the cut when she auditions for the Julliard School of Music in New York.
As Mia awaits the news that will determine her future, her relationship with Adam (Blackley), the lead singer of a local rock band, is not doing so well, as his career and schedule begins to take him away from the relationship. Uncertain what her future holds, Mia’s world is soon turned upside down when she and her family are involved in a horrifying car accident that leaves both her parents dead, her younger brother Teddy (Davies) fighting for his life and Mia in a coma.
Stuck in between the two worlds, Mia begins to undergo a lengthy out-of-body experience and soon finds herself examining and questioning her entire life – through a series of flashbacks – and quickly comes to the realisation that it is up to her whether to let go and walk towards the light – literally – or wake up and deal with the fact that her life, as she knew it, will be forever changed.
Scripted by Shauna Cross, If I Stay does very little to break away from the usual patterns of young-adult novel adaptations and once again lends its entire focus on the workings of a romance between two young teens under the burdens of life and big decisions. Weighty subjects are thrown around, but never fully explored and the gaps in the logic – mostly to do with the supernatural part of the tale – are vast and, frankly, a little baffling.
Nevertheless, Moretz proves to be a reliable and capable lead, though the chemistry shared between her and Blackley doesn’t really resonate. As her extra-hip parents, Enos and Leonard, came off as a little forced – and a little hard to take seriously – while Keach, playing Mia’s loving grandfather, is the only one who brings a bit of sincerity to his role.
Told mostly through flashbacks, If I Stay is paced well and there is certain lightness to its step. However, it’s all a little bit too cutesy to take seriously.