Tag Archives: Summit Entertainment

The Cold Light of Day (2012, Mabrouk El Mechri)

The Cold Light of Day is not just any lame action thriller set in Europe with an American leading man (okay, Henry Cavill isn’t American, but he’s playing an American). It is a distinguished lame action thriller. Not only does it contain one of the worst car chases ever put on film (or digital video), it also features what has to be Sigourney Weaver’s worst performance. And if it’s not actually her worst, it’s her most inept. For whatever reason, she tries to chew the scenery. She fails, miserably. Painfully.

It’s not like director El Mechri is any good at directing actors either; lead Henry Cavill and his sidekick, played by Verónica Echegui, aren’t good either. But Weaver is excruciatingly bad. She gets worse as the film progresses too, which–combined with the terrible pace, lousy direction and bad script–just makes the film more and more unbearable.

By the second half, with most of the reveals out of the way–El Mechri saves a misguided cameo for the finish–Cavill and Echegui get a little better. They’ve hit bottom, but they’ve survived the film.

In addition to the bad script (from Scott Wiper and John Petro) and El Mechri’s bad direction, there’s also bad photography from Remi Adefarasin, bad editing from Valerio Bonelli and bad music from Lucas Vidal. Not even Bruce Willis and Caroline Goodall (miscast as Cavill’s parents) escape with any dignity.

The best thing about Cold is its six minute end credits. The “action” stops sooner.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Mabrouk El Mechri; written by Scott Wiper and John Petro; director of photography, Remi Adefarasin; edited by Valerio Bonelli; music by Lucas Vidal; production designer, Benjamín Fernández; produced by Marc D. Evans and Trevor Macy; released by Summit Entertainment.

Starring Henry Cavill (Will), Verónica Echegui (Lucia), Bruce Willis (Martin), Caroline Goodall (Laurie), Rafi Gavron (Josh), Emma Hamilton (Dara), Joseph Mawle (Gorman), Michael Budd (Esmael), Roschdy Zem (Zahir) and Sigourney Weaver (Jean Carrack).


RELATED

Advertisements

Escape Plan (2013, Mikael Håfström)

Given how much fun the actors have in Escape Plan, there are a couple big unfortunates. First is director Håfström; he isn’t able to direct the actors through the poorly scripted parts and he also can’t direct the one-liners. Plan is the first time Sylvester Stallone and Arnold Schwarzenegger have ever done a buddy picture together. For a ten minute stretch, it’s like there’s nothing but one-liners.

The second problem is the script. It flounders when setting up Stallone’s character. He works with Curtis Jackson, Amy Ryan and Vincent D’Onofrio. D’Onofrio has a lot of fun in a tiny part–these three characters only show up for maybe five or six minutes of runtime–but he completely overshadows Ryan and Jackson. They’re just doing the script, D’Onofrio turns the weak script into loads of entertainment.

Another person having fun in an underwritten role is Jim Caviezel as the warden. The film concerns Stallone (as a prison break specialist) and Schwarzenegger (as a lackey for a Julian Assange type) breaking out of a prison. Caviezel turns the part into a whirlwind of overcompensation, meanness and pure fun. He’s like Willy Wonka at times.

Of the two leads, Schwarzenegger’s better. He didn’t suffer through the lame setup with Ryan and Jackson.

Faran Tahir is really good as another inmate.

Plan is really entertaining for the bulk of it, just not the beginning or the end. It needed a better script doctor.

It also needed better music. Alex Heffes’s score’s atrocious.

1/4

CREDITS

Directed by Mikael Håfström; screenplay by Miles Chapman and Jason Keller, based on a story by Chapman; director of photography, Brendan Galvin; edited by Elliot Greenberg; music by Alex Heffes; production designer, Barry Chusid; produced by Robbie Brenner, Mark Canton, Randall Emmett, George Furla and Kevin King Templeton; released by Summit Entertainment.

Starring Sylvester Stallone (Breslin), Arnold Schwarzenegger (Rottmayer), Jim Caviezel (Hobbes), Faran Tahir (Javed), Sam Neill (Dr. Kyrie), Vincent D’Onofrio (Lester Clark), Vinnie Jones (Drake), Matt Gerald (Roag), Curtis Jackson (Hush), Caitriona Balfe (Jessica Miller), Christian Stokes (Babcock), Graham Beckel (Brims) and Amy Ryan (Abigail).


