Captain Phillips

© 2013 Ray Wong

Based on merchant marine Captain Richard Phillips own account, Captain Phillips recounts the fateful events in 2009 when Phillips cargo ship and crew were hijacked by a group of Somali pirates.

Richard Phillips (Tom Hanks) is a veteran captain on his route from Oman onboard of the freighter Maersk Alabama. While in the open waters near Africa, four Somali pirates, lead by Abduwali Muse (Barkhad Abdi), go after the ship. Phillips and the crew fend them off the first time, but the next day, when the pirates return, they successfully board the ship. Phillips tells the crew to hide in the engine room while he negotiates with Muse and his men.

The crew manages to capture Muse, but the other men threaten to kill the crew if they don't release Muse. After Phillips hands $30,000 in cash to the pirates, they take a lifeboat to escape and abduct Phillips with them as a hostage.

The navy and a group of SEALS are now on their way to rescue the crew and the ship while the pirates continue to hold Phillips as hostage and demand a ransom. Phillips tell Muse and the other men that they will not get away, but they would not listen but instead threaten to shoot Phillips if he doesn't cooperate. Phillips has to find a way to save himself.

Tom Hanks (The Cloud Atlas) gives one of the strongest, most intense performances of his career as the resourceful, skilled but not well-liked captain. Phillips's no-nonsense, matter-of-fact style doesn't make him popular among his crew, but that's also a reason why HE is the captain. Phillips's decisions and actions are not always the best, but they are seemingly from the clearest of his own conscience. Hanks' portrayal of the character is thoughtful, stoic and human. He doesn't set out to play a "hero." He just plays a guy who is in a dangerous situation and must use everything he's got to save his crew and survive himself.

Newcomer Barkhad Abdi impresses as the pirate leader Muse. His intensity matches the character's ruthlessness, and yet his character has a sensitive and introspective side that makes the character three-dimensional instead of a cliched, stereotypical villain. In fact, both he and Mr. Hanks play their characters so humanly that they, as leads (as a newbie and a veteran actor respectively), help lift this thriller to a much more satisfying level.

Newcomer Barkhad Albidrahman also contributes greatly as Bilal, one of the pirates. The impressive supporting cast also includes Michael Chemus (The Bourne Legacy) as first officer Shane Murphy, Catherine Keener (Enough Said) as Phillips's wife Andrea, and David Warshofsky (Now You See Me) as crew member Mike.

Adapted from Richard Phillips' own account of the event, the screenplay by Billy Ray (The Hunger Games) is taut, suspenseful, and full of thrills and twists and turns. The fast-paced script almost leaves no room for a sigh. From the very first minutes, the story pulls us in and holds us there. It is not a very complicated plot -- men attack ship, men protect ship and themselves, men survive -- but it is written in such a thrilling way that we can't help but wonder what is going happen next, even though we know Phillips and the crew survived the ordeal.

Paul Greengrass (The Bourne Ultimatum) has made a name for himself for his thrilling direction of the Jason Bourne series. Here, he uses similar techniques (fast cuts, handheld cameras, extreme close ups, etc.) to give us a thrill ride that is exciting and breathtaking. Unfortunately, as with the Bourne series, I think Greengrass relies too much on the handheld cameras. Combined with the at-sea adventures (in a small ship, nonetheless), the result can be nauseating to watch. At times I feel seasick myself, having to avert my eyes to calm my nerves. Others may have no problem with the pervasive handheld camera shots. 

That said, Captain Phillips is an exciting thriller with very human characters. It is based on a true story that touches on the issues and problems with globalization and the disparity between the haves and have-nots. Even though we know the pirates are bad, we still sympathize for them because they are only humans who are the products of their own circumstances. None of these people are inherently bad people, and that makes the story more realistic and relatable.

Stars: Tom Hanks, Barkhad Abdi, Barkhad Albidrahman, Michael Chemus, Catherine Keener, David Warshofsky

Director: Paul Greengrass

Writers: Billy Ray (based on book by Richard Phillips)

Distributor: Warner Bros.

MPAA Rating: PG-13 for intense sequences of menace, violence and substance use

Running Time: 134 minutes

Ratings:

Script - 8

Performance - 8

Direction - 7

Cinematography - 7

Music/Sound - 8

Editing - 8

Production - 8

Total - 7.8 out of 10.0 

Gravity

© 2013 Ray Wong

As science fiction thrillers go, Gravity is a rare treat. It is big in scale and spectacles, but also intimate in terms of human drama.

Dr. Ryan Stone (Sandra Bullock) is a medical engineer enlisted by NASA to install an instrument on the Hubble telescope. Accompanying her on the space shuttle Explore is veteran astronaut Matt Kowalski (George Clooney), who is doing his final mission before retiring. During one of the procedures, while they're spacewalking, Mission Control (Ed Harris) notifies them that the Russians have demolished one of the Russian satellites, and it has created a chain reaction where debris are heading their way at the speed of bullets.

With little time to change course, the space shuttle and the crew are being bombarded by the debris. Stone gets separated and is spinning out of control into space. With only six month in space training, Stone has no experience in disaster like this. Eventually, Kowalski finds and rescues her. They realize that the Explorer has been destroyed and everyone onboard is dead, and communication with Mission Control is gone. Their only option is to find their way to the Russian space station. As their oxygen is quickly depleting and a new wave of debris is fast approaching, it's a race between life an death.

Sandra Bullock (The Heat) gives one of the strongest performances of her career as Ryan Stone. The story is told almost entirely from her point of view and she carries the film on her shoulders. Bullock's portrayal of the scientist with deep personal regrets combines both brain and heart to make the character believable. Her emotions range from condescension to utter fear and confusion, and she is convincing with her silent resolve and inner strength in the direst situations, when her character is all alone.

George Clooney (The Descendants) also nails it as astronaut Matt Kowalski. He portrays the character as the badass space cowboy with a great sense of humor and humanity. Compared to Bullock, his screen time is relatively limited in this largely supporting and pivotal role. There is one scene where he gives Dr. Stone a lifesaving tip that showcases Clooney's charm, sex appeal and acting versatility.

Written by director Alfonso Cuarón (Children of Men) and son Jonás, the screenplay is actually rather bare-bone. The plot is straightforward -- it's simply a story of survival. There are not a whole lot of twists and surprises, and the dialogue may edge on the cliche side. Yet the Cuaróns have crafted a suspenseful thriller nonetheless by stringing a chain of events that never leaves Dr. Stone. The events are larger than life with the vast backdrop of space and Earth, and yet the story is surprisingly intimate as we delve into Stone's mind and heart as she tries to survive the unimaginable with little time to mourn.

