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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.
The latest low-budget Blumhouse Productions horror production, Jessabelle; a voodoo-worshipping Louisiana-bayou set thriller that is sadly, not as scary nor as ghostly as it wants itself to be.
Set in a misty Louisiana, Jessabelle follows Jessie (Snook); a woman dealing with the loss of her fiancé and unborn child to a car accident that has also put her in a wheelchair. With her life seemingly in ruins, Jessie is left with no choice but to move back into her family home with her estranged, alcoholic father, Leon (Andrews).
Uncertain of what the future holds, Jessie finds it difficult to adjust to her new life, not least because she has to spend her nights sleeping in her deceased mother’s bed. Soon after, though, her life takes on a new route of mystery when Jessie discovers a secret box – labelled Jessabelle, packed with seemingly worn-out VHS tapes. Filled with mysterious recordings of her mother’s tarot-reading to her unborn child – whom Jessie assumes is her – she finds comfort in seeing her mother, though Leon insists that she dispose of the tapes.
Intrigued by the cryptic messages and her father’s strange reaction to her findings, Jessie decides to dig deeper and along with old-friend, Preston (Webber).
The atmosphere and air around Jessabelle could be described as relatively eerie and the film maintains a degree of plausibility – at least more so than many of its peers. When you dig deeper to the heart of the story, however, the film comes up short and is rather timid for a horror film. This is made all the more obvious by the fact that the film almost insists on using every clichéd horror trick in the book.
Despite the plot’s lack of edge originality, Snook – previously seen in movies such as Sisters of War and Not Suitable for Children – manages to command the screen relatively well, while Webber was equally pleasing as Jessie’s Knight in Shining Armour.
Despite a reasonably promising build-up and a commendable attempt to bring a certain verity to a genre that requires more suspension of disbelief than most, the pay-off just isn't satisfying.
Unlike the first two films in the wildly popular cinematic adaptation of Suzanne Collins’ young-adult novels, The Hunger Games: Mockingjay Part I –the first instalment of a two-piece finale – is an underwhelming and slightly hollow watch.
Mockingjay Part I begins shortly after the end of Catching Fire, which saw Katniss Everdeen (Lawrence) pulled out and rescued from the games by game-maker, Plutarch Heavensbee (Hoffman), and mentor, Haymitch Abernathy (Harrelson).
Brought underground and aided by the District 13 rebels – led by President Alma Coin (Moore) – Katniss is asked to serve as the face of the growing revolt against President Snow and his tyranny over Panem. However, getting the young-rebel on board is not easy, as Katniss – whose beloved home district was levelled by Snow’s bombers in the previous instalment – is still trying to overcome the loss of her fellow District 12 champion, Peeta Mellark (Hutcherson), who has now become a prisoner of the Capitol.
Desperate to bring Peeta back to safety, Katniss soon agrees to become the ‘Mockingjay’ and operate as a symbol of hope and resistance for the people of Panem.
Just like Harry Potter and Twilight – other similarly structured franchises that have split the big finale into two or three parts – Mockingjay Part 1 feels abrupt. Granted, it’s unfair to judge a two-part film as, essentially, one arc is running through both, but a film released on its own can only be watched on its own and this first part spends its two-hour-plus running time setting up the pieces of the puzzle and building up the story with no payoff.
This is somewhat remedied by returning director Francis Lawrence’s focus on big battle scenes, though once again, there’s no real payoff, no punch-line.
One thing that won’t be put into question is another engaging, emotional and an overall solid performance from Oscar-winning actress, Jennifer Lawrence, who manages to keep the story kicking, regardless of its awkward pacing. Other returning faces, which included Hoffman, Harrelson, Hutcherson and Banks, are all equally reliable and, as the determined President Snow, Sutherland is once again a strong and a dependable villain.