"Lockout" Succeeds At Offering An Exciting Experience

Despite a solid headliner in Guy Pearce, the underwhelming marketing for Lockout, which makes the project look like a direct-to-DVD experience, has been enough to cause a lot of moviegoers to forget that the film was actually developed by well-known thriller writer/director/producer Luc Besson (The Fifth Element and Taken). While Besson outsourced directorial duties to untested feature co-helmers, James Mather and Stephen St. Leger, the fan-favorite producer was still instrumental in crafting the Lockout story – as well as overseeing production.

As a result, it’s no surprise that Lockout features plenty of Besson’s staple calling cards: most notably a snarky and rough-around-the-edges (but charming) leading man, as well as some hard-hitting action set-pieces, among other things. However, do Mather and St. Leger successfully carry Besson’s concept across the finish line – delivering an entertaining sci-fi thriller that’s more than just the sum of its tried-and-true parts?

While it’s certainly not a flawless movie, or a deep exploration of character (as depicted in Taken), Lockout succeeds at being an over-the-top thriller with surprisingly high production values for a $20 million film that has to make room for a Guy Pearce paycheck. It’s not the most visually-stunning movie in the genre and definitely has a “budget” look at times; however, the project ultimately succeeds as a result of Pearce – who delivers an enjoyable, albeit snide, performance as government agent-turned-one-man-army, Snow.

As with some Besson-produced projects, the Lockout story is pretty basic. After a government operation goes awry, agent Snow (Guy Pearce) is taken into federal custody on suspicion that he double-crossed one of his closest friends (and, subsequently, compromised the security of the United States). After refusing to cave during a brutal interrogation at the hands of secret service agent Langral (Peter Stormare) and one of Snow’s handlers, Shaw (Lennie James), the agent is about to disappear into the federal prison system forever – until the President’s daughter, Emilie Warnock (Maggie Grace), is taken hostage by inmates while visiting an enormous prison facility orbiting the Earth. Snow is given the option of rescuing the President’s daughter in exchange for his freedom, an offer Snow initially rejects, until he discovers that the key to clearing his name is also aboard the prison installation (which is rapidly plunging into inmate versus inmate pandemonium).

While the Lockout storyline gets the job done – presenting an intriguing sandbox for Pearce’s character to kick butt and fire off snarky one-liners – none of the characters in the film are anything but single-note caricatures. Some moviegoers will, no doubt, be unaffected by the lack of development, but compared to similar entries in the action-thriller genre, it’s not unfair to expect a more rewarding balance. That said, Snow is a likable leading man (thanks in part to Pearce’s approach to the role); however, the audience is only going to sympathize with him because of the way he’s presented in contrast to the rest of the story: he’s innocent, anti-establishment, and honorable (in spite of his rough exterior). The same can be said for the rest of the supporting cast – which is either going to be a sticking point for moviegoers hoping for something character-driven or a relief for viewers who would rather jump right into the action.

This dichotomy can be applied to how audiences will view other aspects of Lockout - as the story, despite a pretty robust sci-fi future, doesn’t bother with a lot of world-building and instead simply presents information (there’s a prison in space) without really exploring the film’s potentially intriguing universe.

Every moment of the movie (both good and bad) relies heavily on familiarity with pre-existing action-thriller genre archetypes, sci-fi concepts, and staple good versus evil caricatures – without developing anything or anyone, once established. As a result, the characters (and story) aren’t likely to offer many surprises along the way – as the film merely follows the presented elements out to the most logical (albeit somewhat cliched) conclusions. Even the action, which is clearly the priority here, doesn’t showcase anything new and isn’t going to outright drop jaws. However, the combination of Pearce’s reaction to a lot of these moments of tension still makes for a pretty enjoyable one-two punch – even if the moments aren’t mind-blowing on their own.

Surprisingly, the film actually succeeds because of its heavy reliance on things audiences have seen before – since a lot of them are tried-and-true onscreen ideas. As an example, there’s nothing unique about Joseph Gilgun’s Hydell, an inmate responsible for most of the mayhem occurring in the prison, but he’s still one of the more enjoyable characters to watch. Similarly, even though the film fails to capture the scale of the facility and the sheer number of prisoners that are running around, the prison break in space set-up is intriguing enough – and presents an adequate foundation for some tense moments and modest-but-cool action sequences.

