Mission: Impossible – Fallout is the Perfect Summer Movie

Tom Cruise may be a weirdo, but you’ve got to give the man credit. It’s hard to think of an A-list Hollywood actor as willing to put himself in harm’s way for the sake of our entertainment. Cruise has been topping himself with each successive installment of the venerable Mission: Impossible franchise, and I can’t wait to see what he’ll have in store next time.

I’m already looking forward to the next Mission: Impossible movie, because Fallout, the sixth and latest film in the series, is everything I want from a summer movie. It’s fun, smart, tense, and absolutely thrilling from start to finish, and despite a 147-minute running time, those nearly two-and-a-half-hours disappear in a flash.

Images: Paramount Pictures

Cruise once again plays unstoppable superspy Ethan Hunt, still working for the Impossible Mission Force, or IMF. This time around he has to stop a group of fanatics known as the Apostles from acquiring nuclear material. That’s the most basic way of describing the plot, so if it sounds trite rest assured that the movie is much cleverer than my bare-bones plot description makes it sound. I’m being vague because I don’t want to give anything away, and I really want people to go out and see this film for a perfect example of smart, fun, exciting entertainment that doesn’t treat viewers like idiots.

Joining Ethan on his mission are familiar faces Benji and Luther, played respectively by Simon Pegg and Ving Rhames. Pegg and Rhames have been playing these roles for multiple films and they are the best kind of movie sidekicks. They’re smart, funny, badass and have great personalities, and don’t feel like stock characters or that they only exist to get captured. They are capable and valuable allies. Also returning is Rebecca Ferguson as the wonderfully-named English spy Ilsa Faust, whose loyalties are somewhat unclear. She’s every bit as badass as she was in the previous film, Rogue Nation, and is very much Ethan’s equal.

Another returning cast member is (spoiler alert if you haven’t seen any of the movie’s trailers) Michelle Monaghan as Ethan’s wife Julia, who hasn’t been seen since the third M:I movie, although technically she made a short cameo appearance in the fourth one. I love that the series hasn’t forgotten about Julia and hasn’t given Ethan any unnecessary romantic entanglements or had him casually jump into bed with every attractive woman that crossed his path. Julia’s presence provides a strong sense of continuity and the movie gives a satisfying amount of closure to Ethan and Julia’s relationship, which I hadn’t been expecting.

But here I am talking about relationships in what will very likely be the best action movie of the year. So, how’s the action? It’s top-notch. The movie was written and directed by Christopher McQuarrie, also returning from the previous film, Rogue Nation. Fallout is the first movie in the series to have been helmed by a returning director, and McQuarrie outdoes his previous efforts in nearly way. I loved Rogue Nation, but Fallout may be even better.

When the time comes to list the best action sequences of 2018, most of them will come from this movie. The HALO jump. The bathroom fight. The Paris motorcycle chase. The showstopping helicopter chase, followed by a brutal battle on the edge of a cliff. And many more. All of these sequences are breathtaking, and they all look totally real. I’m sure some CGI was used at certain points, but Fallout does not look like a CGI-heavy movie, which is remarkable in this age of incredibly advanced special effects. The movie’s stunt team deserves a shout-out for their incredible work in this film, every stunt is flawlessly executed.

Aside from one, of course, the infamous rooftop jump on which Cruise broke his ankle, delaying production while his leg healed. The shot where Cruise breaks his ankle is still in the film, and you’ve got to give the man credit for soldiering on and pulling himself up on to that roof despite what must have been a very painful injury. He also learned to fly a helicopter for the film (that’s really him during that pulse-pounding chopper chase) and spent an entire year learning to do the HALO jump. HALO is an acronym for High-Altitude, Low Opening, and is incredibly dangerous. The IMDb Trivia section for the movie says it best:

While Tom Cruise (Ethan Hunt) is famously known for performing his own stunts throughout the franchise, he ups the ante in this installment by performing four elaborate set pieces (mostly without green screens or stunt doubles): a HALO jump, an unusually dangerous variety of High-Altitude Low Opening parachute jumps; a helmet-free motorcycle chase through Paris, including a portion in which Hunt rides against traffic in the circle around the Arc de Triomphe; an extended foot chase across London rooftops, in which Cruise broke his ankle while jumping between two rooftops; and a helicopter chase in which Cruise does most of the piloting.

Credit to IMDb.

That’s INSANE. The guy literally put his life on the line multiple times, and the end results are spectacular. Fallout is indeed the Mad Max: Fury Road of 2018. It sets a very high mark for on-screen action and stunt work and will be the action movie to beat for a long time. If you’re like me and love intense, fast-paced movies that get your blood pumping, Fallout is a dream come true.

And I haven’t even mentioned the villains. Sean Harris returns as the diabolical Solomon Lane, the ruthless head of the Syndicate from Rogue Nation. Harris’ raspy voice is deeply menacing, and the movie has stakes that feel very real, despite all the times Ethan and his team have saved the world in the past. The movie has a solid emotional core, and I actually felt myself being moved by it a few times. It does a lot to humanize Ethan, and shows that he’s not just a superhuman stunt machine. You really care about the guy.

