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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Jane Thorne

The Foreigner (2017)

Who needs a green card when you can kick every citizen’s ass?

Quan (Jackie Chan) is a humble and quiet British citizen who keeps to himself. Mostly it’s due to the fact that he’s lived such a hard life already, he wants to live out his remaining years in total peace and harmony. That all changes, however, when his daughter is killed in a near-by explosion, supposedly set-up as a terrorist attack that wasn’t meant to be as devastating as it was. Quan’s not happy about this, obviously, so he decides to set out and find answers anyway and anywhere that he can, by any means necessary. His trail of tears leads him to Liam Hennessy (Pierce Brosnan), a former IRA member turned politician who claims that he no longer has ties to the terrorist organization. But Quan knows better and doesn’t believe this for one second and decides to take matters into his own hands.

“Do I hear Beach Boys?”

The Foreigner is a whole bunch of thrillers, rolled-up and spat out into one. It’s a Hong-Kong action-thriller; it’s a conspiracy thriller; it’s a dramatic thriller about loss, regret, and family; it’s a small bit of an espionage thriller; and oh yeah, it’s a bit of a pulpy, rather over-the-top thriller, too. All of them are fine, no doubt, but put together, it’s a tad bit of a mess.

But coming from director Martin Campbell, it’s a fine, fun, and old-school mess that feels like it was made with class and precision, even though it never plays out that way. Campbell knows a thing or two about these kinds of thrillers, and while there’s maybe one too many strands of plot to fully work as one, cohesive whole, Campbell himself never seems to want to be bored. He keeps everything moving and at a somewhat lively pace, that even when it seems like we’re harping on one plot for too long, he moves right on to the next one, in hopes that we don’t take notice of how it doesn’t really fit together all that well.

Like a true pro, that Martin Campbell.

But what’s perhaps most interesting about the Foreigner is how it takes two of the world’s most recognizable action-stars of yesteryear, and puts them in roles that you don’t least expect to see them in. Pierce Brosnan, in what seems like forever, is playing an all-out, full-on bad guy and it’s a great sight; he’s angry, sporting an Irish-accent, and constantly seeming like his eyes are going to bulge out of his skull. It’s the kind of hammy and over-the-top role that would normally kill any actor, but Brosnan is such a class-act, he seems like he’s just genuinely having a ball and not caring who knows it.

“008, out.”

Same goes for Chan, although, it’s fair to say that if you’ve ever tracked down any of his Hong-Kong martial-arts films that don’t star Owen Wilson, or Chris Tucker, then you know he’s capable of playing these darker characters, with shadier morals than we expect. But as usual, Chan’s good in the role, because it’s less about him jumping, diving, and ass-kicking (which he can still sort of do, even at 65), but more about the sadness deep inside of the eyes. And you can see it all and it’s a sign that even though he may not be able to do the stunts anymore, Chan still has some acting-muscles to stretch and work-out with.

But really, nostalgia is the real reason why the Foreigner works as well as it does.

The action, the twists, and the turns are all fine and make this movie a lot better than it has to be, but watching Chan and Brosnan up on the screen, shouting at one another without having to resort to fist-a-cuffs, feels like a nice diversion from everything else in the world. With so many thrillers turning into crazy, over-bloated messes, it’s nice to get one that’s lean, mean, and a little nasty.

It’s still a mess, but hey, they can’t all be winners.

Consensus: With an old-hat direction from Martin Campbell, the Foreigner feels like a solid throwback to the thrillers of yesteryear, with Brosnan and Chan putting in great work, and measuring up and beyond the rather convoluted and silly script.

6 / 10

Every early-to-mid-90’s fanboy’s dream, 20 years later.

Photos Courtesy of: STX Films

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Exodus: Gods and Kings (2014)

Exactly why you never mess with guys named Moses. Especially when you’re near the beach.

If you don’t know the story of Moses by now, you probably should. But anyway, here’s what this movie’s all about. In 1300 B.C, Moses (Christian Bale) is a general and a member of the Royal family, which makes him a brother to  Prince Ramesses (Joel Edgerton). However, he is not blood-related, so therefore, when Seti I (John Turturro) passes away, it’s Ramesses who is next to claim the throne. While this doesn’t upset Moses, he knows that this won’t be good because Ramesses doesn’t take responsibility well and lets his emotions get the best of him. Ramesses knows that Moses thinks this and therefore, he banishes from the land and forces him to survive on his own. While in exile though, Moses finds out that not only does God want him to continue out his plan, but that he needs Moses to take control of whatever the hell crazy stuff Ramesses is doing to his land. Obviously Ramesses isn’t going to fall for all of this mumbo jumbo, which makes God very angry and nature so drastically turns on humanity.