Lockout is not going to rival the explosive set-pieces audiences expect in Michael Bay summer blockbusters, but it succeeds at offering an exciting, if somewhat thin, adventure. While plot holes and one-note characters keep the film from being a clearcut must-see, for thriller fans looking for an enjoyable-but-brainless popcorn flick, Mather and St. Leger have delivered a (mostly) competent Luc Besson actioner – thanks, in large part, to an enjoyable performance from Guy Pearce.

"Machine Gun Preacher" Will Definitely Help Raise Awareness For Childers’ Continuing Work

At first glance, for many moviegoers, Machine Gun Preacher might have sounded like some obscure graphic novel adaptation – especially considering the film stars kick-butt action man Gerard Butler. That said, for anyone unfamiliar with the real-life name Sam Childers, or the numerous non-profit organizations he’s founded, the story of Machine Gun Preacher is wrought with just as much danger and human drama as the pages of a superhero comic book.


That said, while Sam Childers and the story captured in his book, Another Man’s War are no doubt larger-than-life, that doesn’t automatically mean that Machine Gun Preacher is going to be a worthwhile film adaptation. Is director Marc Forster’s (Monster’s Ball, The Kite Runner) ”based on a true story” movie a compelling and inspiring representation of Childers’ experiences – or an over-stuffed biopic that gets lost in the twist and turns of real life?

Unfortunately, while Machine Gun Preacher definitely has a lot going for it – the film also routinely falls short of finding a good balance between the development of Childers’ worldview and on-the-nose dramatic beats that attempt to “explain” key moments in his evolution. The real life Childers’ story takes some sharp turns, and subsequently, the movie has to cover a myriad of events in a short period of time. As a result, Machine Gun Preacher is a pretty jumbled and drawn-out film that focuses on a series of important snapshots in Childers’ life, instead of telling a concise, focused, and thoroughly developed throughline of the overarching story.

The Hollywood version of Childers depicts a reckless and hate-filled ex-con and drug addict who, upon his release, continues his destructive downward spiral – until a rock bottom moment causes Childers to reject his prior life and embrace the values of the Christian church. While on a construction trip in North Africa (to build a mission church), Childers is exposed to the horrors of the Second Sudanese Civil War – specifically the large-scale murders and abductions of children. Upon returning home, Childers embarks on what becomes a life-long project: to rescue and protect children in warring nations. It’s a journey that rocks the foundation of his faith and threatens the stability of his home life – as well as bringing Childers face to face with the terrors of war-torn Sudan: assassination attempts, ruthless mercenaries, and child soldiers (among others).

The movie covers a lot of ground (about ten years in fictional time) that actually accounts for about thirty years of Childers’ actual life. As a result, Machine Gun Preacher takes a lot of liberties in an attempt to streamline the narrative – omitting Childers’ son entirely from the story as well as combining a number of people into single composites such as Childers’ “best friend” Donnie (played by Michael Shannon). However, despite attempts at tightening the story, the film is still a bloated and bumpy experience – with nearly every scene forcing a not-so-subtle story beat onto moviegoers.

As a result, each step in Childers’ evolution from drug-dealing biker to an impassioned “freedom fighter” appears to happen in a flash: his conversion to Christianity (which actually took years) practically occurs overnight and his growing frustration with American consumer culture (juxtaposed with the needs of the Sudanese children) comes to a head at a posh dinner party. It’s not that the scenes themselves aren’t interesting – it’s just that throughout the film many of these moments lack much buildup, as if each one is supposed to communicate a larger moral or act as a galvanizing experience to propel Childers forward. There are very few scenes that simply allow the audience to absorb what is happening – without throttling the story forward to the next “defining” set piece.

That said, a lot these moments are still powerful – even if they don’t come together to form a competent overarching story. Butler delivers a number of especially engrossing moments as Childers – and successfully transitions the man from a despicable and disappointing human being to someone the audience will want to root for, even when his actions challenge preconceived ideas of a “hero.” The supporting cast, which includes Michelle Monaghan as Lynn Childers, also rises to the occasion – even if the narrative sometimes bungles their contributions.