While the screenplay may be the weakest link, the rest is purely spectacular. Cuarón's attention to details and how he stages the actions and events and space are jaw-dropping. The special effects are stunning, and the action sequences actually pull the audience in, rarely letting go. With the deft use of close ups, reflections, and long shots, he has created a poetic rendering of disasters in space, and that is unlike anything I've seen since, perhaps, yet another disaster movie, Titanic. Cuarón's intense direction, paired with Bullock's and Clooney's impeccable performances, has created an all-immersive experience that is both spectacular and intimate. He has pushed the cinematic envelope further by using all the dazzling technologies and special effects to tell a very human story. Such gravity for a "popcorn" sci-fi thriller!

Stars: Sandra Bullock, George Clooney, Ed Harris
Director: Alfonso Cuarón
Writers: Alfonso Cuarón, Jonás Cuarón
Distributor: Warner Bros.
MPAA Rating: PG-13 for intense perilous sequences, disturbing images and language
Running Time: 90 minutes

Ratings:

Script - 8
Performance - 8
Direction - 9
Cinematography - 10
Music/Sound - 9
Editing - 8
Production - 10

Total - 8.3 out of 10.0 

Elysium

© 2013 Ray Wong

Neill Blomkamp burst into Hollywood with his groundbreaking South African sci-fi drama District 9. This is his big budget Hollywood follow-up and the result is not as impressive as I hoped.

In the year 2154, Earth has become polluted and overpopulated. The rich and privileged have built a paradise on a space station called Elysium, where advanced technology helps keep them healthy and safe. Back on Earth, ex-convict Max (Matt Damon) has been working nonstop to save up for his trip to Elysium. That has been his dream since childhood, and he is determined to go there. An incident at work exposes Max to a high dosage of radiation, and he has only about five days to live.

Max needs to go to Elysium now so he can get healed, but he doesn't have enough to buy a black market ticket. So he volunteers to do a job for an underground op Spider (Wagner Moura), who wants to kidnap an Elysium citizen (William Fitchner) and download secrets from his brain. Spider outfits Max with a body army and a team to carry out the mission, but something goes wrong with Elysium Security Officer Delacourt (Jodie Foster) sends a mercenary named Kruger (Sharlto Copley) to hunt Max down.

When Max gets seriously injured, he seeks help from his childhood sweetheart Frey (Alice Braga) who is now a nurse. Alice needs to take her daughter to Elysium, too, as she has late stage Leukemia. Max promises Frey to take them there. Once they get there, Max realizes his mission is bigger than he thought, and he must decide what to do.

Matt Damon (Behind the Candelabra) is no stranger to playing down-and-out action heroes, as he did in the Bourne series. Here, Damon achieves a new level of grunge and toughness, further establishing him as one of the most versatile actors in Hollywood. Granted, this is not one of the best-developed characters that Damon has played, but he's done his best bringing the humanity to the role. Jodie Foster (Carnage) has surprisingly limited screen time playing a corporate snake as Delacourt, but her role is two one-dimensional to make any real impression. Her arc also doesn't seem fully developed, and that leaves me wanting more.

Sharlto Copley (District 9) teams up with Blomkamp again and plays a very different character this time: a mad man who is out for blood. Copley has the movie's most flamboyant and outrageous character and he gives it his all. Alice Braga (On the Road) is beautiful and sweet as Frey but she, too, has very limited scope to play her character.

The supporting cast includes Wagner Moura (Father's Chair) with an over-the-top performance as Spider; William Fitchner (The Lone Ranger) doing his best as a dispassionate Elysium billionaire, and Diego Luna (Contraband) in a gentle turn as Max's friend Julio.

Blomkamp's screenplay has some neat new concepts and builds on his usual social commentary about the rich vs. the poor. The high concept ideas sound great on paper, but seem to get lost in the execution as it is more complicated than what the story requires.  The plot turns out to be a more standard "man saves the world" one with a lot of Hollywood action and violence, but not enough suspense and mystery.  Also, I feel that the character development and arc are not up to par with what Blomkamp has done before. What made District 9 so good was not only the structure, social commentary and the wicked ending, but also how the character develops throughout the story. I feel that is what is significantly lacking in this one.

The direction is adequate. It has all the standard Hollywood action adventure, sci-fi trimmings. Special effects are great. The world that Blomkamp has built is similar to that in District 9 and it works. The design and rendering of Elysium is also astounding. Production value is pretty good. The action violence can be over the top at times, with lots of exploding body parts and gore. I think they are necessary, to have a point, if only the story is stronger.

I think Elysium is a decent attempt as a follow-up for Blomkamp, but can't help but feel rather disappointed by the writing and execution. I don't mean that he has sold out to Hollywood, but it seems that he's more interested in the entertainment value here than what he has to say.

Stars: Matt Damon, Jodie Foster, Sharlto Copley, Alice Braga, William Fitchner, Wagner Moura. Diego Luna
Director: Neill Blomkamp
Writer: Neill Blomkamp
Distributor: Sony
MPAA Rating:  R for strong violence and language
Running Time: 109 minutes

Ratings:

Script - 7
Performance - 7
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.5 out of 10.0 

World War Z

© 2013 Ray Wong

Does the world needs another apocalyptic zombie movie, aka Dawn of the Dead, 28 Days Later, The Walking Dead… (and the list goes on).  Apparently, Hollywood thinks so. Granted, World War Z is based on Max (son of Mel) Brooks's phenomenal bestseller that installed many fresh ideas into the genre.

Gerry (Brad Pitt) is an ex-UN special operator who is now a stay-at-home dad with wife Karin (Mireille Enos) and two young daughters. On their way to school and work in Philadelphia, all Hell breaks loose when people start to go crazy with rabies-like symptoms and attack and kill others. Gerry also observes that it takes only 12 seconds for the dead to "turn."

Surviving the disaster is only the beginning. After Gerry and his family are rescued, he is ordered to help an investigating team to try to find out the origin of the outbreak, in hopes of finding a vaccine. Thus starts Gerry's globe-trotting while trying to be one step ahead of the "affected." His journey takes him to North Korea, Jerusalem, and India, but nothing turns up.

Instead Gerry continues to find himself in dangerous situations where human nature is in direct conflict with mother nature, and more and more people are being turned. What Gerry discovers is that the zombies are dormant by nature unless provoked by stimuli such as sound and movement. And one clue after another, Gerry finally realizes the virus's weakness; and with an act of self-sacrifice, Gerry needs to prove himself right once and for all so he can save mankind.

