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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 fourth and final instalment in The Hunger Games film series is upon us and director Francis Lawrence has injected the closing chapter of Suzanne Collins’ best-selling dystopian adventure with a bit more heart and oomph than from what was witnessed in the first and rather dreary half of this two-part tale. However, although Mockingjay Part 2 is definitely a better and more exciting offering, it’s still not completely free of fault.
Mockingjay Part 2 picks up where Part 1 left off, with Katniss Everdeen (Lawrence) trying to recover after almost being choked to death by her former ‘lover’ and ally, Peeta (Hutcherson), who by the looks of things, seems to have been brainwashed and poisoned with thoughts of killing Katniss. Driven by the anger and her pure hatred for President Snow (Sutherland), Katniss soon escapes District 13 to join an assault on The Capitol under rebel leader, President Coin (Moore), only to discover that there is one last version of the Hunger Games still to play.
One thing’s for sure; Part 2 is a definite improvement over Part 1, which spent most of its time shifting about and setting things up for the big payoff. It’s a problem that we’ve seen before in the waves of adult-fiction novel adaptations – the first half spends so much energy in setting up the second that it fails to convince a stand-alone film. Although the pace picks up, there’s no sense of grandness to what is meant to be a huge finale and, actually, some may even feel underwhelmed by how the plot plays out.
On the plus side, the action is engaging and some of the battle scenes are staged with great attention to detail. In addition, Lawrence is, as always, her fantastic self and she’s once again the anchor on what has been a shaky ship.
As a story which has always attempted to frame the horrors of war through the eyes of a fiercely brave young heroine, so much more could have been done – much like the whole series, there’s something engaging about the finale, but it all feels like a chance missed.
Steven Spielberg’s latest cinematic offering has ome in the form of a surprisingly tensionless and tame courtroom-drama- come-spy-thriller, Bridge of Spies. Written by newcomer Matt Charman and polished by the always-reliable Coen Brothers, the story, although still effective in terms of mood and acting, is not Spielberg’s best thanks to the lack of suspense and overall excitement.
Set in the late 1950s, Bridge of Spies takes place during the height of the Cold War and it begins telling its story with the arrest of a suspected Russian spy named, Rudolf Abel (Rylance) who is placed on public trial. In order to make sure that the US justice system appears to be fair, Abel is appointed defence in the form of a hand-picked insurance-lawyer, James Donovan (Hanks), who hasn’t quite got to grips with what he’s gotten himself into.
While it’s becoming very clear that everyone - including the judge himself - would like to see Abel hang for his crime, Donovan’s idealistic nature compels him to push even harder to ensure that his client receives fair treatment even if it means that his very own reputation as a lawyer could be placed at risk. After a lengthy battle, he manages to keep his client away from the death row, just in time when an U.S military pilot, Frances Gary Powers (Stowell) is shot down over the Russian territory in his U-2 spy plane and placed in Russian custody.
It’s hard not to get excited about a film project which finds one of the most respected and successful filmmakers in Hollywood, Mr. Steven Spielberg, rubbing shoulders with the likes of the Coen Brothers - see No Country for Old Men, Fargo. However, even though the film is still relatively engaging, there is very little meat on its narrow and bony structure to stand alongside either Spielberg’s or the Coens’ past cinematic triumphs.
Luckily, Tom Hanks is there to pick up the pieces and the Oscar-winning actor is once again as reliable as ever, while his Russian client, played by talented British stage actor, Mark Rylance, is quietly brilliant and perhaps one of the strongest aspects of the entire film.
In the end, the two filmic personalities seem to produce a clash of styles; the blend of Spielberg’s old school and grand approach to storytelling and the Coen Brothers’ downplayed quirkiness, results in a rather peculiar mix which doesn’t always sit right. In addition, the importance - and the horrors - sitting behind its Cold War backdrop is illustrated in a rather lazy and stage-like manner, contrasting Spielberg’s typically spot-on detail.