Machine Gun Preacher offers an interesting set of juxtapositions, i.e. a God-loving guy kills mercenaries to free children and becomes so overwhelmed by the horror around him that he loses faith in humanity and God; however, only some of the scenes are successfully able to make sense of the underlying thematic material. Surprisingly, for a movie about the power of human will in combination with faith, some of the more religious elements come across as caricature, not individuated examples of Christian communities. This cliched portrayal of Christianity is most noticeable when Butler has to deliver a lot of “preachy” dialogue.

Side note: The film is pretty violent (earning the biopic an R-rating) and featuring a number of graphic moments that will not no doubt be challenging for some moviegoers. The Machine Gun Preacher tone is actually pretty fitting, considering the have-gun-will-travel attitude of Childers, but audience members who are expecting a more straightforward story about faith-in-action might be overwhelmed – and will be confronted several times by especially disturbing scenes.

There’s no doubt Sam Childers is an intriguing lens through which to view the horrors of Joseph Kony and the LRA’s campaign in Sudan but some audiences are no doubt going to find that despite a competent leading man, Machine Gun Preacher tackles way too much material to present a cohesive onscreen experience. Anyone who is especially interested in the source story will probably find Machine Gun Preacher to be worth the price of admission, but not a standout experience.

"Tower Heist" Is An Action Comedy Caper

Tower Heist brings together an unorthodox cast of performers, but the biggest focus is undoubtedly on Eddie Murphy, who is officially making a return to more adult comedy, rather than the family-friendly fare he’s been pushing out for the last decade (with the notable exception of his Oscar-nominated performance in Dream Girls). But with a cast this eclectic, a heist plot which can easily unravel if not conceived right, and love-to-hate-him director Brett Ratner calling the shots, is Tower Heist a worthy comedy/caper flick?

Ben Stiller plays Josh Kovacs, manager of “The Tower,” one of Manhattan’s most luxurious apartment complexes (think Trump tower), and home to billionaire finance guru Arthur Shaw (Alan Alda). Kovacs has been a loyal and dedicated serviceman for years, so he takes it pretty hard when Shaw is busted in an FBI sting for trying to flee from some impending felony fraud charges. The situation is especially sticky since Kovacs trusted Shaw to invest the pensions of the entire Tower staff – an investment which ultimately goes bust, along with all of Shaw’s dealings. When he’s informed by brass-balled FBI agent Claire Denham (Téa Leoni) that there is little chance of recovering the lost pensions, Kovacs decides he must make amends by stealing the millions that Shaw supposedly has stashed in his penthouse.

However, Kovacs and his friends are not crooks, so they seek out the tutelage of a real crook to get the job done. Enter “Slide” (Murphy), a two-bit con man and thief who agrees to help the ragtag group of disgruntled wage slaves once he learns how much money is at stake. But as with any heist, there are twists and turns and betrayals to settle before anybody can walk away alive, free, and with the money in hand. And when Arthur Shaw sets his sights on revenge, Kovacs learns that the only thing more dangerous than a desperate man, is a powerful one.

In short: Tower Heist is a carefree popcorn movie ride that succeeds in being fun, often funny, and is generally very enjoyable – so long as you don’t look too hard at the plot and all of the many, many, holes that riddle it. Typically, a heist movie has to be somewhat believable in its execution of the actual heist, and offer a few tricks of misdirection and surprise along the way. Upon close inspection, very little of what happens in Tower Heist‘s third act can be construed as “believable,” the misdirection is pretty transparent, and the “surprises” will have you laughing out loud at the ridiculousness of it all. While these glaring issues would be deal-breakers in most other films, in Tower Heist they take a back seat to general sense of fun the movie offers.