New to the series is Angela Bassett as CIA director Erika Sloane, who doesn’t trust Ethan and the IMF, and so assigns one of her own agents to accompany Ethan on his mission. That agent is August Walker, played by Henry Cavill, whose mustache caused so many problems for Justice League reshoots. I’ll be honest, Cavill’s not the best actor in the world, he can be a bit flat. But what he lacks in charisma he makes up for in physicality. Walker is noticeably bigger than Ethan and his presence causes unforeseen complications which I won’t elaborate on in the attempt to avoid spoilers.

I loved this movie. It’s whip-smart, has an excellent cast, a plot that keeps you guessing, and the most thrilling action of the year. The first Mission: Impossible movie came out all the way back in 1996, and it is amazing that after more than two decades the franchise is still going strong. Heck, I was eight years old when the first movie was released, now I’m nearly thirty. The series has stood the test of time and continues to deliver top-notch entertainment.

May it continue for another couple decades. I can’t wait.

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The Equalizer 2 is a Joyless Slog

Denzel Washington is a legend.

He’s the kind of actor who automatically improves every movie he’s in. When you hear about a new movie that he’s in, you think, hey, Denzel’s in it so it can’t be all bad.

His latest movie, The Equalizer 2, is mostly bad. But at least it’s not all bad.

Columba Pictures

The Equalizer 2, as you may have guessed, is the sequel to the 2014 film The Equalizer, which was based on the 1980s TV series of the same name. The Equalizer 2 is notable for being the first sequel that Denzel has ever made, which is amazing when you consider that he made his screen debut in 1981. Nearly four decades of acting with no sequels until now is quite the feat in today’s sequel-heavy movie market.

It’s a shame that the movie itself wasn’t better. The first Equalizer movie was a solid thriller, even though it’s no masterpiece. It grossed $192 million, making a sequel all but guaranteed. The sequel lacks the forward momentum of the original and spends too much time spinning its wheels. It’s a movie that never quite kicks into high gear and despite Denzel’s solid performance and a handful of quality action scenes, the movie ultimately feels like it was made to cash in on the surprising success of its predecessor.

Denzel once again plays retired special agent Robert McCall. In the first movie he worked in a blatant Home Depot ripoff called Home Mart (I guess Home Depot didn’t want to pay for the product placement) and in the second film he’s a Lyft driver (I guess Uber didn’t want to pay for the product placement). Being a Lyft driver provides ample opportunity for Robert to find people in need of help, and in many cases visit violent retribution upon various lowlife scumbags.

Robert is a likable guy despite his violent tendencies, although the movie skirts the issue of vigilante justice by making Robert’s victims so cartoonishly evil and smarmy that you don’t feel bad for them when he breaks their limbs and snaps their necks. That’s all well and good, but the movie suffers once the actual plot kicks in.

That’s because the plot is lazy and unpleasant. Some people kill Robert’s best friend Susan Plummer, an old friend from his secret agent days with ties to the intelligence community. The scene in which Susan is killed is overlong and deeply unpleasant, as her assailants pursue her through her hotel room and beat her relentlessly while she begs for them to stop. It’s horrible and is the worst thing I’ve seen in a theater all year. It’s also a lazy way to construct a story and shows that the filmmakers didn’t have any better ideas for a sequel than to just nastily kill the one person who means the most to the protagonist. It sucks and I hate it.

Both Equalizer movies were directed by Antoine Fuqua, who is a talented director but has an unfortunate tendency to fill his movies full of scenes of violence towards women. His movies are full of women being beaten, shot, stabbed and strangled. Hell, Susan is played by Melissa Leo, who previously worked with Fuqua on the 2013 thriller Olympus Has Fallen, which included a prolonged scene of the bad guys graphically beating her. The first Equalizer movie had a scene in which a young woman is slowly strangled. I could go on but I don’t want to. Just…yuck. These are the kinds of scenes that make you feel dirty after watching them, and I felt guilty having paid money to see these things happen in a theater.

I’m not going to lie, these kinds of things are really hard to talk about, and make it very hard to judge a film’s quality because they overshadow your entire perception of it. The first Equalizer was released in September, after prime summer movie season. But the second one was released in July, right smack in the middle of summer movie season. Who wants to go to a theater on a nice summer day and watch a woman get beaten and stabbed? I feel like this movie betrayed my expectation of entertainment.

Look, I’m going to try to move on from this. Let’s talk about the action scenes, which are tense and well-executed. There’s one scene where Robert is driving his car and has to fend off a guy in the back seat who is trying to stab him. That was exciting and inventive. The movie’s final showdown is also quite excellent. It takes place in a town that has been evacuated due to an approaching hurricane, and the weather grows worse as the scene progresses, which escalates the tension as Robert eliminates his pursuers in various grisly ways. He even kills a guy with what I’m pretty sure was a harpoon gun.

