Bring a bowl of machismo, mix in a bit of off-duty romance, toss up some fatherly advice, and stir in some hard-boiled action, and you've got a love story for the guys, aka Top Gun. In other words, The Guardian is an old-fashioned mentor-mentee/buddy action movie that aims at pleasing the testosterone-pumped crowed, and the female companions they may bring along.
After a bad accident that claims the lives of his teammates and best friend, coast guard "superstar" Ben Randall (Costner) can't cope with going back to work. His marriage to Helen (Ward) comes to a difficult halt as they separate. To "recharge," he takes a temporary teaching assignment at the Kodiak Academy in Alaska. The new crop of cadets includes Jake Fischer (Kutcher), a cocky all-state swimming champion. Jake challenges Ben on almost everything, believing that Ben is just a washed-up guy whose career has nowhere to go but down.
When Jake meets a local elementary school teacher, Emily (Sagemiller), his stellar performance takes a blunt setback. Ben proves to be a tough instructor, and Jake gets close to flunking out. Knowing Jake's story, Ben tries to nurture and motivate Jake because he sees his potential to become a great coast guard. The two men form an intricate bond over each other's personal issues as well as their drive to become the best of the best.
Costner (Rumor Has It) is like fine wine. The older he gets, the better he is. Given the right role, Costner shines as an actor as well as a "star." As Ben Randall, he handles the personal inadequacies, self-doubt, pride, and paternal sensibility very well. Kutcher (Open Season), in comparison, is somewhat green, though he portrays the cocky maverick with enough gusto and sincerity to make us believe. Costner and Kutcher make a good team.
Ward (The Day After Tomorrow) has a small but important role as Ben's estranged wife. Her heartfelt performance adds certain genuine emotional weight to the melodrama, and gounds Costner's character. Her scenes with Costner are especially affecting. Sagemiller (The Clearing) also adds a good balance to the male-heavy production. Her chemistry with Kutcher is spot on. The supporting cast does their job well enough, including Brown (Pathfinder) as Capt. William Hadley, Hardwick (Gridiron Gang) as Ben's best friend, Neal McDonough (Flags of Our Fathers) as instructor Skinner, and Heard (Gamers) as Capt. Frank Larson.
The script by Brinkerhoff (D-Tox) follows a standard, by-the-book plot structure and character development. Not much is new and fresh here -- we've all seen the show many times: the macho heroes with heartbreaking pasts, the love interests that soften their hard shells to tug at their tender hearts, the customary themes of friendship, honor and sacrifices. Yet, there's something satisfying about such tried-and-true formula -- it's familiar and reassuring. And in the days of global turmoils and domestic disarrays, such cliched heroic journeys are very much welcome. Sure, the dialogue is cheesy in places, the action gratuitous, and the climax predictable since the first reel. The important thing is, it meets expectations.Director Davis (Holes) does a fine job giving us a taut, fast-paced action/drama. The special effects are spotty, however. There are some scenes that scream "cheese." But Davis is able to stop at the right places to explore the human relationships between these characters, and that is very much appreciated. We are allowed to get to know these people and care about them. Even though the plot might feel forced sometimes, and even though we can see the denouement from a mile away, we are willing to go along with the ride. To its credit, the film does what it's supposed to do, and may even bring a few lumps in the throats of the most hardened male audiences. If you're looking for something original and edgy, this might not be for you. For the rest of us, we may enjoy it with guarded appreciation.
Stars: Kevin Costner, Ashton Kutcher, Sela Ward, Melissa Sagemiller, Clancy Brown, Omari Hardwick, Neal McDonough, John Heard
Director: Andrew Davis
Writer: Ron L. Brinkerhoff
Distributor: Buena Vista
MPAA Rating: PG-13 for some violence, language, sexuality
Running Time: 136 minutes
Ratings:
Script – 6
Performance – 7
Direction – 7
Cinematography – 7
Music/Sound– 6
Editing – 7
Production – 7
Total – 6.7 out of 10
As Governor, Stark hires journalist Jack Burden (Law) to be his eyes and ears. While Stark and his policies are popular with the poor, he is hated by the rich and powerful. His progressive plans for infrastructures and programs do not sit well with the big oil, old money. When Judge Irwin (Hopkins), who happens to be Jack's godfather, decides to lead a charge to impeach the Governor, Stark asks Jack to help him stop the man by digging up dirt on the good judge. Caught between Stark and Irwin, in a web that includes his first love, Anne (Winslet), and best friend, Adam (Ruffalo) -- both children of ex-Governor Stanton -- Jack must question where his loyalty lies.