Ratner keeps the film moving at a nice steady pace, and scene to scene, the movie tends to keep the viewer engaged and smiling. (There are also some fun nods and homages to other films – for instance, see if you can spot the twisted Ferris Bueller reference.) Ratner also has a penchant for odd-couple casting (for example, Rush Hour stars Jackie Chan and Chris Tucker), and on paper, a cast that consists of Stiller, Murphy, Alda, Leoni, Casey Affleck, Michael Peña, Precious star Gabourey Sidibe and Matthew Broderick (of all people) would seem pretty strange. However, this eclectic group has great chemistry and keep things light and humorous with sharp banter and funny character interactions. While the veteran comedians keep themselves relatively restrained, it’s Sidibe who gets to let loose and play things over-the-top as a Jamaican maid/safe-cracker who’s brought in on the heist. She’s wonderfully funny, and demonstrates a new side of the young Oscar-nominated performer. Broderick is clearly the odd man in the bunch, but even he still solicits a good amount of laughs. Nobody in the cast is wasted.

However, it’s Murphy that most people are going to wonder about. In the years since he turned to family films, the once-revered comedian has gone from foul-mouthed funny man to a walking caricature who is all hyper-exaggerated expressions and loud talk. Well, the exaggerated expressions and loud talk are still in effect here, but what Murphy manages to do is turn Slide into an actual character, and not just some hollow stereotype. There’s range and depth to who Slide is (an unapologetic crook) and Murphy keeps him just shy of the line between funny and annoying. Better yet, the actor is more of team player in this film, allowing his co-stars to carry some of the comedic weight instead of trying to ham it up all on his own. The interplay between Murphy and Stiller is especially well-balanced, which is somewhat surprising, considering how much emphatic energy each man commands on his own.

Alan Alda plays a great villain who is all elitist menace hid behind a friendly grandpa facade and squinted eyes. Arthur Shaw is so laid back about his ruthlessness and godly sense of entitlement that it’s hard not to root against him. Alda also uses his acting talents to make Shaw into an actual character, instead of the caricature of a snobby unethical businessman – which would have been so easy to do, given the current social climate. But Tower Heist wisely avoids social commentary, and simply settles for what is: a thin slice of escapist entertainment.

If you’re the type of person who can only enjoy a heist flick if the logic of it holds up under close scrutiny and examination, then Tower Heist is definitely not for you. From the idea of average Joe’s invading one of the most heavily-guarded structures in a city constantly under surveillance, to the totally incomprehensible way that the actual robbery is pulled off, this is a film that doesn’t make a lick of sense, logically speaking. However, if you can accept that the outcome is not so much important as the journey to get there, then this film will offer simple and satisfying enjoyment between the top and bottom of your popcorn bag. It’s a good re-introduction for Eddie Murphy – let’s just hope he goes upward to bigger, better, and funnier things from here.

"The Girl With The Dragon Tattoo" Is One Of The Most Provocative Films

The first installment in Stieg Larsson’s “Millennium Series,” The Girl with the Dragon Tattoo made its English debut in 2008 (the original Swedish novel was published in 2005). As the book was gaining momentum in America, production on a Swedish film adaptation from director Niels Arden Oplev and starring Noomi Rapace (Sherlock Holmes: A Game of Shadows) as leading lady Lisbeth Salander, was nearing completion – and would open to critical acclaim from international and American critics alike.

As a result, it came as somewhat of a surprise that despite the success of the series, fan-favorite director, David Fincher (The Social Network) was gearing-up for his own adaptation of The Girl with the Dragon Tattoo. Fans of Oplev’s film quickly dismissed Fincher’s attempt as an unnecessary American cash grab – while other moviegoers anxiously awaited what the celebrated auteur would bring to his own interpretation. Now that The Girl with the Dragon Tattoo is officially available in theaters – can film fans just dismiss the American version or has Fincher managed to deliver yet another critical and commercial darling?

Fortunately, Fincher’s interpretation of The Girl with the Dragon Tattoo isn’t just a worthy adaptation of Larsson’s novel – it’s a beautifully shot, gripping, and disturbing film with terrific performances from nearly every actor and actress involved. While some film fans and Millennium readers might prefer the Swedish version, it’s impossible to outright dismiss Fincher’s film – as his Girl with the Dragon Tattoo is potentially one of the most captivating films of 2011.

