Both of these reviews are long overdue and I honestly forgot about both of them so I just decided to combine them into two mini-reviews.
Starring: Mark Wahlberg, Kate Beckinsale, Ben Foster, Giovanni Ribisi, J.K Simmons
Directed by: Baltasar Kormakur
Here’s a movie that is such major wasted opportunity, the fact that it’s the remake of a foreign film is even more depressing. Mark Wahlberg stars as Chris Farraday, reformed criminal and family man who used to be the world’s best smuggler. Once his young brother-in-law blows a job for the ridiculously cajun-accented Tim Briggs (Giovanni Ribisi) he must perform one last job. (Cue eye roll) I’ll give Wahlberg the benefit of the doubt and defend him as an actor because when he wants to be, he’s charming, likable, and a believable badass, but in movies like Contraband, his character is as flimsy as a sheet of cardboard. His character might as well be named Mark Wahlberg. The movie is so A to B you know exactly what’s going to happen at the end in Act 1, which leaves the rest of the film devoid of tension and suspense. Wahlberg’s character is so good at what he does and so infallible that I never doubted that everything would work out for one second, even at the end of the film everything works out and Wahlberg walks away unscathed with all his problems solved, no repercussions and coming out ahead even richer than before without even knowing it. Must be nice. Even when there’s a shocking moment involving what might be a lead character’s death, it turns out they are actually perfectly fine. ugh. The movie is so afraid to not please it’s audience it takes no risks and tidies everything in a nice little bow and then bakes a cake on top it. Even the movie ends on the song “Boom Boom Boom Boom.” The film is a remake of the icelandic film “Reykjavik-Rotterdam” starring the director of Contraband. Maybe on a smaller scale with unknown actors the story flourishes but with a bigger budget, and well-known actors the story is just running through the motions. Even with a cast of extremely talented character actors like Foster, Ribisi, J.K. Simmons, Lukas Haas, and Diego Luna, it’s sad to see their teaming up led to something so mediocre and unoriginal. My biggest complaints? I seemed to be the only audience member to recognize a Jackson Pollock painting in the film, and Central America should really get some good sporting goods stores because those duct-tape face masks must be a pain-in-the ass to remove.
Starring: Dane DeHaan, Alex Russell, Michael B. Jordan
Directed by: Josh Trank
It was just a matter of time before the found-footage genre broke away from horror films and tackled other sub-genres. The superhero genre only seemed like a logical choice. An original superhero story mixed with the found footage aspect by using the excuse that kids document everything is a legitimate reason that works for a majority of the time. Cleverly dissecting superhero and modern teenage archetypes is a testament to Max Landis’ Large scale story told on a smaller budgeted scale. The use of practical effects, the simplistic storyline, and the likability of the three relatively unknown leads is what really pumps the heart of this film. DeHaan as the outcast Andrew and Jordan as the ultra-popular Steve are standouts and actually create a believable friendship between the three leads, making it feel realistic from the discovering of their superpowers to their inevitable downfall. The characters gain telepathic abilities that give reason for the camera floating around at different angles along side them but my biggest question was why? Obviously the film is footage recorded from a digital video camera so you can get away with creative low-budget CGI, but I thought the story was compelling enough on it’s own then always wonder the reasoning for a camera recording an intimate conversation. The last action set-piece is vicersal and clever but becomes too contrived in trying to discover different ways of having footage recorded from obscene angles. Smaller intimate moments like when the three friends pull pranks telepathically and when Dane’s character pulls a spider apart with his mind is when the movie has it’s brightest moments. I enjoyed Chronicle way more than I should have and surprisingly really enjoyed the three leads and where the story went, and serves as an interesting experiment, but please: No sequels, although I wouldn’t have minded a longer cut of the Jessie J – Price Tag singalong.