Brad Pitt (The Moneyball) is in fine form. The lines and weathered face of this superstar somehow add charisma and wisdom to the characters he plays, and Pitt's portrayal of Gerry is multi-dimensional and deeply affecting. Mireille Enos (Gangster Squad) is solid as Gerry's determined and resourceful wife. They make a good on-screen team and we believe that they're two loving parents whose top priority is to keep their family safe.

French actress Daniella Kertesz (Loving Anna) impresses as Segen, a soldier whose job is to protect Gerry, and who ends up being part of Gerry's superb companion. The supporting team does great work here all around, including James Badge Dale (Iron Man 3) in an heroic turn as Captain Speke, Matthew Fox (Speed Racer) as a parajumper, and David Morse (The Odd Life of Timothy Green) as a bizarre ex-CIA agent.

Based on Max Brooks's best-selling novel, the script of this new zombie romp is written by Matthew Michael Carnahan, Drew Goodard, and Lost's Damon Lindelof. The story itself isn't really all that original -- what the writers have brought to the genre is a new twist and a slew of believable characters that focus on one man and his family. Most zombie movies focus on one or two set pieces and a specific location, but World War Z takes us on trip to let us witness the horror on a global scale. The plot opens with the usual mayhem and doom, but quickly turns into one man's quest to find an answer.

Still, one cannot argue that the genre is showing its age and fatigue. Everything does begin to look derivative, no matter how "fresh" the writers want to make it. The idea that zombies move in lightening fast pace and swarm like locusts is interesting and, quite honestly, breathtaking to watch. But everything else does seem to have that "been there, done that" feel.

So it all comes down to the execution. The cast has a done a great job, for sure. Marc Forster's (Quantum of Solace) track record has been spotty. Somehow the idea that Finding Neverland's director is doing a zombie movie is an odd one, but I think Forster rose to the occasion and delivered one hell of a nail-biter. The opening sequence is chaotic, frightening, suspenseful, and powerful. There are some duller moments, of course, but over all the pacing is good. Some of the set pieces are phenomenal to watch, such as one of the most exhilarating plane crashes on screen. Some may argue that the camerawork could be better, but I had no problem with his choices. It adds to the immediacy and urgency of the sequences. It's an exciting movie to watch.

Despite its derivative story and the limitation of the genre itself, World War Z offers something new and fresh, and with its effective cast headed by a strong Brad Pitt, and the capable direction of Marc Forster, it is a movie that is worth watching, even if it doesn't solve any world problems, per se.

Stars: Brad Pitt, Mireille Enos, Daniella Kertesz, James Badge Dale, David Morse, Matthew Fox, Ludi Boeken
Director: Marc Forster
Writers: Matthew Michael Carnahan, Drew Goodard, Damon Lindelof (based on novel by Max Brooks)
Distributor: Paramount
MPAA Rating:  PG-13 for intense frightening sequences, violence and disturbing images
Running Time: 116 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 9
Music/Sound - 8
Editing - 7
Production - 9

Total - 7.5 out of 10.0 

Now You See Me

© 2013 Ray Wong

Movies about magicians are difficult to do well  (ask Steve Carell). Now You See Me takes a different approach as a suspense/thriller. While it is no The Prestige or even the Illusionist, its entertainment value should keep it in the game for at least a few weeks before the next big thing comes along.

Atlas (Jesse Eisenberg), McKinney (Woody Harrelson), Henley (Isla Fisher) and Jack (Dave Franco) are four small-time magicians who seem to try to say something with their acts. Atlas is by far the most accomplished but he is no superstar, and McKinney is a washed up "mentalist." They are all recruited by a mysterious benefactor who promises them, as a team, a spectacular career.

One year later, that's exactly what happens. Emerging to the Vegas scene as the Four Horsemen and backed by rich businessman Tressler, they magically rob a French bank in front of a grand audience. More interestingly, they give the money to the audience and keep nothing themselves. Their stunt attracts international fame as well as the FBI. Without any proof that they actually robbed the bank, though, FBI agent Dylan Rhodes (Mark Ruffalo) can't do anything except to track them down to their next act, hoping to catch them in the act.

Next, the Four Horsemen stage a phenomenal show in New Orleans that not only redistributes Tressler's wealth to a carefully selected audience, but also manage to disappear without being caught. Who is behind them? What exactly are they trying to do? What is the final act (which will be in Manhattan)? And how can Rhodes stay a few steps ahead of them so he can bring them to justice?

For all its slick production and an impressive ensemble cast, it's ironic that the main cast doesn't really have much to do. Jesse Eisenberg (To Rome with Love) plays a slicker, more cynical version of himself as the controlling Atlas. Woody Harrelson (The Hunger Game) smug McKinney who has a moral conscience. Isla Fisher (The Great Gatsby) is sexy as Henley and James Franco's brother Dave (Warm Bodies) is ernest as the most inexperienced magician of them all, Jack.

While the Four Horsemen are the focus of the story, they seem peripheral when compared to the other key players. Mark Ruffalo (The Avengers) is effectively befuddled and frantic as Rhodes. Melanie Laurent (Beginners) is effervescent and likable as Rhodes' unlikely Interpol partner Alma. Morgan Freeman (Oblivion) gets to shed his regal persona to play Bradley, a smug, arrogant ex-magician who makes a killing by revealing other magicians' tricks. And Michael Caine (The Dark Knight Rises) is in fine form playing a smug, arrogant businessman. Michael Kelly (Man of Steel) and Common (Pawn) join the cast as agents Fuller and Evans respectively.

The screenplay by Ed Solomon (Charlie's Angels), Boaz Yakin (Safe) and Edward Ricourt is definitely slick by design. From the first scene to the last, the plot is fast-paced, clipping along with twists and turns only slowing down occasionally to let us get to know the characters a bit. But not too much. In fact, while the plot is slick and engaging, I can't really say the same about the characters. They all seem stereotypical and cookie-cutter. We don't know much about them, and we end up not caring if we know much about them.

While the plot is plausible given the grand illusion that is in store for us, the motivation is really murky.  We understand, at the end, what the real motivation is, but what drive four magicians to commit crimes that could get them imprisoned for a very long time? All for ego? That doesn't make sense and is never completely explained except for some mumble-jumble about The Eye. I guess it's all about the honor and "code" between magicians but I didn't completely buy it.