And the rest is, I guess, history.

"Guy-liner is cool!"

“Guy-liner is cool!”

A lot of has been said about Exodus: Gods and Kings, and most of it isn’t about whether or not it’s actually good and worth your time at all. Most of it is, and reasonably so, is about the casting of the white actors in roles that were made especially for Hebrews and Egyptians. It was a small bit of controversy that held some ground, but it was made all the worse by the fact that Ridley Scott couldn’t quite shut his trap and therefore, seemed to have kick-started a huge list of people boycotting his film.

Is it reasonable? Yeah, I guess so. But that isn’t really the point of this movie, or even this review. The point of this movie is to inform and possibly entertain the audience about the story of Moses. However, the point of this review is to tell you that while it does the former, the later is hardly anywhere to be found.

Most of this has to do with the fact that Scott doesn’t really do much of anything entertaining, interesting, or even enlightening about this story. It’s all as plain as day. It may all look incredibly pretty, but honestly, there’s only so much one viewer can do with really pretty visuals. Eventually, you need an interesting story, to be told in an incredibly compelling way. If you can’t do this, then there’s something wrong with your film, all problems with casting aside.

And no, I’m not making the argument that Scott’s movie somewhat fails because we all know the story of Moses, it’s mostly because he doesn’t know where to go with it. He shows us that, yes, Moses was a person who spoke to God, set out to do what he was called on to do, and when it didn’t, all hell (literally) broke loose. This aspect of the film is, at least, exciting, fun, and interesting, something you don’t get from the rest of the movie. It shows us that not only does Scott still appreciate a nice monologue when he wants to use one, but that his exquisite eye to detail still pays off.

That said, I’m talking about what’s maybe 15 or so minutes in a movie that runs on almost two-and-a-half hours. Which wouldn’t have been a huge cause for concern, had the rest of the movie been at least somewhat worthy of watching, but it’s so slow and meandering, you’ll wonder if Scott fell asleep while making it, or was already in the midst of planning and filming his next picture, that he totally forgot about what was already on his plate. Either way, it’s a bit of a snoozer of a film and it’s made worse by the fact that some signs of Scott’s genius shows, teasing us more and more about what this film could have been, had it not decided to get bogged down in whatever it was blabbering on and on about.

And the same could also be said for the cast who, despite all being pretty big, respectable names, don’t really offer much to a movie that desperately needed something to liven it up.

Fleece on horse. Strike a pose.

Fleece on horse. Strike a pose.

Though Christian Bale is one of the best actors we have working today, it seems that whenever he is in a major blockbuster picture, he never quite gets the chance to show everyone those skills he’s known to have. Here, as Moses, he gives a pretty wooden performance that, at times, can seem inspired, but for the most part, just makes it seem like he’s reading from a Gideon Bible and doesn’t really care whether or not he’s putting any effort into anything. It’s not a terrible performance, but definitely one of Bale’s high-points, I have to say.

Same could be said for the rest of the cast. The likes of John Turturro, Sigourney Weaver, Ben Kingsley, Ben Mendelsohn, Aaron Paul and María Valverde all show up here, but hardly any of them leave a lasting impression on us. They’re just here to service a script that doesn’t know what it wants to say or do about itself, nor does it really know how to treats its characters, so it just has them talk a lot about seemingly nothing and see if they can draw up any sort of emotion whatsoever.

It seems like that was the same guideline given to Joel Egerton, although he’s a lot better off with his role as Ramesses because he’s call on one thing and performs it well: Be campy. Egerton seems like he’s not only having a fun time with this role, but is at least more interested in diving deep into who this person may have been and why he was inspired to make the actions that he did. Though most of this gets lost in a muddled film that could really care less about any sense of humanity there may be in these characters, the effort is still noticeable and it’s worth commending Egerton for. Even if, you know, the character was written as a guy who yells a lot, forces people to die, and eats a lot grapes.

Consensus: Everybody in Exodus: Gods and Kings seems to be trying, except for Ridley Scott himself and it proves to be a major problem for a two-and-a-half-hour epic that moves slow, doesn’t say anything interesting, and hardly ever seems to know what it wants to do with itself, other than just try and inform people about the story of Moses that they may already have known since kindergarten.

4.5 / 10 = Crapola!!

Gotta give it to those Egyptians - they sure did have style.

Gotta give it to those Egyptians – they sure did have style.

Photo’s Credit to: IMDB, AceShowbiz