The movie is well-made and the acting is solid across the board, but the plot is lazy and predictable, the pacing uneven with too many extraneous sublots that go nowhere (one in particular involving an elderly Holocaust survivor feels like it should have been left on the cutting-room floor) and if I’m being honest the scene in which Susan is killed singlehandedly killed the movie for me. I’d watch the final confrontation again and there are a handful of other quality action scenes, as well as a great moment where Robert tells the bad guys that he’s going to kill all of them, and his only regret is that he only gets to do it once.

But overall the movie left a bad taste in my mouth and I have no desire to see it again. Things will improve next week when we take a look at Mission: Impossible – Fallout, which the early reviews have said is perhaps one of the best action movies ever made and looks like it could be this year’s Mad Max: Fury Road. I’m a big fan of the Mission Impossible series and I couldn’t be more excited, so look for that next week.

Tomb Raider 2018 is the Best VIdeo Game Movie Ever Made

The title of this post makes what might seem like a bold claim, but let’s be honest: the standards aren’t very high.

Even video game-based movies that I enjoy like the Resident Evil movies and the Angelina Jolie Tomb Raider movies aren’t what I would call good movies. They’re mindless fun and I enjoy them for what I feel is their considerable entertainment value, but they’re all just as stupid as hell.

2018’s Tomb Raider is more of a gritty reboot in the vein of Christopher Nolan’s Dark Knight trilogy or the Daniel Craig Bond films. The new movie takes most of its cues from the 2013 Tomb Raider game, which itself was a gritty reboot of Lara Croft, a dark and violent tale that was one of my favorite games of that year. Its sequel, 2015’s Rise of the Tomb Raider, was arguably even better, and the new film combines story elements from both games. So if the names Yamatai, Himiko, and Trinity mean anything to you, then you probably have a good idea of what the movie’s plot will entail.

Images: Warner Bros./Square Enix

Lara is played this time around by Alicia Vikander, an Oscar-winning Swedish actress. We first meet Lara as she’s getting her butt kicked in an MMA match, which gives the viewer a good look at Vikander’s amazing abs. She got in incredible shape for the movie, and she gets plenty of opportunities to show off her toned physique. I hope I don’t sound like a pig for saying this, but sex appeal has always been a big part of the appeal of Tomb Raider, and Vikander is very sexy.

She’s also a damn good actress and gives a performance that gives Lara a lot of empathy and personality. In the games, she’s not just a sex symbol anymore, and this applies to the movie as well. At the beginning of the film, she’s making a meager living in London as a bike courier. She’s the heir to a large corporation, but she refuses to accept her inheritance because that would require her to declare her father legally dead, which she is not prepared to do. Her father disappeared years ago and she is determined to find out what happened to him, which is her main motivation throughout the film.

Her search lead her to discover her father’s hidden research into Himiko, a mythical Japanese queen who was said to have power over life and death. She finds a recording left by her father in which he instructs her to destroy his research, but of course she doesn’t, and follows his trail to Hong Kong. There she meets Lu Ren, a ship captain she convinces to take her to an island she believes to be the island her father was searching for. They are promptly shipwrecked and wind up in the clutches of Mathias Vogel, the leader of an expedition on the island to unearth Himiko’s tomb. It turns out Mathias knew Lara’s father, and his research was the final piece of the puzzle required to locate Himiko.

Lara has just brought him exactly what he needed. Remember in Indiana Jones and The Last Crusade, where Indy’s dad gets mad at him for bringing the Grail diary with him when the Nazis capture them? It’s like that. Tomb Raider may not be the most original movie. It’s a bit derivative, and much of the film’s final act is very reminiscent of the Last Crusade’s final act, where the bad guys force Indy to go on ahead and solve the puzzles leading to the Grail. Pretty much the exact same thing happens in Tomb Raider. But hey, if you’re going to steal from another movie, at least steal from a good movie.

I liked this new Tomb Raider quite a bit. The acting is solid, with Alicia Vikander making Lara into a likable and vulnerable character who is also a force to be reckoned with in the action scenes. Tomb Raider is one of the most visually faithful video game adaptations. Vikander looks almost exactly like the Lara of the recent games, and the clothes she wears and the weapons she uses (like the bow and the climbing axe) look like they came directly from the games.

Several of the action set pieces come directly from the games as well, like when Lara finds herself in a rusted-out old airplane dangling precariously over the edge of a waterfall. There is plenty of fan service for fans of the games such as myself, and the film’s ending shows Lara with her hair in its trademark braid and acquiring her famous dual pistols, as well as setting itself up for a sequel. Vikander wouldn’t have been my first choice for the role of Lara but she nails it, and if there are any sequels she’s the right woman for the job.

The rest of supporting cast is also good. The villainous Mathias is played by Walton Goggins (I love that name) who is good at playing slimy sleazeballs. Lara’s father Lord Richard Croft is played by Dominic West (I love that name too), an actor with a voice I could listen to all day. Lu Ren the ship captain is played by Daniel Wu, from the badass AMC TV series Into the Badlands, which is a show loaded with top-notch kung fu action.

