“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
By Noah Forrest Forrest@moviecitynews.com
Frenzy on the Wall: Everything Old is Old Again
I had no interest in seeing The Expendables this summer. I loved ’80s action movies as much as the next person; hell, I grew up watching movies like Commando over and over again. Even now, if I catch an old Schwarzenegger or Stallone flick on cable, I find I still have a sentimental attachment to those “classics.” Of course now I understand that they aren’t actually “good” movies, but I can overlook those flaws and enjoy them as a reminder of how much I enjoyed them when I was younger.
But I’m not crazy about the idea of seeing a throwback to a time when Hollywood movies were ruled by stars that could barely act – although I do think Schwarzenegger and Stallone have done good work – in outlandish films that barely made sense. Films have evolved past those kinds of action movies for a reason.
The Expendables was supposed to be a punch in the gut to these newfangled action films like the Bourne series or Batman Begins; you know, movies that have good actors in smart scripts made by intelligent filmmakers. Jeez, who wants that, right? We want washed-up, aging movie stars starring in dumb films with lots of gore and violence!
Actually, apparently that is what “we” want, since The Expendables did big business and now RED is doing similarly well at the box office. And after seeing RED this weekend, I find myself once again at odds with the movie-going public and certain film critics who have given the film a pass. I decided to see RED because it’s got an excellent cast and the idea seemed fun enough; besides, I felt with all of those excellent actors, there’s no way they could all be doing it for the paycheck. But I guess Helen Mirren needed a summer home and I don’t blame her or most of the other actors.
But, can someone wake up Bruce Willis? Other than the few scenes where he’s shooting a gun or punching somebody in the face, Willis seems utterly unfazed by everything in the movie. I don’t even know if it’s a bad performance, maybe he’s researched retired CIA agents thoroughly and found that this is truly how they act, but it’s not just a lack of emotion in every line or action, it’s a lack of energy. Everyone else in the film is chewing scenery like crazy, mugging constantly, meanwhile Willis is just shrugging. Karl Urban has the most straight-laced, buttoned-up role in the film and yet he still somehow is able to do everything with conviction.
I’m worried about Bruce Willis. If you look at the last five years, there isn’t a single performance where you’d say, “yes, that’s the Bruce Willis I love.” The strange thing is that he keeps picking films that should be right in his wheelhouse; it’s just that most of them are terrible films where he doesn’t seem particularly motivated. When Willis is great (see: 12 Monkeys, Sin City, Unbreakable, Pulp Fiction, Death Becomes Her), he is one of the most interesting and charismatic actors out there, but when he’s bad he’s just boring. The last time I saw Willis in a film where he really hit it out of the park is in his one scene in Fast Food Nation. Since then it’s been a string of mostly disappointments. And between RED and Cop Out, this has been one of the sorriest years in Willis’ career.
The real problem with RED, though, is not Willis’ performance. The issues with RED run much deeper than his casting. While the script is your standard fare about conspiracies and CIA agents, a throwaway plot that mostly has to get our heroes from one set piece to the next, it’s adequate enough. But director Robert Schwentke has made a film that lacks momentum and progression and it starts with the first scene. This is an action film and we spend the first five minutes of the film on various conversations that Willis has, over the phone, with Mary Louise Parker.
It’s not that it’s boring, it’s just shrug-inducing. Of course the problem starts with the script, but the editor should have been figuring out a way to juggle things around and cut out non-essential business. In fact, you could easily cut those scenes in the beginning right out of the movie and it wouldn’t make a lick of difference in terms of character-building or plot progression.
And there are a lot of issues like that throughout the film. This is a film that begs to be 80 minutes long and move like a freight train. Instead it’s 110 minutes and moves like … well, a slower train. And the look of the film isn’t very interesting, either, and that rests on Schwentke’s shoulders more than the DP; it just doesn’t seem like he figured out what the look of the film should be. I actually wonder what Michael Bay would have done with this material (but of course he’d probably make everyone thirty years younger and played by models).
There’s always an element of fun in the “let’s build the team” but it takes too long for the team to get assembled and by the time they do, they don’t stay together very long. The joy in the idea of this film is to watch these cool actors interact with one another for as long as possible, but there are very few scenes in which the whole glorious cast gets to play together. And there are too many tangents so that another cameo can be shoe-horned in. It’s fun to see Ernest Borgnine for a scene, but did we really need more than one appearance from the man? There’s too much re-hashing.
There is a way to make a film fun while also being silly. For example, look at a previous Willis film, The Fifth Element. That’s a film that has a kind of deranged logic to it as it careens through outer-space at warp speed with quick cuts and vivid colors. But the reason it works is that it gets committed performances from its cast members, who take their ridiculous lines seriously – thereby making them even funnier – and because of those aforementioned quick cuts, which leads to a frenetic pace. In making films of this nature, nothing is more important than pacing and commitment, two things RED sorely lacks. It doesn’t make it a film any more original or intelligent, but it makes an audience give a crap.
Look, the bottom line is that people are going to see this movie and say, “well, as long as you turn your brain off, it’ll be a good time!” This is one of my least favorite phrases. Perhaps I’m not as highly evolved, but I don’t know how to turn my brain off. Mine always seems to stay on and tell me when something is stupid. It’s not that the film is completely devoid of pleasure, it’s not flat-out awful, it’s just uninspired.
Yeah, I enjoyed Malkovich playing unhinged for a few scenes, but it’s a joke that wears thin really quickly. And that’s what’s true of everything in this film. The action scenes are not exciting and the jokes are mostly lame. Everything about the film feels recycled and repackaged. It’s the same movie you’ve seen countless times except…everyone’s retirement age! I’m just sick of filmmakers trotting out the same old crap and putting some silly twist on that crap and calling it original. And it’s even more disappointing when critics can’t even sniff out a crappy film just because it’s gussied up with award-winning older actors.
Ultimately, RED is not a film that should inspire great hatred or great affection because it’s really just disposable. And that’s when the defenders of the film will say, “yes, but it’s meant to be disposable!” Listen, if you can enjoy a film that proudly wears its uselessness on its sleeve, then more power to you. Call me crazy, but I think we should hold our art to a slightly higher standard than that.