RELATED

Now You See Me (2013, Louis Leterrier), the extended edition

Now You See Me plays a little like Ocean’s Eleven without Steven Soderbergh and a great cast of supporting character actors instead of lead actors doing an ensemble. Except maybe Jesse Eisenberg. He acts like he’s running See Me, even though he’s not in it very much. And his character’s supposed to be acting like he owns it… it kind of works.

Director Leterrier is outstanding at the flash. There’s a flashy car chase, there’s flashy magic acts, there’s flashy this, there’s flashy that–but he’s also capable of doing a nice, quiet character arc for Mark Ruffalo and Mélanie Laurent. They’ve got wonderful chemistry. They play the federal agents (okay, she’s from Interpol but whatever) after Eisenberg and his fellow outlaw magicians (an amusing Woody Harrelson, Isla Fisher in the film’s only bad performance and a very appealing Dave Franco). Along the way, they get a little flirty and it’s a nice subplot for the picture, which is very busy with it’s more scripted plotting.

Besides the magicians–and See Me jumps ahead a year from their introduction, so they’re no longer reliable protagonists–there’s the FBI, but also Morgan Freeman as a magician debunker and Michael Caine’s around too as the magician’s wealthy benefactor. Leterrier juggles everything quite well–the film doesn’t even drag until the car chase, almost seventy minutes in, gets a little long in the tooth.

It’s just empty and dumb. An actual smart script, and not a sneaky one, would have helped a lot.

1.5/4★½

CREDITS

Directed by Louis Leterrier; screenplay by Ed Solomon, Boaz Yakin and Edward Ricourt, based on a story by Yakin and Ricourt; directors of photography, Mitchell Amundsen and Larry Fong; edited by Robert Leighton and Vincent Tabaillon; music by Brian Tyler; production designer, Peter Wenham; produced by Bobby Cohen, Alex Kurtzman and Roberto Orci; released by Summit Entertainment.

Starring Mark Ruffalo (Dylan Rhodes), Mélanie Laurent (Alma Dray), Jesse Eisenberg (J. Daniel Atlas), Woody Harrelson (Merritt McKinney), Isla Fisher (Henley Reeves), Dave Franco (Jack Wilder), Morgan Freeman (Thaddeus Bradley), Michael Caine (Arthur Tressler), Michael Kelly (Agent Fuller), Common (Evans), David Warshofsky (Cowan) and José Garcia (Etienne Forcier).


RELATED

Red 2 (2013, Dean Parisot)

Red 2 is a lot of fun. It’s so much fun, in fact, most of its problems are never obvious during the actual film, only on later reflection.

The film opens quickly–Bruce Willis and Mary-Louise Parker going shopping seems to be very fast, but turns out to be one of the slowest sections of the movie–and never stops. Towards the finish, the film hits a lot of unexpected twists and every pause eventually becomes suspect. Director Parisot and writers Jon and Erich Hoeber are stunningly confident in the film, its script and primarily its cast.

Red 2 wouldn’t work without two components… its female actors, Helen Mirren and Parker. Even though the cast is respectable, Mirren makes the thing regal. And Parker brings humanity to the film, which often plays its sexagenarian ultra-violence for laughs. They’re the glue of the film.

Parisot and the Hoeber brothers actually trust the viewer quite a bit throughout. John Malkovich and Willis have a lot of friendship establishing scenes at the front, then less and less as the picture moves on. But the later scenes rely on the viewer’s recall.

Malkovich is utterly fantastic. His background ticks alone make the film worth seeing.

Willis’s role is easy and he’s good; he and Parker have a lovely chemistry.

Anthony Hopkins and Catherine Zeta Jones are adequate as far as the cast additions; Lee Byung-hun is the strongest.

Red 2 has some not insignificant problems, but it’s a definite, assured success.

2.5/4★★½

CREDITS

Directed by Dean Parisot; screenplay by Jon Hoeber and Erich Hoeber, based on characters created by Warren Ellis and Cully Hamner; director of photography, Enrique Chediak; edited by Don Zimmerman; music by Alan Silvestri; production designer, Jim Clay; produced by Lorenzo di Bonaventura and Mark Vahradian; released by Summit Entertainment.

Starring Bruce Willis (Frank), John Malkovich (Marvin), Mary-Louise Parker (Sarah), Helen Mirren (Victoria), Anthony Hopkins (Bailey), Lee Byung-hun (Han Cho Bai), Catherine Zeta-Jones (Katja), Neal McDonough (Jack Horton), David Thewlis (The Frog), Garrick Hagon (Davis), Tim Pigott-Smith (Director Philips) and Brian Cox (Ivan).


RELATED