Bruce Willis has had more comebacks–commercial and artistic–than any actor I can think of… Pulp Fiction was artistic, Die Hard: With a Vengeance was a commercial one, The Sixth Sense was both (his performance any way), and he’s due. (I just realized, the trips tend to come with comedic ventures). 16 Blocks is probably not his best performance–though he’s excellent–but it is the first sign he’s going to age gracefully. Willis’s generation of actor–and even the one before his, if Harrison Ford is any indication–has been rather uncomfortable with the whole aging process. It’s always these fifty year-olds with three year-old babies. None of those perks for Willis in this film. He’s fat and slow and, even when he gets going, he never really moves fast.
The film is far from perfect–it’s got an intense set-up and the first forty-five minutes were incredibly smart, the film kept the audience in the dark, letting the actors do their work. It’s not quite a real-time film, which is good, since those never really work out, but there’s too much thrown into the film… too much construction. Richard Wenk writes good dialogue and good characters, but he runs out of situations. He also plays three major tricks on the audience, all but one are expected, but the film’s so affable it’s impossible to get upset with it.
Mos Def contributes a lot to the affability and he and Willis are great together, with Willis actually doing different work than he usually does in his buddy films. David Morse, of course, turns in the best performance. Watching this guy chew gum is amazing….
There’s also the playful tone Donner takes with the film. Donner knows how to make a film entertaining and never takes 16 Blocks off track. The editing is good and the cinematography is great–so good I thought I’d recognize the name, but did not. It’s a lower budget film for Donner, who–I think–put together the financing himself, and it’s a practice he should stick with. He knows what he’s doing.