Source material purists will be relieved to know that The Girl with the Dragon Tattoo pulls double-duty – managing to succeed at staying true to the source material while still offering an intriguing and provocative film experience. Adaptations often have a difficult time with this balancing act and land farther on one side of the fence than the other – resulting in a chapter-by-chapter recreation (and a boring or convoluted film) or a serviceable movie experience that’s too far removed from the source material (and unrecognizable to fans). Fincher once again proves he’s deft at whittling a printed book down to its bare essentials (similar to his approach with Fight Club) and presents a tremendous amount of exposition through quick onscreen cuts and smart behind-the-scenes editing. As a result, despite serving two main characters (who don’t actually join forces until halfway through the film), as well as a flock of unique side-characters, Fincher manages to provide the audience with fascinating human drama and an exciting mystery throughout.

For non-Millenium series readers, The Girl with the Dragon Tattoo introduces the character of Lisbeth Salander (Rooney Mara), an anti-social punk investigator/hacker type who lives paycheck to paycheck at the mercy of her state guardian – until she is pulled into a dangerous investigation by a disgraced investigative journalist, Mikael Blomkvist (Daniel Craig). Blomkvist has been hired by wealthy businessman Henrik Vanger (Christopher Plummer) to investigate the unsolved case of his missing niece, Harriet, who unexpectedly disappeared forty years ago. However, as the pair dig into the Vanger estate history, disgruntled family members and disturbing revelations don’t just complicate the case of missing Harriet – they outright threaten Blomkvist and Salander’s lives.

Film fans who haven’t been following The Girl with the Dragon Tattoo production may recognize star, Rooney Mara, as Erica Albright from the opening scene in Fincher’s The Social Network. Mara was responsible for one of the most captivating scenes in the “Facebook movie” but her exchange with Jessie Eisenberg is only a precursor to the physical and psychological transformation the young actress underwent to embody Lisbeth Salander – and it shows. While Daniel Craig is excellent as Blomkvist, along with a star-studded cast that includes Stellan Skarsgård, Robin Wright, and Geraldine James, there’s no doubt that Mara provides one of the most nuanced performances that movie fans will see this year (or possibly, ever). Together, Fincher and Mara don’t pull any punches and thrust their Salander into  some truly horrifying circumstances and Mara never falters in her depiction – even managing to keep the character grounded in some especially challenging scenes.

While the film’s two hour and 38 minute run-time is likely to turn off some moviegoers who don’t enjoy sitting that long for one movie in a theater, it’s hard to imagine any onscreen scene or exchange that doesn’t belong in The Girl with the Dragon Tattoo. The movie avoids following a standard pacing structure (it includes lengthy prologue and epilogue sequences) and sometimes dwells on story elements that aren’t related to the primary mystery of Harriet’s disappearance. However, even Fincher’s side-arc character drama manages to stay compelling – and it’s unlikely that many audience members will ever find themselves bored or waiting for something to happen.

Similarly, as anyone familiar with the book series can attest, The Girl with the Dragon Tattoo is not a simple murder-mystery that features damaged but ultimately cheery characters. The novel, as well as the 2011 film are very dark – and plumb some especially disturbing depths (think Fincher’s Se7en). In particular, one scene of sexual violence is exceptionally graphic and could be extremely disturbing to sensitive viewers. In addition, while a number of plot elements do get wrapped up, The Girl with the Dragon Tattoo is part of a larger trilogy – and withholds a lot of information in the interest of future installments (The Girl Who Played with Fire and The Girl Who Kicked the Hornets’ Nest). The main Vanger story comes to a sharp conclusion but less patient moviegoers will have to wait for future installments to really get to know the characters – and it’s possible that some viewers will get weighed down by the bleak and claustrophobic onscreen world that Fincher and his team have created.

Given the lengthy run-time, oppressive tone, and obvious withholdings for future installments, some moviegoers could have a difficult time with The Girl with the Dragon Tattoo and, instead, might find a slightly less abrasive experience with the Swedish version (though Oplev’s version does present similar challenges). That said, The Girl with the Dragon Tattoo is without question one of the most provocative films of 2011 – and will deliver a compelling ride for die-hard fans of the book series, dramatic thriller enthusiasts, as well as anyone who enjoys Fincher’s darker works.

