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13: Ensemble Thriller Lacks Consistency
A desperate and naive young man named Vince (Riley) unwittingly assumes another man's identity only to be sucked into an underground world full of violence and money. Unaware of the consequences, Vince is quickly involved in a gambling ring like no other that he unwillingly becomes a huge part of. The only way out alive is to participate in a series of deadly Russian roulette games.
The idea of betting your life on a game where a gun is aimed at the back of your head is quite intense to say the least. But when the whole story of the film rotates around this concept alone, it actually becomes quite tedious. This remake of French film 13 Tzameti (2005) wavers from the intense to the dull quite consistently.
The storytelling develops nicely though, as we are dragged along with Vince as he is wrongfully mistaken for the assumed character, who he only paraded to be for a chance of making a quick buck. As he gets deeper and deeper into the game, he can't back out or quit, as the consequences of revealing himself could be just as deadly.
Though Riley turned in an acclaimed performance as Joy Division’s front-man Ian Curtis in biopic Control (2007), he is still relatively unknown, but as the lead he does a fine job in pulling you into his intense predicament. The all-action Statham is passable as one of the gamblers, but it’s the first time in a while we haven’t seen him knocking heads together, and he has to fall back on his acting ability alone. Rourke and Winstone are both simultaneously charismatic and brutal as always, while 50 Cent’s performance is over the top to say the least.
Georgian filmmaker Géla Babluani actually wrote and directed the original and the fact that he himself directed the American remake should have been a good omen. Unfortunately, Babluani has consciously made several changes to avoid simply reshooting the same film. It’s a no win situation; adapted screenplays are often criticised for not staying true to their source materials, but at the same time, they can be distorted by an unflinching loyalty.
In conclusion, 13 is a passable thriller, which seems to have lost much of the character that made the original film so popular. Hollywood has often sought to recreate European and Asian films in order to recreate their success. Very few succeed and unfortunately 13 doesn’t join that elite selection; it just doesn't come together as the exciting ensemble piece it could have been.
Sinister looking children’s toys – dolls and puppets in particular – are a common feature of many a horror film, often somehow possessing dark demonic powers. Annabelle, the latest horror of such kind and the prequel/spin-off to the last year’s summer hit, The Conjuring, unfortunately is rather dull.
Directed by John R. Leonetti – of The Conjuring, Sinister and The Mask fame – and written by Gary Dauberman, Annabelle is set in the early 1970s and follows Mia (Wallis) and John Gordon (Horton); a young married couple living in Santa Monica, who are expecting their first child.
One night, their next-door neighbours are killed as a result of a satanic cult home-invasion job. Unfortunately, the drama doesn’t end there and they soon end up victims of a similar crime, but after a certain amount of struggle – and blood spilled – the couple manages to come out alive.
Soon after their traumatic ordeal, their home – that they’ve grown to love and care for – begins to suffer a series of supernatural occurrences and after it becomes a little too much to handle, they decide that it’s best to move. Unfortunately, trouble follows them to their new home and John and Mia soon realise that Mia’s prized collector’s doll might have something to do with it all.
Annabelle starts off strong, with Leonetti and Dauberman weaving a decent amount of tension and suspense into the opening. However, although, their ideas are relatively solid – and some of the scares genuinely frightening – the plot soon become repetitive and what little novelty the premise has wears off pretty darn soon.
In terms of performances, both Wallis and Horton managed to sustain a good amount of chemistry; however, their characters – just like the story – aren’t formed well enough to form a connection with the audience.
Riddled with clichés and familiar formulas, Annabelle is little more than an attempt to cash-in on the success of its much more convincing and entertaining predecessor.
Liam Neeson’s ‘special set of skills’ are once again put to good use in Scott Frank’s latest neo-noir thriller, A Walk Among the Tombstones; a dark and a gritty spy-thriller that takes a rather a brutal approach to the notions of revenge and redemption.
Set in 1991, the story – adapted from the pages of Lawrence Block’s popular series of novels of the same name – centres on Matt Scudder (Neeson); an ex-cop turned unlicensed investigator, whose love for booze has forced him to retire early and join an alcoholic anonymous support group.
During one of their regular meetings, Scudder is approached by fellow alcoholic, Peter Kristo (Holbrook), who informs him that his drug-trafficking brother, Kenny Kristo (Stevens), requires his services. After being summoned to Kenny’s lavish home, it’s revealed that Kenny’s wife was kidnapped and, despite paying the hefty ransom, was killed and returned to him in pieces.
Scudder befriends a homeless but seemingly intelligent boy, TJ (Bradley), while conducting research and, despite his young age, becomes a close friend and an informal assistant. The road to revenge soon leads them to creepy cemetery groundskeeper, James Loogan (Olafsson), and Scudder, whose past still haunts him, soon learns that there’s more at play than just a kidnapping.
Directed and adapted to the screen by Scott Frank, A Walk Among the Tombstones doesn’t exactly fall in line with Liam Neeson’s recent filmography and those expecting more of the bravado in Taken, might be a little disappointed. This is a slow-burning picture which requires a certain amount of stomach – thanks to its graphic violence – and staying power due to its longwinded and lengthy plot. The cinematography paints the New York setting in tones of grey which contributes to an engaging overall sinister tone.
Neeson carries the story like a true Hollywood pro as the enigmatic lead and he comes across as unbending, kind and utterly ruthless all at the same time. Unfortunately, the villains – played by Harbour and Thompson – are a little cartoonish, while Olafsson’s character deserved a little bit more screen-time.
Taking everything into account, A Walk Among the Tombstones is a solid film that owes most, if not all, of its charisma, so to speak, to Mr Neeson.