The production under Louis Leterier's (Crash of the Titans) direction is glossy and slick, if somewhat frantic (please stop the swooping crane shots already -- give me a headache) and out of control at times. Still, for a movie about magic tricks and a recurring theme of "how they did it?" Leterier relies too much on CGI effects, thus the magic tricks appear unauthentic and fake. Of course you can perform any kind of magic tricks if you use CGI, and it's hard for the audience to connect to reality -- how would they actually do it if it was real and not special effects?

Don't get me wrong, Now You See Me is highly engaging and entertaining, and the plot does twist and turn having me wonder where it is going and how it is going to end, and what is the story really about. And the final twist is rather clever -- I didn't see it coming. Still, with all its gloss and fun, it is not something I will remember. Now I've seen it, I doubt I will see it again.

Stars: Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Melanie Laurent, Morgan Freeman, Michael Caine, Michael Kelly, Common
Director: Louis Leterier
Writers: Ed Solomon, Boaz Yakin, Edward Ricourt
Distributor: Summit
MPAA Rating:  PG-13 for language, some action and sexual content
Running Time: 115 minutes

Ratings:

Script - 7
Performance - 7
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.4 out of 10.0 

Olympus Has Fallen

© 2013 Ray Wong

So it's not as bad as Transformers 3, but if you're expect something smart and suspenseful like Air Force One, then you'd be sorely disappointed with Olympus Has Fallen.

After making a difficult decision to save President Asher (Aaron Eckhart) during an accident, secret service agent Mike Banning (Gerard Butler) has been demoted to working at the Treasury Department. Mike misses his old job, hates his new one, and has trouble focusing on other aspects of his life such as his marriage.

On a fateful day, a series of events unfold and caught Washington DC in a surprise terrorist attack led by a North Korean fraction leader Kang (Rick Yune). The White House is under siege; the President, VP and top officials are held hostage in a maximum-security bunker under the White House. Springing to action, Mike finds his way back to the White House on a sole mission to save the President and his son Connor (Finley Jacobsen). Well, and to defeat the terrorists, of course.

The terrorists are well organized and manage to wipe out the secret service and keep the military at bay. Their demands not only threaten the stability of the two Koreas but also the way of life in America as the they try to break the highly classified Cerberus Code, which would detonate all the anti-nuclear missiles in the country. Alone on a one-man mission, Mike is racing against time not only to save the President, but also the world.

Despite a few missteps in recent years, Gerard Butler (Movie 43) is in top form in a Die Hard-esque role. Somehow Butler manages to add some layers to the super-human character and make us care about him as a real human being. He is also ruthless, strong and determined when he's called to do the incredible. Butler more than redeem himself as an action hero in this otherwise nonsensical thriller.

Aaron Eckhart (The Dark Knight) tries his best to rise above the material but it's just not enough. His President Asher is generic and weak especially compared to superhero Mike Banning. Finley Jacobsen (Marmaduke) is adorable as Connor but doesn't really have much to do -- at least he is not annoying as most child characters are in thrillers. Rick Yune (The Man With the Iron Fist) is one-note and stereotypical -- I counted, like, three expressions on his face and he constantly reminds me of someone who is suffering from constipation; Mr. Yune should learn how to be a memorable villain by studying Javier Bardem.

Dylan McDermott (The Perks of Being a Wallflower) is a caricature of the "good guy turns bad." We never quite understand his motivation or true character, and thus he is just a predictable pawn in the plot and nothing else. Morgan Freeman (The Dark Knight Rises) somehow still becomes presidential as Speaker Trumbull, and he could pretty much sleep-walk while playing his role. Angela Bassett (This Means War) used to do great dramatic work, but lately she's been reduced to playing stock "strong female" characters in otherwise male-dominated films. The standout here is Melissa Leo (Flight) who turns in one of the most memorable performances as Secretary of Defense, Ruth McMillan -- now that's a character we'd love to root for, not President Asher.

The screenplay by first-time writers Creighton Rothenberger and Katrin Bendikt shows how green they still are. Truth be told, the story and plot follow every genre trope imaginable, and the problem is that the writers don't let the story breathe. Instead, they pile on everything and then throw even more stuff in the sink. Other than a few moments of quiet reflection, they never give the characters a chance to develop. The motivations are often murky and generic. So, let's replace the bad "Russians" with yet another Communist group -- the North Koreans -- and they are basically regurgitating. The dialogue is mostly serviceable but generic as well.

Granted, there are some genuinely clever moments and plot deviations. I particularly like how Kang's plan slowly unfolds with precision and thoughtfulness, with one misdirection after another. Unfortunately, after such promising plot devices and development, the story turns to predictably absurd, only to set up one obstacle after another to make room for Mr. Banning to play Bruce Willis and save the world while going at it. The once-promising open road suddenly turns into a minefield of plot holes.

Director Antoine Fuqua's (Shooter) bombastic style is both a merit and detriment to the movie. On one hand, he keeps the action and thrills moving at a breakneck pace, rarely slowing down enough for the discerning audience to ponder the huge plot holes. On the other hand, it is exhausting as he leaves no room for the characters or the audience to breathe. It's not just one crisis, but multiple crisis and somehow we are  expected to believe that Mike Banning can singlehandedly fix everything. As the body count cumulates, so is a sense of weariness. The production is handsome enough, and the replicas of the White House and Washington are well done, but the music is something else. The score by Trevor Morris (The Immortals) is equally bombastic and cliched -- by the second scene I am already tired of that overbearing score.

Die Hard at the White House is an apt description of what this movie really is. By and large, the best things about it is Gerard Butler, and that is no small feat considering the stinkers he has been in lately. Still, Mr. Butler alone can't save this bombastic by-the-number thriller, even if we manage to check our brains at the door for two hours of pure thrills -- it is just mind-numbing like bad porn.

Stars: Gerard Butler, Aaron Eckhart, Finley Jacobsen, Dylan McDermott, Rick Yune, Morgan Freeman, Angela Bassett, Melissa Leo, Ashley Judd
Director: Antoine Fuqua
Writers: Creighton Rothenberger, Katrin Bendikt
Distributor: FilmDistrict
MPAA Rating:  R for strong violence and language
Running Time: 120 minutes

Ratings:

Script - 6
Performance - 6
Direction - 7
Cinematography - 7
Music/Sound - 4
Editing - 7
Production - 7

Total - 6.1 out of 10.0 

Side Effects

© 2013 Ray Wong

After the immense success of his male stripper drama, Steven Soderberg follows up with a slick psychological thriller, Side Effects, that examines our dependency on prescription drugs. Side Effects is also rumored to be Soderberg's last film as he has announced his intention to quit making movies.