It is, of course, not a perfect movie. The first act is a bit sluggish, since it takes about 45 minutes for Lara to reach the island, and the pacing lags a bit in the early going. There are some underused characters too. Lu Ren seems like a cool guy and Daniel Wu is a good actor but once when they reach the island he doesn’t get much to do, and Kristin Scott Thomas is a very capable actress who is barely in the movie, which is too bad. But there are a couple of fun cameos from Nick Frost and Sir Derek Jacobi of all people, which helps make up for it.

The movie was directed by a Norwegian director named Roar Uthaug (another great name) who does good work with the material. It’s not perfect and has gotten a mixed critical reception, but I feel it’s a genuinely good movie despite its flaws and I had a lot of fun with it. If you’re a fan of the games you’ll find a lot to like here and will appreciate the various callbacks to the games, but even if you’ve never picked up a controller you’ll still find a fun adventure movie, and there’s nothing wrong with that.

The Foreigner is Jackie Chan’s Version of Taken

Martin Campbell is a director who seems to specialize in revitalizing old warhorses. He did it in 1995 with GoldenEye, which was the first James Bond film since 1989’s License to Kill and was also Pierce Brosnan’s Bond debut. Campbell did it again in 1998 with The Mask of Zorro. He revitalized James Bond again in 2006 with Casino Royale, Daniel Craig’s first Bond movie (and still my number-one favorite Bond film). Campbell did it yet again in 2010 with Edge of Darkness, Mel Gibson’s first starring role after a long absence (and several well-publicized offscreen meltdowns). In 2011 Campbell made Green Lantern, which…well, the less said about that one the better. But with The Foreigner, Campbell has made a return to form.

Image: STX Entertainment

This time it’s Jackie Chan getting the Martin Campbell Old Warhorse Revitalization Treatment. An alternative name for this phenomenon would be Taken Syndrome, referring to Liam Neeson’s 2008 surprise megahit which proved that people will go see movies starring aging action stars.

The circumstances are a bit different, since before Taken Neeson was not known as an action star. The same cannot be said for Jackie Chan, whose willingness to perform fearless and death-defying stunts in his films has rightly become the Stuff of Legend. The Foreigner also stars Pierce Brosnan in a villainous role. The combination of Campbell, Chan and Brosnan feels just right, and I quite enjoyed The Foreigner.
The film’s plot will be immediately familiar to anyone who has ever seen an action movie. Chan plays Quan, a restaurant owner living in London whose teenage daughter is killed in a terrorist bombing in the film’s opening. Killing Quan’s daughter will of course turn out to be the worst (and last) mistake the culprits ever make, since like Liam Neeson’s character Bryan Mills in Taken, Quan turns out to have a very particular set of skills, as well as a tragic backstory that both serve as strong motivation to find and punish his daughter’s killers.

It’s a familiar plot (the 2002 Arnold Schwarzenegger movie Collateral Damage had nearly the exact same setup) but an effective one. Pierce Brosnan plays Irish Deputy Minister Liam Hennessy, a man who, let’s just say, has fingers in many pies. After seeing Hennessy on TV and learning that he is a former IRA member, and since a group calling itself the Authentic IRA claimed responsibility for the attack that killed his daughter, Quan becomes convinced that Hennessy knows more than he is letting on.
Long story short (and I don’t think this is much of a spoiler): Quan is exactly right, and Hennessy is up to his ears in it. I won’t go into more detail than that, but it doesn’t take long before Quan has Hennessy running scared and hiding out in the countryside. This does not deter Quan and he takes up residence in the surrounding woods and wages a guerrilla war against Hennessy, which includes setting Rambo-esque traps in the woods that come in quite handy when Hennessy sends his henchmen into the woods after him.

Image: STX Entertainment

Jackie Chan is great in this movie. He’s 63 years old but is still pretty spry, and the fight scenes are excellent. The trailers for the movie would have you believe that the movie is a non-stop action thrill ride, but the truth is that it’s more of a political/conspiracy thriller with some really great action scenes. The plot gets a bit muddled at times but I was still able to follow it without too much difficulty. In addition to a strong physical performance, Chan also does a great job at nailing the more introspective and emotional aspects of his character. The scenes of him mourning his slain daughter are genuinely affecting.

The movie also knows how to make the most of Chan’s presence, and keeps him offscreen for much of the movie. While Quan wages his guerrilla war against Hennessy, we spend most of that time following Hennessy as he becomes increasingly paranoid, so when Quan makes his move it comes as a surprise to the audience as well as to Hennessy and his men. Even when Chan isn’t onscreen, his character’s presence is strongly felt. It’s very effective filmmaking.

Brosnan is also excellent as the duplicitous Hennessy, and speaks with an Irish accent that feels genuine. I mention this because Irish accents are easy to overdo, but Brosnan and the rest of the actors who play Irishmen speak with Irish accents that sound real, so the film never comes across as campy or exploitative. And yes, I realize that Pierce Brosnan is himself Irish, but I thought it was still a point worth mentioning.

