Sunday, September 25, 2011

Killer Elite

To answer the question you're probably asking, yes - action fans should be pleased with Killer Elite. It's got more story to it than many other selections in the genre, but just because it has more plot doesn't mean it actually has anything to say. For me, the best action films either offer something interesting to think about (Inception, the Bourne films) or are paper-thin excuses to jump from one action sequence to the next (see: every Tony Jaa movie ever made). In terms of Jason Statham movies, Killer Elite falls squarely in the middle of these extremes, more akin to The Bank Job than The Transporter.

Killer Elite
Director: Gary McKendry
Starring: Jason Statham, Robert De Niro, Clive Owen, Yvonne Strahovski


There's an interesting line of dialogue that comes late in the film, when a government agent seemingly captures Jason Statham and Clive Owen and says, "That's what we love about you lot - you only care about the action." I'm guessing this line spoke directly to much (if not all) of the audience for Killer Elite. Personally, I judge most action films on whether or not they meet one strict criterion: does it show me something I've never seen before? Here's a sweeping generalization: oftentimes the plot, characters, and visual effects are interchangeable in this genre, so, for me, the devil is in the details. One fight scene, car chase, or unexpected reveal can separate these movies from their brethren; in short, give me something memorable or GTFO. Killer Elite has two things I've never seen: Jason Statham's character uses a loaf of bread as a silencer for his gun at one point, and there is a sequence (shown in the trailer) in which Statham fights a guy while strapped to a chair. So, on some level, I'd consider this movie a success.


So there's no confusion, I'll sum up my feelings with a phrase I've come to despise: I liked this movie for what it was. Normally, I think that assessment is taking the lazy way out, trivializing the filmmaker by implying he/she set the bar lower than a "normal" movie. But when a film like this is so clearly trying to be a certain thing, there's nothing wrong with judging it as such. Action scenes aside, the rest of the movie was far from the failure I anticipated. Unlike something like The Expendables, which is loud, over the top, and just plain stupid, Killer Elite operates in a far more realistic world (as it should, considering it's based on true events). This is espionage, not a Stallone-era shoot-em-up where the person with the biggest gun wins. In fact, I'd argue there's almost too much story told here; so much happens, the movie feels a lot longer than its runtime suggests.


The leads were all enjoyable to watch, though they didn't share much screen time together. Statham turns in one of his better performances; the man's not known for his great dramatic work, but he pulls that off just as well as the action beats here. It's reassuring to see De Niro in a part like this again after his stretch attempting comedy in the Focker movies. Clive Owen is fine - he plays a guy named Spike, so of course he wears a leather jacket to secret society meetings. He and Statham have an impressive brawl in the middle of the film that wasn't quite as memorable as some other points in the movie, due mostly to director Gary McKendry's over-reliance on shaky cam. Yvonne Strahovski (NBC's "Chuck") shows up as a love interest for Statham, but ultimately doesn't have a lot to do. Though her backstory is expectedly cliched, she shows a lot more charm than typical action movie eye candy, and I'd like to see her spread her wings a bit with some larger roles. Try as any of these actors may, they're still slaves to this film's script, which offers its share of terrible dialogue. Some of my favorites:

"I'm done with killing." "Maybe killing ain't done with you."
"That's why we're called The Feathermen - because our touch...is light."
"B-I-N-G-f*ckin'-O."
"Killing's easy. Living with it is the hard part."
"Everybody knows the rules: there are no rules!"


Killer Elite has its moments, but ultimately it's a pretty forgettable outing in which the tight and economical action sequences play second fiddle to a story that drags a bit before reaching its easily predictable conclusion. Until next time...

Wednesday, September 21, 2011

Moneyball

If the phrase "inside baseball" was ever used to describe a film, this would be the movie in question - and that's not necessarily a bad thing. Moneyball (based on Michael Lewis' 2003 book of the same name) chronicles the story of Oakland Athletics general manager Billy Beane (Brad Pitt) and his unorthodox attempts to create a championship team with far less money than his competitors. In a way, the film itself is just as unorthodox as Beane's methods; we expect certain elements from this genre, but director Bennett Miller gives us a new angle to consider. Through good performances, a detailed script, and a fresh perspective, the movie tells an intriguing story of two men who went against the tides of baseball history and changed the game forever.