Led by Penn (The Interpreter), the cast is generally superb. Penn has the fire, energy and charisma to pull it off as the ambitious Gov. Stark, a character who wants to do good but gets sucked into the dirty deals and corruption of politics. He's neither a good or bad person, and Penn succeeds in keeping it real. Law (The Aviator) exudes certain southern, boyish charm playing a character that is in search of a moral stand. Curiously, for an English bloke, Law always has a good time playing southerners with a drawl, just as he did in Cold Mountain or Midnight in the Garden of Good and Evil.
Fellow Brits Winslet (Finding Neverland) and Hopkins (Proof) are good in their minor but pivotal roles as Anne Stanton and Judge Irwin respectively. Hopkins, in particular, commands the screen whenever he's on. Ruffalo (Rumor Has It) is the weakest link as Anne's brooding, reclusive brother. For some reason, he's simply not convincing in the role. Meanwhile, Clarkson (Good Night and Good Luck) and Gandolfini (Lonely Hearts) have good fun playing politics.
Writer-director Zaillian (Search for Bobby Fischer) starts the story well enough, giving us an insight into the characters and how, in particular, Stark and Jack got involved in this political cat and mouse game. Then Zaillian loses his focus. As the narrator, Jack Burden is a good observer, but not a protagonist. He would serve as the neutral moral core in this political drama. Willie Stark -- loosely based on Louisiana Governor Huey P. Long -- is such a stronger, more interesting and conflicted character. When Zaillian switches the film's focus to Jack and his back stories with Anne and Adam Stanton, the story loses steam and become shaky.
The problem is that we never really understand what Jack Burden and his journey are about. We do get his motivation -- he wants to do good, too -- but it's never strong enough for us to believe in his action. In comparison, we understand Stark, his causes, his plight, and his demons. Adding to the confusion is the entangled relationships between Jack, Anne and Adam. The story would have been stronger if Zaillian had focused on the political suspense and central conflict among Jack, Stark, and Judge Irwin.
Bucky Bleichert (Hartnett) and Lee Blanchard (Eckhart) are two LAPD officers with different personalities and temperaments. Bucky is introspective, sensitive and loyal, and the department nicknames him Mr. Ice. As Mr. Fire, Lee is outgoing, charismatic, and a go-getter. Bucky and Lee become great friends and partners after fighting each other at an amateur boxing match. Their close friendship leads Bucky to Lee's girlfriend, beautiful Kay (Johansson).
Hartlett (Lucky Number Slevin) seems to always play the "cool guy" in his films. There's nothing wrong with his performance per se, but it's pretty much the same thing he did before. He underplays his character to effect, though, as compared to the overplayed zealousness of Eckhart's (Thank You for Smoking) performance. Together they show a stark contrast that helps drive the dramatic conflicts.
Johansson (Scoop), with her Lana Tuner hair and Greta Garbo's garb, exudes certain old-Hollywood glamor and sexuality but still maintains her innocence and naiveté. Swank (Million Dollar Baby) plays the sultry, mysterious heiress with flair, sensuality, and a touch of menace. Kirshner (TV's L-Word) is the standout, playing the real-life victim Elizabeth Short mostly in flashbacks and film footage. Her mesmerizing performance, especially "on film," is key to the story. Shaw (Harry Potter) steals a few scenes as Madeleine's neurotic mother.
With such a convoluted plot, Friedman doesn't have enough time to develop the characters. What happens is that we see these characters not as real people, but as pawns in a chess game. We don't really understand their motivation, and when the reasons behind their actions are revealed, it feels wrong. For example, the relationship between Lee, Bucky and Kay is never explained completely, leaving us wondering what really is going on there and why. We never quite understand why both Lee and Bucky are obsessed with Elizabeth Short. The relationship between Bucky and Madeleine doesn't make sense either, even though we're told why he feels that way toward her.
Director De Palma (Femme Fatale) does a good job giving the film a glossy, romanticized film noir look. The details, lighting, costume, and sets are gorgeous. It is a beautiful film, even though De Palma cannot lift the film above the poor writing. It really is a case where style trumps substance. Audiences come to a movie like this to be entertained, but they don't need to come out scratching their heads asking: What just happened? Had Friedman focused on the intriguing slasher case and De Palma sticked with a straightforward storytelling, The Black Dahlia would have been something worth seeing.
