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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.
Ludicrous, crass but also undeniably fun,Ted 2 - the sequel to Seth MacFarlane’s successful 2012 comedy, Ted –proves to be a more consistent and better drawn-out affair than its predecessor, even if the jokes – which there never seems to be a shortage of– don’t always land where they’re supposed to.
Picking up shortly after the events of the first film, Ted 2 is once again centred on best-buds and avid stoners, John Bennett (Wahlberg) and his talking teddy bear, Ted (voiced by MacFarlane) who, as it turns out, don’t seem to be living out their happily-ever-afters with the women in their lives. See, John has divorced the love-of-his-life, Lori (Kunis), and Ted, who at the beginning of the film shares his “I Do’s” with his human-bride, Tami-Lynn (Barth), is in constant clashes with his new wife.
Deciding that the best way to reconcile and put an end to all the bickering is to start a family, Ted reaches out to his best-friend for help; a decision which soon proves rather messy. However, Ted’s civil rights are soon called in to question by the government who wish to brand Ted as property as oppose to a living thing, leaving John and Ted with no choice but to turn to the rookie – and pot-loving- lawyer, Samantha (Seyfried) for some legal help in an attempt to prove that Ted is a living being with rights of his own. Hence the tagline ‘Legalise Ted’.
Endless pop-culture references and MacFarlane’s distinct brand of abstract toilet humour is once again the integral part of the story. While the first film lent most of its focus on Wahlberg and his romance with Mila Kunis – the actress was written out of the script due to her pregnancy with husband Ashton Kutcher – Ted 2 shifts the focus onto the talking teddy and his battle to be recognised, essentially, as a human.
The decision to shift proves to be a smart move, although the film does tend to take itself a little too seriously at times; in addition, Wahlberg – whose deadpan delivery is almost always spot on – seems to shine more in his secondary role.
Ted 2 is neither ambitious nor smart and its jokes are often offensive and pretty vulgar. Nevertheless, it’s a fun goofy kind of vulgarity that will ensure more box office success and probably even a third film.
Like it or not, the Terminator franchise holds a special place in Hollywood history – thanks in part to Arnold Schwarzenegger. The once great franchise is arguably Arnie’s most iconic role and despite being three year away from his 70th birthday, the former Governor of California doesn’t look half-bad in the fifth, but far from final, instalment in the franchise.
Terminator Genisys is the first of what has been described as a new, standalone trilogy, but if the first film is anything to go by, fans will most likely be throwing their hands in despair at what’s to come.
Set initially the year 2029, the film’s main device is time travel and the butterfly effect – concepts that are becoming increasingly difficult to keep fresh and original. While co-creator, James Cameron, has unabashedly put his support behind the Alan Taylor-directed flick –going as far as to say that it has reinvigorated the franchise – Genisys only served to further dilute a series that just can’t keep up with contemporarily conceived sci-fi action.
The story opens with A.I. system, Skynet, all but defeated by the freedom fighters, lead by John Connor (Jason Clarke). In one last attempt to defeat the resistance, a T-800 Terminator is sent back to 1984 to kill John’s mother, Sarah (Emilia Clarke), who is of course under the protection of the Guardian (Schwarzenegger). What happens from then on is a bit of mystery.
Possibly the biggest problem of the film is that it tries far too hard to maintain elements of the original series and fails to do so well. While staying faithful to the films that have made the Terminator franchise so iconic is commendable, all references and lines of continuity feel forced and unsubtle, as if to say, “hey, look – we haven’t forgot the original!”
Seeing Arnie don the Terminator character once more is, in itself, a novelty – especially after the horrendous CGI used to resurrect him in 2009’s Terminator Salvation. But outside of that, you come away with very little when the end credits start to roll. The two Clarkes starring in the film hot the right notes in their performances, but suffer the convoluted script more than anyone.
While reboots, remakes and distant sequels have generally found success in the last few years – some commercially, some financially, some both – the fact that the film has only recouped half of its budget, which includes a marketing budget of at least $50 million dollars, speaks volumes about how tame and just plain unexciting this endeavour has been.