Moneyball
Director: Bennett Miller
Starring: Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Chris Pratt


When teams with more money start poaching Billy Beane's players for themselves, Beane literally can't afford to compete on their level. During a potential trade meeting with the Cleveland Indians, Beane meets Peter Brand (Jonah Hill), a Yale graduate who studied economics and has a different approach to rebuilding than Beane's over-the-hill scout staff. Beane adopts the youngster's philosophy and hires him as the new Assistant General Manager of the Athletics, much to the chagrin of his older co-workers. Much of the movie is steeped in the age-old "technology vs. human instinct" theme, but while most films take the human approach in this argument, Moneyball champions facts over intuition.


Moneyball successfully turns the sports genre on its head by exposing audiences to the detailed inner workings of a Major League Baseball team. Beane's acquisition of Peter is far more valuable than that of any one player, and for the purposes of this movie, the players on the field aren't nearly as important as the key "players" off the field. It's easy to hear co-writer Aaron Sorkin's influence in the dialogue, especially evident in a labyrinthine trade deal that comes midway through the film. It's smart and lightning quick at times, reminiscent of portions of Sorkin's Oscar-winning Best Adapted Screenplay from last year, The Social Network. Throughout the movie, we're shown flashbacks of Beane's days as a player and we see the effects his past has on him in the present time. The editing was sharp and effective, only concerned with the interesting aspects of the story and wisely breezing over sections that didn't need to be explored in depth on film.


This is clearly a Brad Pitt vehicle, and I'm already hearing some whispers of Oscar potential surrounding his performance. I think this is some of his best work in recent years, and though I don't quite agree that he's deserving of an Oscar for this particular performance, I thought he was...aggressively good. Not breathtaking, but still the kind of quality work that you expect from an A-lister. His supporting cast was impressive as well, with really solid work from Jonah Hill and small roles for Philip Seymour Hoffman as the embattled coach and Chris Pratt from "Parks and Recreation" as a catcher-turned-first-baseman. Beane's daughter is played by Kerris Dorsey (a spitting image of a young Katey Rich, friend of The Not Just New Movies podcast), an actress with a bright future who provides the muse for Pitt's character as he struggles through decisions late in the movie.


If you're a sports buff, you may know how this story ends before you see Moneyball's opening credits. But I didn't know how it would play out and it captivated me, so I won't get into the specifics of the ending here. I wonder, though: because I grew up playing baseball, much of this movie was easy for me to comprehend, but would someone who's never played or studied the game have the same appreciation that I do? Sound off in the comments and let me know what you think, regardless of your personal history with baseball. Until next time...

Monday, September 19, 2011

The NJNM Podcast: Ep. 58 - Hobo With A Shotgun


In this week's episode, Tyler and Ben discuss Jason Eisener's 2011 film, Hobo With A Shotgun.




Introduction
Character Name Game Intro -2:24

Media Consumed
Tyler
"Party Down" - 3:00
Seasons 1 and 2 of "Children's Hospital" - 5:37

Ben
Netflix adds Qwikster - 11:10
Real life Weekend at Bernie's - 18:40
30th Anniversary Raiders of the Lost Ark screening, Q&A with Spielberg and Ford - 21:15


Review
Hobo With A Shotgun - 27:20

Wrap-Up
Next Week: Hoosiers -1:02:15
Listener Voicemail/E-mail/Twitter -1:03:15
Character Name Game - 1:05:18

Up Your Specs -1:08:30
Where You Can Find Us -1:13:25

Articles Mentioned: Ben's coverage of the 30th Anniversary screening of Raiders of the Lost Ark at GeekTyrant, Real Life Weekend at Bernie's article, Weekend at Bernie's NJNM episode, reviews of the Indiana Jones series can be found in the Archives section of NotJustNewMovies.com

Sunday, September 11, 2011

The NJNM Podcast: Ep. 57 - The Last of the Mohicans (Guest: Matt Patches from Hollywood.com)


In this week's episode, Ben and Tyler are joined by Matt Patches (from Hollywood.com) to discuss Michael Mann's 1992 film, The Last of the Mohicans.





Introduction
Character Name Game Intro - 4:22

Media Consumed
Tyler
Poltergeist II and III - 5:30

Matt Patches
Season 3 of "Parks and Recreation" - 11:45
Thor Blu-ray - 15:25

Ben

Attack of the 50 Foot Woman -18:30
Public Enemies - 24:56

Review
The Last of the Mohicans - 30:10

Wrap-Up
Next Week: Hobo With a Shotgun - 1:00:45
Listener Voicemail/E-mail/Twitter - 1:02:35

Character Name Game - 1:07:54
Know Your Specs - 1:10:40
Where You Can Find Us - 1:17:55