The Foreigner is undeniably similar to other thrillers, but the strength of the performances and strong sense of realism raise it above the level of other campier films. I thought that Martin Campbell’s 2010 movie Edge of Darkness with Mel Gibson was ok, but the pacing of that film was sluggish and the plot was hard to follow. The Foreigner is much better in both of these areas and to me feels like a more complete and well-rounded experience. The villains in Edge of Darkness were members of a shady evil corporation, whereas The Foreigner’s villains are shady evil politicians. The movies are similar but The Foreigner ultimately comes out on top. It’s not perfect but I really liked it.

It’s October, which means that I have to write about at least one scary movie. Fortunately for me (I think), there’s one coming out this Friday which looks like it will fit the bill. That movie is The Snowman, a twisted Scandinavian crime thriller starring Michael Fassbender and based on a bestselling novel. The early buzz for the movie has been mostly bad, but I’m going to check it out anyway. I guess I’m still feeling brave after surviving IT. Tune in next week for a review.

Blade Runner 2049 is as Good as Belated Sequels Get

Confession time: the first time I saw Ridley Scott’s seminal 1982 sci-fi film Blade Runner, I didn’t much care for it. Please don’t judge me too harshly.

This could be because I saw it on TV and it was probably edited to some extent. This could also be because the version I saw was the original theatrical version, which most fans of the film agree to be inferior to later versions. But I think the most likely reason of all was that it did not conform to my expectations. I expected a rollicking, action-packed thrill ride. What I got instead was a dark, moody, slow-burning sci-fi noir. It wasn’t what I wanted at the time, but I have a much greater appreciation for it now. Scott’s Blade Runner is a stone-cold classic and has been hugely influential on generations of filmmakers and writers.

The idea of a sequel coming out some 35 years after the release of the original film could lead to understandable skepticism. We all know what happened with that last Indiana Jones movie, after all. But I am happy to say that the new film, Blade Runner 2049, is an excellent sequel. People have called it one of the best sequels ever made, and it’s hard to disagree.

Image: Warner Bros.

The new movie was directed by the brilliant French-Canadian director Denis Villeneuve. I haven’t seen all of his films, but the ones I have seen (Prisoners, Sicario, and Arrival) were all excellent. Villeneuve is one of the best directors working today, and he has delivered another near-masterpiece with Blade Runner 2049.

Villeneuve’s film stays true to Scott’s beloved original in tone, style, and content. The cinematographer was the great Roger Deakins, and the movie looks amazing. It brilliantly recaptures the iconic look of the original movie while also providing new environments and landscapes that fit right in with the world these films have created. If Deakins doesn’t finally win an Oscar for his work on this film, then the Academy Awards are officially Dead To Me.


Image: Warner Bros.

But aside from the eye-popping visuals, the film is rich in ideas and emotion. One of the main questions the original film presented was: what does it mean to be human? If it becomes possible to one day create synthetic beings so lifelike they’re virtually indistinguishable from real people, who’s to say those synthetic beings aren’t human? HBO’s Westworld recently pondered similar questions, and they’re as relevant and intriguing now as they were when the first movie was released in 1982.

Much has been made of Harrison Ford’s return to the world he helped create, although (this could be considered a minor spoiler) he doesn’t actually appear in the new movie until it is more than half over. Most of the movie rests on the shoulders of Ryan Gosling, and he is more than up to the task of carrying the film. Gosling’s performance here is superb and absolutely Oscar-worthy.


Image: Warner Bros.

For those of you unfamiliar with the story, here’s a quick recap. The original movie took place in 2019, and followed Ford’s character Rick Deckard as he attempted to track down four rogue replicants. Replicants were created by the Tyrell Corporation to serve as off-world slave labor, but after a series of violent rebellions, they became outlawed. Blade Runners such as Deckard were cops who specialized in tracking down and “retiring” replicants.

Gosling’s character, known simply as K for most of the movie, is a Blade Runner hunting down replicants in 2049, thirty years after the events of the original film. I’m not going to go into much detail about the plot, since I really want to avoid spoilers. Suffice to say that K’s background is complex and is an integral part of the film’s plot. It becomes necessary for him to track down Deckard, who hasn’t been seen for thirty years. When we do finally meet Deckard, he’s tired and worn out. It’s some of the best acting Ford has done in recent years. He does a great job capturing Deckard’s cynicism and world-weariness, and is soulful and sympathetic.


Image: Warner Bros.

In addition to Deckard and K, the rest of the characters are equally fascinating. Robin Wright plays K’s no-bullshit boss Lieutenant Joshi, Jared Leto plays a creepy evil industrialist named Niander Wallace (who now owns the company that makes replicants and has made a fortune producing a new, more obedient series of replicants), and an actress named Sylvia Hoeks plays Wallace’s main henchwoman, disarmingly named Luv. Despite her name, she is not to be messed with, and provides a fierce adversary for K as he attempts to locate Deckard.