Emily Taylor (Rooney Mara) patiently and eagerly waits four years for her husband Marin (Channing Tatum) to be released from jail after being convicted of insider trading. They have lost almost everything, and so now they have a chance to rebuild their lives together. However, Emily is suffering from severe depressing that renders her suicidal.

After a failed suicide attempt, Emily agrees to see psychiatrist Dr. Jonathan Banks (Jude Law) on a regular basis. Meanwhile, to help Emily cope, Dr. Banks prescribes her various medications but many have severe side effects that make her irritable, sleepless and sometimes even more depressed. After another suicide attempt by Emily, Banks consults her former psychiatrist Dr. Siebert (Catherine Zeta-Jones), who suggests that Emily to be put on a new wonder drug called Ablixa.

After taking the drug, Emily's condition improves tremendously, except for the occasional episodes of sleepwalking, which is one of the side effects of Ablixa. Banks tries to convince Emily to get off of the drug, but Emily argues that the drug is helping her putting her life  back together with Martin, and she can deal with the sleepwalking. Reluctantly, Banks agrees to keep her on the medication, until one day he receives a call that there has been an incident…

After giving an impressive performance in Anna Karenina, Jude Law plays a different role here, as a young, charming, helpful psychiatrist who unwittingly gets himself into much hot water by trying to help his patient. Law displays a wide range of emotions and attributes that makes his character believable despite some of the more outlandish circumstances.

Rooney Mara (The Girl with the Dragon Tattoo) is fantastic as Emily. A beautiful waif, Mara shows us a fragile, frightened and disturbed woman who is surprisingly strong and willful. I can't really discuss her other attributes as they will reveal part of the plot, but suffice it to say Mara gives a surprising but convincing performance.

The supporting cast is solid as well. Catherine Zeta-Jones (The Rock of Ages) is no stranger to mental illness herself as she battles bipolar disease in real life. Here, as a psychiatrist who may have an ulterior motive, she is collected, distant and somewhat cold, which suits her character perfectly. Channing Tatum (Magic Mike) doesn't have much to do as Emily's husband, but he fulfills his role adequately. Polly Draper (Our Idiot Brother) and Mamie Gummer (The Lifeguard) turn in admirable performances as Emily's boss and friend respectively.

The screenplay by Scott Z. Burns (Contagion) is a taut nail-biter that hooks us from the very beginning and keeps us on the edges of our seats throughout the entire movie. Despite a rather trite and unnecessary short prologue (although it serves as a great bookend with the ending shot), the script has a great set up and structure, and the plot flows well and coherently. Never was I confused by what is going on. The plot twist comes about naturally but also unexpected. Granted, anyone who is observant enough or comes to see the movie having been cognizant of the possible twist would not be surprised. However, the way the plot advances and how director Soderberg (Magic Mike) moves it along makes it harder for the casual audience to grasp the twist.

Soderberg makes a good decision to keep the story clipping along at a brisk pace, leaving no room for the audience to ponder and question what they are seeing. That allows him to set things up and following Emily and Banks's journeys.  As a suspense-thriller, the movie has enough suspense and thrills to entertain and engross us. The story starts out as something The problem is, once we see the plot twists and where it is going, we start to feel somewhat manipulated. That's the inherent problems with suspense as the structure and construction are by nature manipulative. Certain things don't make sense anymore, or start to feel forced.

That said, Soderberg is able to keep the jarring plot elements at bay by keeping the characters in their respective frantic states, thus giving us certain parameters for doubt and inconsistency. Soderberg's skillful execution also reminds me of Ocean 11 or Traffic. It is a shame that Soderberg has decided to stop directing (whether it is true or not, we'll have to see), but if this is indeed his last film, Side Effects is a perfectly enjoyable swan song.

Stars: Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum, Polly Draper, Mamie Gummer
Director: Steven Soderberg
Writer: Scott Z. Burns
Distributor: Open Road Films
MPAA Rating:  R for sexuality, nudity, violence and language
Running Time: 106 minutes 

Ratings:

Script - 7
Performance - 7
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.7 out of 10.0 

Zero Dark Thirty

© 2012 Ray Wong


Zero Dark Thirty

The biggest manhunt in recent history has been brought to you by the filmmakers who gave us the Oscar-winning The Hurt Locker. Given all the award buzz surrounding Kathryn Bigelow's newest film, I can't help but feel rather underwhelmed by the actual movie.

After 9/11/2001, Maya (Jessica Chastain), a CIA analyst, is recruited in a mission to track down Osama Bin Laden. Working within a team of field operatives, which includes Dan (Jason Clarke) and Jessica (Jennifer Ehle), Maya has to work with limited information provided by captured terrorists through unspeaking means such as torture and coercion. Even then, Maya has to use her judgment to discern which pieces of information is valid, and connect the dots as she goes along.

The manhunt turns into a decade-long obsession for Maya. Her boss, Joseph Bradley (Kyle Chandler), has better things to do, thus leaving Maya and her team to do whatever is necessary. Maya's investigation leads her to a man named Abu Ahmad, who she believes is a covert courier for Bin Laden. She believes that if they can find Ahmad, they will find Bin Laden.

Unfortunately for Maya, her instincts and ability are met with scrutiny and resistance from within her own organization. But Maya believes she is right, and after a tragedy strikes, Maya's quest becomes even more personal for her. Against all odds and obstacles, and after almost 10 years working solely on this mission, Maya realizes she has now found Bin Laden.

Jessica Chastain (The Help) is an amazing actress. Maya is a resourceful, intelligent, and headstrong character that Chastain takes no time to sink her teeth into. Maya has a job to do and she delivers. Same with Chastain -- her demeanors could be construed as brash, unapologetic and yet she can also be doubtful and vulnerable. Chastain did a remarkable bringing the character to life and carrying the movie, even though the story doesn't allow a glimpse to her personal life, thus making her character somewhat one sided.

Jason Clarke (Lawless) is Dan, a CIA operative who works closely with Maya. Clarke also does a good job portraying someone who has a job to do and will do anything to get it done. Both their characters hover on the border of moral rightness, but they also know that the end will justify the means. Jennifer Ehle (The King's Speech) is effective as Maya's coworker who is too emotional, as opposed to Maya, to do her job.

The large supporting cast includes Kyle Chandler (Argo) in an adequate performance as Maya's boss, but I have trouble distinguish this with his character in Argo. Mark Strong (John Carter) has a brief but strong performance as George, one of those men up the chain of power. James Gandolfini (Killing Them Softly) is interesting as the Director (they never said his name, but we all know he plays David Patraeus). Rounding out the cast is Chris Pratt (The Five Year Engagement) and Joel Edgerton (The Odd Life of Timothy Green) as members of the SEAL team that finally nailed Bin Laden.