Plot of Movie Sex and the City

Set four years after the events of the series finale, the film Sex and the City  begins with a montage of Carrie (Sarah Jessica Parker), Samantha (Kim Cattrall), Charlotte (Kristin Davis) and Miranda (Cynthia Nixon) walking through New York City and a recap of what happened in the TV series as well as what happened between the season six finale and the film. It then jumps to Carrie and Big (Chris Noth) viewing apartments with the intention of moving in together. Carrie falls in love with a penthouse suite far from their price range, which Big immediately agrees to pay for. However, Carrie experiences doubts over the wisdom of this arrangement, explaining that they are not married, and as such she would have no legal rights to their home in the event of a separation. She offers to sell her own apartment, and quelling her fears, Big suggests that they get married.

Samantha (Kim Cattrall) has relocated her business to Los Angeles to be close to Smith (Jason Lewis), who is now a prime-time television star. She finds her five-year-old relationship humdrum and yearns for her old life—especially after witnessing the public sexcapades of Dante, the hot new neighbor. She takes every opportunity to fly East to be with the other girls.

Miranda (Cynthia Nixon) finds that balancing her home, work, and social life ever the more difficult, and confesses to the girls that she hasn’t had sex with Steve (David Eigenberg) in six months. She is devastated when Steve reveals he has slept with another woman, and immediately separates from him.

After an argument with Steve at the rehearsal dinner, Miranda, still upset about Steve's indiscretion, tells Big bluntly that he and Carrie are crazy to be getting married, as marriage ruins everything. On the day of the ceremony, Big cannot go through with it, but repeated attempts to telephone Carrie fail. A devastated Carrie flees the wedding. Big changes his mind and intercepts Carrie as he sees her limousine drive away. Carrie furiously attacks Big with her bouquet while he earns scathing looks from Miranda and Charlotte. The four women subsequently take the honeymoon that Carrie had booked to Mexico, where they de-stress and collect themselves.

Upon her return to New York City, Carrie hires an assistant, Louise (Jennifer Hudson), to help her move back into her old apartment and manage her administration. Charlotte learns she is pregnant after a visit to her doctor. Miranda eventually confesses to Carrie about what happened during the night of the rehearsal dinner, and the two have a brief falling out.

After reflecting on the argument she had with Carrie, Miranda agrees to attend couples counseling with Steve, and they are eventually able to reconcile. Samantha begins over-eating to keep from cheating on Smith with Dante, but eventually realizes that their relationship is simply not working, and that she needs to put herself first. The two break up, and she moves back to New York. Charlotte for several months is concerned that something might happen to the baby, because she feels her life seems to be too perfect.

A surprise encounter with Big at a restaurant leaves Charlotte so outraged that she goes into labor. Big drives her to the hospital, and waits until baby Rose is born, hoping to see Carrie. Harry passes on the message that Big would like her to call him, and that he has written to her frequently, but never received a reply. Carrie searches her correspondence, before realizing that Louise has kept his e-mails password-protected from her, after Carrie earlier announced she wished to sever all communication with him. She finds that he has sent her dozens of letters copied from the book she showed him in the weeks before their wedding, Love Letters of Great Men, Vol. 1, culminating with one of his own where he apologizes for screwing it up and promises to love her forever.

One hour before the locks are due to be changed on their shared penthouse apartment, Carrie travels to the home Big had bought for them to collect a pair of blue Manolo Blahnik shoes she had left there. She finds Big in the walk-in closet he had built for her, and the moment she sees him, her anger at his betrayal dissipates. She runs into his arms and they share a passionate kiss.

After they have spent the final hour in their apartment together making up, talking and apologizing to one another, Big proposes to Carrie properly, using one of her diamond-encrusted shoes in place of a ring. They later marry alone, in a simple wedding in New York City Hall, with Carrie dressed in the original dress she had bought in a vintage shop and the blue Manolos. After Big kisses the bride, he whispers into her ear "Ever thine. Ever mine. Ever ours," a line by Ludwig van Beethoven Carrie read to him from Love Letters of Great Men, Vol. 1 earlier in the film. They hold a get-together at a local diner with their friends. The film ends with the four women around a table in a restaurant, sipping cosmopolitans, and celebrating Samantha's fiftieth birthday, with Carrie making a toast to the next fifty.