There’s also the lovely Cuban actress Ana de Armas as a character named Joi (pronounced like the word joy), who is, for lack of a better word, K’s companion. No, not that kind of companion. She offers him support and guidance despite, let’s just say, not being entirely human. I found the relationship between K and Joi to be quite fascinating, and genuinely moving at times.

There’s a lot more I could say about the plot, but I’m not going to because this is a movie you should experience for yourself. I will say that I loved the film’s plot. The filmmakers did an incredible job of telling a story that feels like a logical evolution of the original film, instead of just a flimsy excuse to make another movie and make more money. Blade Runner 2049 is a movie made with immense care and attention to detail. It feels completely faithful to the original.

I wouldn’t call either Blade Runner movie an action movie. Both movies are deliberately paced, and while there are fights and chases, the emphasis isn’t on the action scenes. Both films have a long way to go and are in no particular hurry to get there. The new movie is nearly three hours long, but it didn’t feel that long to me. It immediately sweeps the viewer up into the vivid world it creates, and it’s the kind of world that is thrilling to explore, but you probably wouldn’t want to live in it.

Every aspect of this movie is Oscar-worthy, from the production design to the writing to the acting to the directing to the special effects to the cinematography. Every one of those things from the first movie became iconic, and it’s easy to see the same thing happening with the new movie. Denis Villeneuve and his team did an incredible job crafting this film, and they have made Blade Runner 2049 every bit as emotionally resonant and thematically rich as its esteemed predecessor, which is no small feat.

Coming up next, in The Foreigner Jackie Chan will show us that it doesn’t matter if you’re in your sixties, you can still kick ass.

Operation Anthropoid

It is with a heavy heart that I begin to write today. Last week I decided to write about a movie called Anthropoid, which is a dramatization of the assassination of Reinhard Heydrich which took place in 1942. It’s a movie with a lot of gun violence, and after what happened in Las Vegas after the weekend I wondered if it was the right movie to write about. I’m going to go through with it, but this week in addition to the standard spoiler warning I’m just going to say that this post will be getting into some pretty dark stuff, so if you don’t want to read about a film in which many people are killed with guns only a few days after dozens of Americans were actually killed with guns, I completely understand.

That being said, let’s get to the movie. Anthropoid is a movie which was released last year, starring Cillian Murphy and Jamie Dornan, and was written, produced, and directed by Sean Ellis (he was also the cinematographer). Ellis is an English filmmaker with only a handful of directing credits, but Anthropoid is one of the best-directed films I’ve seen in quite some time. It flew under the radar last year, but it’s a great movie and deserves to be more widely known.


Image: Universal

Reinhard Heydrich was an evil man. He was one of the highest-ranking Nazi officials and one of the main architects of the Holocaust. Hitler himself referred to Heydrich as “the man with the iron heart” and the people of Czechoslovakia nicknamed him the Butcher of Prague. I’m not going to say much more about him because I am not a historian and because writing about such a monstrous person is depressing. Suffice to say that if one were to compile a list of the most evil humans to ever exist, Heydrich would more than earn his place.

As I talk about the film, I’m going to be talking about historical events as the film depicts them, and I’m sure the movie takes some liberties with the actual events (as all movies based on true events inevitably do). Just letting all the historians out there know that in advance.

The movie’s main characters are Josef Gabcik, played by Murphy, and Jan Kubis, played by Dornan. Both Gabcik and Kubis were real people, and the performances by Murphy and Dornan are excellent. Murphy is a talented and versatile actor, while Dornan is unfortunately known best as Christian Grey from those godawful Fifty Shades of Grey movies (no, I haven’t seen them, nor do I ever intend to). For those of you who think Dornan is a bad actor based on those movies alone, I’ve got some potentially surprising news: he’s really good in Anthropoid. Amazing what an actor can do when given good material and a director who gives a shit.

For me, one of the most remarkable things about the movie is how genuine it feels. A lesser filmmaker could have taken this story and turned it into a Dirty Dozen-style action thriller about heroic underdogs assassinating a horrible person and subsequently going out in a blaze of glory. But director/producer/screenwriter/cinematographer Sean Ellis wisely and correctly realized that that would be a false way of telling the story, and instead makes the film frighteningly realistic. It portrays its characters as deeply flawed and unsure if what they’re doing is really the right course of action, and doesn’t gloss over the horrific consequences of their actions.

Image: Universal

Gabcik, Kubis, and their fellow conspirators are scared and uncertain. They were airdropped into Czechoslovakia with orders from the exiled Czech government in London to assassinate Heydrich, but the way the movie portrays it the details were mostly left to them. The first part of the film follows Gabcik and Kubis as they meet up with their contacts and form a plan to ambush Heydrich while he is out taking a drive. One of the biggest complications is that Heydrich sometimes travels with an armed escort and they haven’t been able to discern a pattern as to when Heydrich will be guarded.