Written by Mark Boal (The Hurt Locker) based on extensive research and declassified information, the screenplay is a taut exercise of procedural thriller. Almost no dialogue is wasted in this tight but long story (at over 2 1/2 hours), and there isn't a lot of room for anecdotal character development. The result is a fascinating and precise drama/thriller in the vein of David Fincher's Zodiac. The trouble with that kind of movie is that it lacks the emotional impact of a character-driven drama. At times, I caught myself thinking, "This is slick and great, but it's like a really good but long episode of CSI."

Don't get me wrong, under Kathryn Bigelow's (The Hurt Locker) direction, the movie is captivating. Bigelow and Boal also make no judgment for or against the controversial topic of torture. The movie makes a clever and deft reference to the "transition" as the Bush era ends and Obama becomes the President, but they never linger or make apologies. What is depicted on screen is a group of people dedicated to their job: to protect the American people, and to find Osama Bin Laden.

As masterfully made as it is, Zero Dark Thirty lacks the emotional connection that a strong thriller/drama about such an important mission should have. What has transpired often feels too calculated and cold. We really don't know much about these characters except for what they do on the job. We get a glimpse of Maya's personal life (or the lack of), but not enough to form a complete picture of her character. Even the famous conclusion of the story, I find myself unable to connect or empathize. What we get is a great procedural thriller that no one needs to see twice.

Stars: Jessica Chastain, Kyle Chandler, Jason Clarke, Jennifer Ehle, Mark Strong, James Gandolfini, Chris Pratt, Joel Edgerton
Director: Kathryn Bigelow
Writer: Mark Boal
Distributor: Columbia
MPAA Rating:  R for strong violence, brutal images, language
Running Time: 157 minutes 

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.6 out of 10.0 

Skyfall

© 2012 Ray Wong

After 50 years and six lead actors, how do you manage to make an old franchise fresh and exciting again? Four years after the lackluster Quantum of Solace, audiences around the world begin to question if there is still life in James Bond, especially with Daniel Craig in the iconic role. Fortunately for us, Craig's third outing as Bond proves to be his best, yet.

Skyfall opens in Istanbul, with Bond (Daniel Craig) in hot pursuit of an assassin who has stolen an encrypted hard drive containing a list of MI6 field agents' identities. The highly sensitive information will completely destroy MI6 and their operations if it gets out, and M (Judi Dench) is determined to secure that list. She makes a fateful decision that almost gets Bond killed, and in the process she loses the list.

A few months later, a terrorist attack on MI6 headquarters in London jolts M to realize that their security has been compromised. More important, the terrorist has a personal axe to grind with M. Bond reemerges from his "death" to pursue the man behind the curtains, which leads him in a wild goose chase through the streets of Shanghai, Macau and back to London. Eventually, he tracks down the terrorist, Silva (Javier Bardem), who used to be an MI6 agent.

Silva tries to convince Bond to join him in his crusade. He rationalizes with Bond how silly they would work for their country when someone like M could give an order to get them killed without blinking an eye. Instead, Silva can do whatever he wants with what he knows and what he can do. Bond's moral compass is shaken when he questions his own mortality and loyalty. More important, he starts to questions M's trust and his own patriotism.

Daniel Craig (The Girl with the Dragon Tattoo) has both hardened and softened as Bond in his third and most demanding film as James Bond. Physically, Craig is commanding and extremely convincing as the suave but brutal agent. And yet he allows us to continue to peel off another layer and see into Bond's soul and sentimentality. Through Craig, whose steely eyes are as lethal as they are sensitive, we get to see a softer and human side of the world's most famous super spy.

Judi Dench (The Best Exotic Marigold Hotel) reprises her pivotal role as M with similarly steely and yet sensitive quality. At the beginning of the movie we get to see M's brutal and apparently insensitive side (just to get the job done). But as the movie clips along, we realizes M cares too much, and her character unravels before our eyes, and that makes her a vulnerable character. Ralph Fiennes (Wrath of the Titans) does a good job as M's boss, Gareth Mallory -- his character doesn't have a whole lot to do here, but we figure he will be featured more prominently in future films.

As the baddie, Javier Bardem (Eat Pray Love) is creepy, frightening, and yet hilarious at the same time. How this actor can appear so charging and handsome in one film (Eat Pray Love) and hideously creepy in another is a testament of his acting prowess. There is one homoerotic scene between him and Craig that is laugh-out-loud funny, bizarre, and creepy at the same time. Kudos to both actors to playfully pull that off.

Albert Finney (Big Fish) makes a much-appreciated appearance as Bond's old friend Kincade. Ben Whishaw (Cloud Atlas) is an interesting choice for a new Q. The Bond girls have surprisingly meatier roles. Naomie Harris (Miami Vice) sparkles as fellow MI6 agent Eve, and French actress Berenice Marlohe puts in some good work as the complex Severene.

The screenplay by Neal Purvis, Robert Wade, and John Logan is surprising streamlined and straightforward. This has, by far, one of the easiest-to-follow plot in any Bond films. Don't get me wrong; it still has all the requisite elements of a good Bond film: the structure, the thrills, the actions, the steamy Bond sex. But I am impressed with the character development. I'm also impressed that they choose to turn the story personal, especially in the third act when Bond returns to his childhood home. His history is slowly revealed but there is still so much we don't know about James Bond, and he's not one to divulge. Nicely done.

Director Sam Mendes (American Beauty) adds a rare prestige to the production. It may seem strange for an Oscar-winning director well known for his dramas to direct a Bond film, but it works beautifully. Mendes manages to stay within the Bond formula but also expand on it, making it personal, character-driven, and relevant at the same time. But what's a Bond film without cars, chases, gadgets and actions? The action sequences are incredible; we can only marvel at the inventiveness especially after 50 years of Bond action. The images are stunning, and the actions are easy to follow (none of that convoluted close-ups and shaky cams) and thrilling. The sequences in Asia are spectacular.

And then Sam Mendes does something incredible. Amongst all that mayhem and destructions and thrilling actions, he manages to make us care deeply about the characters. In particular, the relationship between M and Bond is complex, at times humorous, and subtly and nicely explored. Well done.

Skyfall is one of the best Bond films I have seen… in all of its 50 years' history. Add to that we also have one of the best Bond songs in recent memory, courtesy of Adele. The perfect storm and the outrageously talented people have finally given us a Bond film that is worthy of all the praises and may one day become a true classic.

