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The Cold Light of Day: Bland, Confusing Thriller
For anybody planning to watch this for Bruce Willis, be warned- he’s barely in it. We instead spend the whole film following Cavill who plays his son Will who is the only member of the family left free to roam the streets of Madrid. Will’s family has been kidnapped due to Martin’s (Willis) work with the CIA. He’d taken a briefcase from the kidnappers and Will now has to find the bag, which he suspects is with his father’s double crossing partner Jean (Weaver), and get it back to them before they murder every last member of his family.
The film is, as a whole, painfully average but there’s one part in particular that’ll have you screaming in frustration; we never find out what’s in the freaking briefcase! People are getting killed left, right and centre over a plain, black bag. And no, this trick doesn’t give the bag some kind of epically dangerous aura; it’s just infuriating. But lack of clarity is a theme with this film. The fight scenes and car chases are murder to get through. In the former, you can barely see who’s hitting who because the shaky camera work and fast cuts, while the lighting in the latter makes it really difficult to tell the cars apart. Everything’s just so dark. The car chase, despite having some pretty cool scenes of cars rolling down stairs, is robbed of its tension because it’s so confusing.
Cavill joins the generation of actors who are beautiful to look at but incredibly bland. He just goes through the motions here as a man who discovers his inner badass when his family is threatened yet never really embraces those powers. Echegui plays Lucia, his shrieking female sidekick who, despite this unfortunate character flaw, is the most likeable person in the film. Rounding of the cast is Weaver’s Jean. She skirts the line between angry, irritated and insane yet never quite manages to form a compelling villain mainly because we don’t know anything about her or why getting her hands on the briefcase was worth selling out her partner. At the very least though, she’s a badass with a gun.
What the ads fail to show is that this ‘film’ is actually a feature length commercial for Audi to the point that in addition to the cars scattered around everywhere, there’s actually a huge billboard advertising the brand in the film. It’s astonishingly unsubtle but again, when a film is this dull and confusing, product placement becomes highly fascinating.
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.
Careless and seemingly unable to find its own footing, the lack of heart and originality found in the latest reimagining of the ‘80s comic-book and film series franchise is disappointing and while there are moments of praise to consider, its shortcomings are a little difficult to disregard.
The streets of New York are terrorised by an underground criminal organization called the Foot Clan, commanded by an ominous figure known as Shredder (Masamune). At the heart of it all is the ambitious TV reporter, April O’Neil (Fox), who – despite the continuing objections from her clearly-besotted cameraman, Vernon (Arnett) – is looking to break out of reporting irrelevant news pieces and move on to much bigger stories.
Her timing, as it happens, couldn’t be better when, while out investigating a lead one night at the docks April witnesses members of the Foot Clan in a hard-hitting confrontation with a group of shadowy ninja-like figures. Determined to reveal the identities of these so-called vigilantes, April soon finds herself face-to-face with the talking and walking six-foot masked turtles, otherwise known as Leonardo (Ploszek), Raphael (Ritchson), Donatello (Howard) and Michelangelo (Fisher).
Raised in the City’s sewers by their rat-master, Splinter (Shalhoub), the four turtles have been training for years to stand up to Shredder and they are soon given that chance when they learn of the plans of a poisonous gas being released over the city.
There seems to be a lot of uncertainty and ambiguity in Jonathan Liebesman’s approach to the subject at hand and the challenge of reviving a thirty-year-old iconic franchise proves to be a rather tricky task for the Wrath of the Titans director. Written by an army of writers and produced by Michael Bay, Teenage Mutant Ninja Turtles suffers from an sloppy script , awkward pacing and, despite efforts give the very concept a little more depth the end-result feels shallow and undercooked.
Luckily, the action and the visual effects are pretty refined and while the surprisingly potent violence can be a little bit too much to bear, you can tell that a lot of time and effort went into the digital creation of the mutants themselves and the world around them.
Regrettably, the performances are just as unmemorable as the story itself; this applies to Fox most, who seems to be stuck with the same staggered expression the whole way through. The motion-capture translates quite satisfyingly, though the menacing presence of Shredder and the righteous aura of Splinter is never fully realised.
The film as a whole is polished but is short on subtlety and complexity, never finding the charm and nostalgia that initially triggered so much interest in the project.