They decide to wait for a day when Heydrich is unguarded, but when they receive news that Heydrich will be returning to Germany in a few days, it forces their hand and decide to ambush him regardless of the presence of an armed escort. Fortunately, when the moment arrives Heydrich is alone, but when Gabcik steps into the road in front of Heydrich’s car and attempts to open fire on him with a machine gun, his gun jams. As Heydrich and his driver prepare to shoot Gabcik, Kubis, who was positioned nearby, throws an anti-tank grenade at the vehicle and wounds Heydrich. Heydrich stays in the vehicle while his driver pursues Gabcik, who is able to shoot him and escapes.

This is the way the film portrays it, and from what I’ve read the film’s depiction of how the assassination played out is highly accurate. Ellis extensively researched the actions of every member involved in the assassination, and even portrays the events of the assassination in real time, meaning that the amount of time the film spends showing the assassination is the actual amount of time the events themselves took to occur.

That’s an impressive commitment to detail and historical accuracy. The entire film is tense as hell, and there’s very little artificiality to it. There’s little in the way of background music for most of the film, and Ellis uses this to increase the tension to nearly unbearable levels. There are no scenes of Gabcik and Kubis’ bosses back in London strategizing, and no scenes of Heydrich himself doing whatever it was that a sick bastard like him did in his day-to-day life. The viewer doesn’t know anything more about Heydrich’s movements than the assassins do. There is also a strong sense of just how isolated Gabcik and Kubis are. They have a few co-conspirators but little to no outside help. They are on their own.

At first, they fear that they botched the assassination, but a few days later, as they are hiding out in a church, they get the news that Heydrich died as a direct result of the wounds he sustained during the assassination attempt. From what I’ve read it sounds like he died of infected shrapnel wounds. The Nazis get a hint of the assassins’ location when one of their own, a Czech resistance operative named Karel Curda, betrays them for the sum of one million Reichsmarks.

Curda leads the Nazis to the home of the people Gabcik and Kubis stayed with during the planning of the attack. The mother of the family kills herself with a cyanide capsule before the Nazis can take her, but the rest of the family is not so lucky. There’s a horrific interrogation scene where the Nazis learn of the assassins’ location in a church from the teenage son of the family. I won’t describe the interrogation scene, but it’s appalling, and once again, from what I’ve read the depiction of the Gestapo’s interrogation methods is accurate, which is all the more horrifying if you see the film.

This leads to the final confrontation, which is one of the most epic and harrowing last stands in cinematic history. When the Nazis arrive at the church, three of the Czech resistance fighters are standing guard (one of which was Kubis) with the remaining four taking refuge in the crypt below the church. When the three start shooting, the four hiding in the crypt want to help but know that they can’t reveal themselves to the Nazis. The church shootout is intense and unrelenting, as the three Czechs desperately attempt to hold off wave after wave of well-armed and relentless German soldiers. Inevitably, all three are killed. The last to go is Kubis, who loads his last bullet into his gun at points it at his own head.

Just as he is about to pull the trigger, the film cuts to Gabcik’s horrified face in the crypt below as he hears the shot, and the expression on his face tells the whole story. It’s a quietly devastating moment, and is exemplary of the way Ellis directs the film. It’s not showy, it’s not stylized, it’s not drawn-out. It happens and it’s devastating and then it’s over and the survivors have to carry on. The Nazis soon realize where the remaining conspirators are hiding, and attempt to flush them out by flooding the crypt. Cornered, with the chamber flooding and the Nazis closing in, the surviving conspirators take their own lives.

Concluding text informs the viewer that Hitler’s reprisals were swift and terrible. Tens of thousands of Czechs were arrested, many of whom were later executed or died in concentration camps. The Czech villages of Lidice and Lezaky were burned to the ground and all their inhabitants either executed or imprisoned. It’s estimated that 5,000 innocent Czechs were killed as a direct result of Heydrich’s assassination. While the film mercifully doesn’t depict these events, it doesn’t ignore them either. Heydrich was the highest-ranking Nazi to be successfully assassinated during the Second World War, but it came at a terrible cost.

Image: Universal

The movie is a poignant examination of morality and justice, and doesn’t shy away from depicting the violence of war. Anthropoid is not a combat movie like Saving Private Ryan or Hacksaw Ridge, it’s closer to Schindler’s List or The Pianist. It’s hard to watch at times but is well worth the effort, even if you never want to see it again after the first viewing. It’s not as graphic as Saving Private Ryan or Hacksaw Ridge, but is no less emotionally draining. It’s vividly realistic and fantastically-directed, with excellent performances across the board. It’s a movie that is challenging but very rewarding, and will stay with you for a long time.

Coming up next week is a long-awaited sequel to a bona fide sci-fi classic. It’s Blade Runner 2049.

Mitch Rapp: American Assassin

Before his death in 2013 at the age of 47 from cancer, Vince Flynn wrote 14 bestselling books, 13 of which starred ultra-badass counterterrorism agent Mitch Rapp. Flynn’s first book was published in 1997, and his first Mitch Rapp book was published in 1999. It took Hollywood a while to make a movie based on Flynn’s work, and the first one, American Assassin, was released last week.