Superman is dead. On June 16, 1959, millions of fans are shocked by the sudden death of George Reeves (Affleck), who enchanted children around the world as Superman on TV. The LAPD rules it a suicide and closes the case, but Reeves' mother (Smith) will not let questionable circumstances go unanswered. She hires private detective Louis Simo (Brody) to investigate the truth behind her son's death.
At first, Simo only does it for the money. Soon he finds evidence that doesn't make sense, and secrets that involve MGM executive Eddie Mannix (Hoskins) and his wife Toni (Lane). As he finds out more about George Reeves, the case becomes more and more personal to him. The deeper he goes, the more dangerous it gets, and the more obsessive he becomes. Finding the truth might not be as easy as he thinks.
Writer Bernbaum (Family Plan) adopts an unusual structure of parallel storytelling to unfold the mystery. As Simo investigates and speculates about the events that led to George Reeves' death, back stories about Reeves and Toni Mannix are revealed in flashbacks. At first, this structure works well to create intrigue and suspense, but soon it becomes somewhat tedious and confusing. Sure, there are clear connections between the past and present, and Bernbaum does a good job of only revealing the relevant clues at the right time; however, the links between Simo and Reeves are not obvious, and we wonder why we are following Simo so closely. Whose story is this anyway?
Director Coulter (TV's Rome) is a TV veteran. His first foray into big-budget features is admirable but lackluster. Together with Bernbaum, they've made a mistake of focusing the story on Simo instead of Reeves. The pacing is too slow, and the editing is confusing, especially between past and present. The film is relatively dreary and slow during the "present" time; it only springs to life during the flashbacks. We can't get enough of George Reeves (even when Affleck was miscast in the role) and Toni Mannix and what they represent: old Hollywood glamor. The inconclusive ending is contrived and unsatisfying.
Eisenheim's magic and arrogance rattles Leopold, who orders Chief Inspector Uhl (Giamatti) to keep an eye on Eisenheim. Uhl himself is intrigued by Eisenheim's talent, and through his investigation, he also knows of Eisenheim's history with Sophie. Bound by his own political ambition, Uhl warns Eisenheim to stay away from Sophie and Leopold. A tragedy forces Uhl to question his loyalty to the prince and his obligation to justice. 
Norton (Kingdom of Heaven) has always been an intense actor, and his intensity pays off in this film. Eisenheim is a man of mystery and passion, and Norton comes off believable while keeping a distance between himself and the audience. Giamatti (Lady in the Water) is equally impressive as the conflicted inspector (and narrator of the film). His low voice and body language keep the character real. Both actors have great command of the screen.
Biel (Elizabethtown) is radiant as Sophie, a woman stuck between love and social obligations. She has good chemistry with Norton and her portrayal has certain naiveté and sophistication at the same time. Sewell (Tristan & Isolde) excels in playing villains; here, his Leopold is intense, arrogant, and frightening at times. The rest of the cast is excellent in their minor, supportive roles.
Writer-director Burger (Interview with the Assassin) has created a romantic mystery with intrigue and suspense. As with any mystery, he's left enough clues that anyone with a sharp eye and an inquisitive mind would have guessed the plot midway through the film. If Burger's intention was to surprise the audience, he may have failed. I don't, however, think surprise is his intention, given how brief the final reveal is. It's as if he already knows the audience has figured it out, and is merely summarizing. What he has succeeded in doing is the execution of the film, how he slowly unfolds the mystery with intensity and intrigue. Like a true magician's work, we've come to expect to see and scrutinize the "trickery," but remained fascinated by the execution nonetheless. We've come to see how the wizard does it.
The plot unfolds logically, and the dialogue is appropriate and interesting. Burger also succeeds in creating a nostalgic and romantic mood for the piece. Using soft, diffused lighting and vibrant colors, and setting the film in old Europe with great details, he has created a film that is intriguing from the first frame to the last. The use of special effects, while giving the film a sophisticated look, can be somewhat distracting, giving a false impression of Eisenheim's true ability. Granted, it's a film about magic and mystery, and certain suspension of disbelief is in order. Perhaps Burger does want the film's audience to have the same reaction as Eisenheim's audiences do -- to question what we see. In that respect, Neil Burger is quite the illusionist himself.