Stars: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Berenice Marlohe, Albert Finney, Ben Whishaw, Rory Kinnear
Director: Sam Mendes
Writers: Neal Purvis, Robert Wade, John Logan
Distributor: Columbia
MPAA Rating:  PG-13 for intense violent sequences, some sexuality, language and smoking
Running Time: 143 minutes 

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 9

Total - 8.0 out of 10.0 

Argo

© 2012 Ray Wong

As a member of the SAG Award Nomination Committee, I was fortunate to attend a special screening of Argo with a follow-up Q&A session with director-star Ben Affleck and the rest of the cast.

Set at the end of 1979 over a period of over 144 days, Argo chronicles the secret rescue of six American diplomats during the Iran hostage crisis. During the uprising, the diplomats including Bob Anders (Tate Donovan) and Cora Lijek (Clea DuVall) escape. Canadian Ambassador Ken Taylor (Victor Garber) and his wife take a great risk by harboring them. But their time is running out -- the hostage situation has not been resolved, and the Iranians have realized the missing Americans and are in search for them.

CIA Agent Tony Mendez (Ben Affleck) comes up with a plan to get the Americans out of Iran. The plan, by it self, is ludicrous, but it's the best possible plan the CIA has come up with. Mendez will pose as an Canadian filmmaker trying to make a movie and scouting locations in Iran, and he will attempt to leave the country with the Americans as his crew.

The plan calls for Mendez to personally risk his own life. Succeed or fail, nobody will ever know about this, so Mendez only does it for the love of his country and countrymen, and not for glory or fame or anything else. And he has to do it alone. Well, not completely. In order to pull it off, he will need to make the operation as realistic as possible, and he enlists the help from his friend, famed makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin).

Ben Affleck (The Town) has definitely matured as an actor (more on his ability as a director later). As is, he does a good job portraying the stoic and contemplative CIA agent. Still, I find him somewhat miscast -- he is too good-looking a movie star to pull off playing a covert operative (let alone the real guy isn't a white guy). It's okay for the director to star in his own movie, but the role must fit. In this case, I am not too convinced.

That said, the cast in general is superb. Bryan Cranston (Rock of Ages) is fantastic as Mendez's boss. He just comes across as someone you can trust, who, despite his ruthlessness and harsh opinions, would have your back no matter what. Alan Arkin (The Muppets) is hilariously brutish (and refreshingly honest) as the producer. John Goodman (Trouble with the Curve) is spectacular as Chambers -- playing a real, famous person like John Chambers is a challenge in itself, and Goodman does a great job with it. He and Arkin make a great comedic team, and help add dashes of humor to an otherwise tense thriller. The superb cast also include the always-solid Victor Garber (Take Me Home) as the good-hearted Canadian Ambassador, Tate Donovan (Below the Beltway) and Clea DuVall (Conviction) as two of the Americans.

Written by Chris Terrio (Heights), and based on an article by Joshuah Bearman, the screenplay is taut and fast-paced. It starts with a prologue that sounds somewhat heavy-handed but does give a solid historical background of the crisis. Terrio also succeeds in injecting humor, mostly through the characters of Chambers and Siegel and by poking fun at Hollywood. The rest follows a taut thriller arc. The character are generally larger than life, and even the smaller characters seem three-dimensional. The dialogue is terse and to the point. The plot clips along at a brisk pace. I can't remember any major plot holes, even though some of the situations seem rather outlandish. The risks these people take are nerve-racking, and that's why the thrills work.

Director Affleck has blossomed as a filmmaker. He has made a few fascinating films such as Gone Baby Gone and The Town. He continues his streak with Argo which may very well give him his first Oscar nomination as a director. The pacing is superb. The suspense is amazing -- I was at the edge of my seat throughout the entire movie, even during the witty moments. The tension near the end was palpable, even though we know they have all gotten out (we know our history). The production is handsome and true to the era and material.

Despite my trepidation of Affleck being in the lead role, I am truly impressed with the production, the writing, and the acting. Argo is a fantastic political thriller. And smart, too. The facts and historical details (albeit the requisite creative licenses, of course -- this is, after all, a drama/thriller, not a documentary) add tremendously to the authenticity and gravity of the story. So, yeah, Argo see it!

Stars: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Scoot McNairy, Rory Cochrane
Director: Ben Affleck
Writers: Chris Terrio (based on article by Joshuah Bearman)
Distributor: Warner Bros
MPAA Rating:  R for language and some violent images
Running Time: 120 minutes 

Ratings:

Script - 8
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.9 out of 10.0 

Looper

© 2012 Ray Wong

Time travel stories are difficult to pull off -- either it is too implausible, or it's too predictable. Granted, nobody has ever time traveled before (as far as we know) so everything is up for speculation. Still, some logic and rules must be followed. In that regard, Looper does a good job setting up those rules to present us with a story that is more about moral choices than time travel itself.

Joe (Joseph Gordon-Levitt) is part of a group of professional assassins called Loopers because they only kill people who are sent back from the future. As he explains, time travel hasn't been invented yet, but in 30 years it will be, and it will be immediately outlawed. Only that a small group of criminals will get hold of that technology and profit from it, by sending their victims to the present to be killed and destroyed (so no traces will be found since the body does not technically exist in the present). His boss Abe (Jeff Daniels) is sent from the future to run the operation.

There is only one catch, however. When the Looper's contract is up, they have to "close the loop" so they won't create a time-space paradox. What happens is that the older Looper will be sent to the present, so the younger Looper will kill him off in exchange of four bars of silver. Basically it's a 30-year retirement, and then you're dead. Joe knows his time will come soon, and he's been saving half his earnings so he can retire comfortably for the next 30 years, preferably somewhere in France.

When his friend and fellow Looper Seth (Paul Dano) fails to kill his older self, Seth (and his older self) is hunted down like a dog. From Seth, Joe knows that someone in the future has taken control and killing off all the Loopers. Sure enough, old Joe (Bruce Willis) is being sent back to be terminated -- but because the younger Joe has the knowledge of "plan," (don't worry, it's all explained in the movie), old Joe manages to escape. It turns out that old Joe knows the possible identity of the future mastermind and is determined to kill him in the present, so to change his own future. Young Joe must track down old Joe and finish him off, before the other Loopers find them both.

Joseph Gordon-Levitt (Premium Rush) goes through a daily 3-hour makeup that makes him look like a younger version of Bruce Willis. Other than the physical resemblance, he also successfully impersonates Willis' mannerism and personality while making the character his own. Meanwhile, Willis (The Expendables) is playing a different version of his downtrodden tough guy persona. Still, there is certain synergy and collaboration between the two actors that we can believe they are the same person. By and large, they have succeeded.