I love the Mitch Rapp books. Rapp is a no-bullshit, take-no-prisoners kind of guy. He never met a terrorist whose kneecap he didn’t want to put a bullet in. He doesn’t give a damn about the constantly-debating politicians in Washington. He will do whatever he has to in order to stop terrorists from killing innocent people.

Image: Lionsgate

This attitude frequently puts him in conflict with the politicians, which leads to much of the drama in the books, aside from Mitch kicking terrorist ass, which he does prodigiously. But he’s not just a meathead who is good at killing bad guys. He has a tragic backstory and a fascinating personality, and I cared about him a lot as I read the books.

One of my favorite parts of the books was Rapp’s developing relationship with his girlfriend and later wife Anna Reilly, a reporter he rescues from a terrorist attack and subsequently falls in love with. Flynn lets their relationship develop over several books, and in Flynn’s seventh novel Consent to Kill, which is one of my all-time favorite books and one of the best espionage thrillers ever written, (book spoiler alert) I was genuinely heartbroken when Anna was killed by a bomb that was meant for her husband. Killing his wife turns out to be the worst mistake the bad guys could have possibly made, as it leads Mitch to unleash an unstoppable tidal wave of unholy vengeance upon them.

By the way, that terrorist attack Mitch rescues Anna from? That was at the White House. Vince Flynn told the story of the White House being invaded by terrorists in 1999, well before Hollywood got around to making not one but two White House invasion movies in 2013. So yeah, Mitch Rapp is a badass, as was his creator.

The new film, American Assassin, is based on Flynn’s novel of the same name. Although it was published in 2010, making it one of his later books, it is the first chronologically and serves as the origin story for Mitch Rapp. So it makes sense that it would be the first to be adapted for film. I can’t say exactly how well the movie follows the story of the book, since I read it several years ago, but it does a commendable job of capturing the feel of Flynn’s books.

Mitch is played in the film by Dylan O’Brien, a 26-year-old actor known mostly for the YA sci-fi series The Maze Runner, as well as the TV series Teen Wolf. I was a bit skeptical of O’Brien’s casting, since he seemed like a bit of a heartthrob for teenage girls, but he does good work in the role. He doesn’t quite have the charisma of Daniel Craig or Matt Damon, but then, Mitch Rapp was never much in the charisma department. He’s a man of action, not words. Mitch’s teacher and mentor Stan Hurley is played by the great Michael Keaton, who has a lot of fun chewing scenery and being a crusty, cantankerous badass.


Image: Lionsgate

In the movie’s opening scene, Mitch is on vacation with his girlfriend in Spain. He proposes to her and she accepts. It seems like an idyllic scene, until gunfire breaks out and Mitch’s girlfriend and many other people are killed by terrorists, and Mitch himself is shot multiple times. It’s a tense, effective scene, and effectively establishes the mood of the film.

Eighteen months later, Mitch lives a solitary life and is consumed with vengeance. He frequents an internet message board where he makes contact with the Jihadist cell responsible for the attack that killed his girlfriend, and is able to infiltrate them. The CIA has gotten wind of this and takes out the cell before Mitch can exact his vengeance.

He is then drafted into a black ops unit codenamed Orion and sent to Stan Hurley for training. The rest of the film’s plot involves nuclear weapons in the hands of people you really don’t want to have nuclear weapons, and a rogue operative with the (rather unoriginal) codename Ghost, played by Taylor Kitsch. I’ll be honest, the plot didn’t blow me away. It followed some predictable twists and turns, most of which didn’t offer any big surprises. But it was serviceable. I don’t know how closely the movie’s plot followed that of the book, since I read it several years ago. But the movie’s story gets the job done in a solid if unspectacular fashion.

There’s quite a bit of action in the film, all of which is well-executed, although the movie doesn’t have a standout action sequence that really stuck with me. Still, the film’s action is solid, and it is always a thrill to see one of your literary heroes given life on the big screen, even if the adaptation is flawed. The movie is R-rated and doesn’t pull any punches with regards to the violence or profanity. This is as it should be, since Mitch Rapp has always been an R-rated guy.


Image: Lionsgate

There’s a torture scene late in the film which is brutal, but also kind of hilarious because Michael Keaton gets to go for it and just go full-on crazy. It’s one of the best scenes in the film because of Keaton’s performance, and reminded me quite a bit of the infamous torture scene in Casino Royale. It’s brutal, but hard to look away from, and even has moments of dark, brilliant humor.

I saw the movie with my dad, since he was the one who got me hooked on the books in the first place and we are both big Mitch Rapp fans. While it’s not the best spy thriller ever made, we both enjoyed it, and a good manly time was had by all. The plot is ho-hum but the action and the performances are solid, and I think it will satisfy fans of Flynn’s excellent books.

Coming up next, we’ve got even more spies and assassins, but this time with tongue lodged firmly in cheek. It’s the return of everyone’s favorite gentlemen badasses in Kingsman: The Golden Circle.