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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.
Justin Reardon’s feature-length directorial debut, Playing it Cool, sees an attempt at bring some freshness and originality to the rom-com genre falling into the same old clichés.
Dreaming of one day becoming a successful action screenwriter, the main character of the piece – simply referred to as ‘Narrator’ and played by Chris Evans – isn’t all that enthusiastic about being handed the task of scripting a romantic comedy. See, he’s never been in love – a side-effect from his mother’s abandonment when he was only a young boy – and therefore, he’s unable to see himself writing something that he ‘doesn’t believe in’.
Enter ‘Her’ (Monaghan); a beautiful young woman he meets at a charity event. Sparks fly and he is instantly smitten; however, she’s already engaged to be married to handsome and aloof Brit, ‘Stuffy’ (Gruffudd). Powerless to get her out of his mind – a place filled with a vivid, and often dramatic, writer’s imagination – emotions soon spiral out of control and, well, you know the rest.
Desperately trying to swerve away from the lovely-dovey trappings of the genre, Playing it Cool is the kind of film that’s really difficult to pin-down. Is it a rom-com parody? Or, is it just another movie that begins by dismissing the very notion of romance before eventually falling into the very hole it’s been trying to avoid from the beginning? We’ll go for the latter. Already drawing comparison to movies such as Amelie and 500 Days of Summer – a notion that’s awfully difficult to grasp to begin with – the story lacks the charm, focus and the overall substance that made the aforementioned movies the cinematic success they are.
In fairness, though, the two leads do share some genuine onscreen chemistry; however, the movie’s relatively unexciting script is not smart, strong -or creative enough to take advantage of the fact. Monaghan is the stronger of the two; her charm is infectious and it’s easy to see why any guy would fall for her while Evans, who just doesn’t seem right for the role, tries his best to stick it out. However, just like the story itself, he just doesn’t seem comfortable in his own skin – stick to being Captain America.
Essentially, the problem here is that this is a film that tries too hard to be unique, quirky, ironically, doesn’t play it cool one bit.
The premise of Kevin Macdonald’s latest thriller, Black Sea, suffers from a severe case of implausibility, though The Last King of Scotland director does manage to infuse plenty of tension and ignite a compelling lead performance by Jude Law.
As a proud and a skilful Royal Navy submarine commander, Captain Robinson (Law) - who has spent over a decade doing salvage work for the Agora Corporation – is shocked to learn that his services are no longer needed.
With no other real job prospects on the horizon, Robinson soon comes across a fellow colleague who provides him with valuable information concerning a sunken Nazi WWII U-boat. Apparently, during the height of the war, Stalin offered to pay Hitler a hefty sum as a way of preventing a possible invasion by the Fuhrer. However, the payment of gold bars never reached its destination and lies at the bottom of the Black Sea.
Reaching out to a private backer, Robinson soon starts putting together a crew – a group of half-English and half-Russian underwater specialists – to steer a run-down submarine to the site without being detected by the patrolling Russian naval fleet. It’s not long before tension turns into conflict and it’s up to Robinson to keep his crew in check if they are ever to come out of the mission both rich and alive.
Despite its far-fetched concept, Black Sea – scripted by T.V writer and the playwright Dennis Kelly – still manages to deliver and engage. One of the film’s strongest aspects lies with the tension and the power of human greed which is depicted palpably and wonderfully against the cluttered and the confining setting of the submarine. On the downside, however, the character arcs are paper-thin and though Macdonald makes up for it with a couple of thrilling action set-pieces, there’s very little for audiences to connect with.
Nonetheless, Law – armed with an impressive Scottish accent – is rock solid as the agitated Captain whose electrifying intensity and personal quest for retribution keeps Black Sea afloat.