Emily Blunt (Salmon Fishing in the Yeman) plays a farm owner and young mother, Sara. She shows a rougher side of her that has so far not been present in her recent roles. Pierce Gagnon does a good job as her precocious son. Paul Dano (Ruby Sparks) has a very small role but he makes the best of it. Noah Segan (All About Evil) tends to overact in his one-dimensional role as a Looper, but Jeff Daniels (Quad) compensates with his solid portrayal as the ringleader.

Written and directed by Ryan Johnson (The Brothers Bloom), the screenplay is intriguing in terms of premise and also execution. The story has a gritty feel to it, depicting a near-future dystopia that is both disturbing and fascinating. The tone reminds me of various movies ranging from Bladerunner to Time Cop to Memento. There is a great central mystery, and the plot keeps us guessing until the end, only revealing information and clues as they are relevant. I particularly like the characterization of Joe (both young and old, and how the character has changed in 30 years) and Sara. There is certain depth that is atypical in action-thrillers. The sci-fi aspect of the story is somewhat trippy and requires a good dose of suspension of disbelief. Like I said, time traveling is a tricky subject, but I think Johnson has successful set up the parameters and rules early on so the rest of the story can make sense.

Johnson's direction is precise and effective. While it's sci-fi, the production is reality-based and the special effects are not very sophisticated. But that's the point: it may be a sci-fi thriller, but it's also a morality and personal drama that is based very much in reality. Knowing what we know about the future, which path will be choose? Would we accept our fate, or would we try to change it at the expense of others? That's the central moral question, and the ending answers it perfectly.

Looper is a thought-provoking, gritty sci-fi thriller with a nice dose of drama. It's not without its flaws and could have been better. But with solid performances from the actors and an intriguing premise that ends unexpectedly, it will certainly throw an enthusiastic viewer for a loop.

Stars: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Paul Dano, Noah Segan, Jeff Daniels, Pierce Gagnon, Summer Qing
Director: Ryan Johnson
Writer: Ryan Johnson
Distributor: FilmDistrict
MPAA Rating:  R for strong violence, language, some sexuality/nudity and drugs
Running Time: 118 minutes 

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.7 out of 10.0 

Arbitrage

© 2012 Ray Wong

In financial terms, "arbitrage" means the practice and possibility of making risk-free profit with zero cost. In movie terms, Arbitrage is a story about a ruthless hedge fund magnet and the cost he must pay.

Robert Miller (Richard Gere) is a Wall Street billionaire running a successful hedge fund investment company. However, unbeknownst to his family, he is in desperate need to close a deal to sell his empire to cover his track. He has been fudging his books and borrowing money from his friends to cover his losses (to pay one investor with another investor's money, so to speak -- in a way, kind of like a Ponzi scheme) based on a bad financial decision. In order to right all wrongs, in his mind, and to protect all the people he cares about (including his family and his investors), he needs to sell his company quickly for a huge profit, so he can get out of the jam without his fraud being discovered.

But his potential buyer is stalling, no doubt trying to negotiate a much lower price. Obviously, Miller is under a lot of pressure while trying to project a calm and collected exterior. He seeks a relief outlet in his mistress Julie (Laetitia Casta), who is not entirely sweet and supportive either. Then a horrible accident changes everything. Miller makes a fateful decision to leave the scene, thus making him a suspect for a possible homicide. Detective Bryer (Tim Roth) is hot on Miller's track.

Miller tries his best to cover things up, for any negative news could derail his entire deal. He makes every effort, using any resources he has, to make sure that Bryer doesn't get to him. But the cunning detective is great at playing this game, too. So can Miller get away with his crimes? What kind of price will he pay?

Richard Gere (Amelia) has truly matured as an actor over the years. As Robert Miller, Gere is handsome and charming, and projects the kind of cold, calculated calmness of a shrewd businessman. But Gere goes beyond that to give us a highly complex, flawed character that actually has an emotional life. At times the character may seem extremely unlikeable, almost sociopathic, but then Gere is able to dig deeper to make us see that it is the way the character can function, but compartmentalize his emotions and thoughts to deal with all those issues whirling around his life as a businessman and family man.

Susan Sarandon (Cloud Atlas) teams up with Gere again as his wife Ellen. She does a great job portraying a compromising wife whose first priority is her family -- the mother hen who will do anything to protect her brood, if you will, even at the cost of her marriage. As the ruthless cop, Tim Roth (Broken) matches Gere with his intensity and cunningness.

The rest of the cast is superb as well. In particular, Brit Marling (The Company You Keep) does a good job  portraying a savvy businesswoman who is also vulnerable and naive as Miller's daughter. Laetitia Casta (The Island) is fiery as Miller's temperamental mistress. The standout is Nate Parker (The Secret Life of Bees), who plays the unlikely hero in this twisted tale.

Written and directed by Nicholas Jarecki (The Informer), the screenplay is taut as a thriller, but also engrossing as a character-driven drama. At times, I was a bit lost as the plot unfolds -- there are financial jargons and situations that may need a bit more development and exposition for the average audience to understand. But once that is out of the way, the story takes off as Miller's dilemmas and conflicts become more and more complicated, and the hole he is digging for himself becomes deeper and deeper. Jarecki's plot is like a train wreck -- it gets faster and faster and faster and we can't help but hold our breath and see how the central character can out of it.

And due to his performance, Richard Gere, based on Jarecki's writing, helps develop an unlikable character that we actually root for. We actually want him to get out of his troubles, but at the same time wonder what has changed for him. Will he ever learn? The fact that no matter what happens, Robert Miller is paying a high price is in itself satisfactory to the audience. That's one thing I like about Jarecki's screenplay, that every character is flawed. There are no clear villains or "good guys." Every character has done something inscrutable, but we can all relate to the mistakes they make.

It's not the say the movie is perfect. There are plot elements that stretches our ability to suspend our disbelief. The amount of coincidences can be distracting, and we do question the morals of these characters, as they are all so larger than life.

Yet despite its flaws and distractions, I find the movie engrossing, and the characters relatable and sympathetic, even when they are not very likable. There are thrills and suspense, and quite a bit of depth as far as character development is concerned. I like it.

Stars: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker
Director: Nicholas Jarecki
Writer: Nicholas Jarecki
Distributor: Lionsgate
MPAA Rating:  R for language, brief violence, and drug use
Running Time: 100 minutes 

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 8
Editing - 8
Production - 8

Total - 7.8 out of 10.0