THE EQUALIZER 3 Review

Denzel Washington is sixty-eight years-old and will be sixty-nine this December. I can recall taking note of this fact when writing about the previous Equalizer films as Washington was about to turn sixty shortly after the first premiered. In the last decade Washington, arguably one of our greatest and most charismatic actors, has not only made his first trilogy of films in the Equalizer movies, but has also been busy making character studies with Dan Gilroy, directing August Wilson’s Fences, as well as starring in Shakespeare adaptations with a Coen brother while sprinkling in a few other excursions like Equalizer director Antoine Fuqua's The Magnificent Seven re-make and John Lee Hancock’s The Little Things. 

While eight films in nine years may not seem like the actor is slowing down this most recent decade's worth of work compared to the previous mark some notable shifts in Washington's frame of mind. From 2003 to 2013 Denzel starred in a total of thirteen films, nine of which were first categorized as action movies. Not only was Washington more active in general, but he was choosing more physically demanding projects and while it’s obvious why the actor would want to slow down the older he gets this Equalizer franchise has shown us Denzel can still pull it off when he wants. This all to say, The Equalizer 3 is shockingly slow in its pacing and even when the action ramps up, it is limited. Whether this is to give Washington’s Robert McCall a break as well, because Fuqua wanted a steadier final act for his hero, or simply so that the (somewhat anticlimactic) payoff felt more rewarding after a long stretch of quiet, I’m not sure. Either way, this “choice” doesn’t do so much for the quality of the film as this third and final installment is again a rather by-the-numbers genre picture elevated only by having an actor of Washington’s caliber at the center to carry it.

THE LITTLE THINGS Review

In a genre where advancements in technology have alleviated many of the difficulties in getting answers to tough questions in criminal cases such progress has also forced writers to be doubly creative in their efforts to outwit the viewer when it comes to a good mystery and/or crime thriller. This may not wholly be the reason writer/director John Lee Hancock (The Blind Side, Saving Mr. Banks) turned to his twenty-eight year-old script for a film set some thirty years ago when looking for his next project, but as the film unfolds it begins to feel like one of the only reasons to justify re-visiting this story. It’s not that The Little Things is a bad movie. In fact, it’s quite an interesting one in terms of objective, but what it means to do and how successful it is at executing said intent are two entirely different things. There is real promise, real ambition in Hancock’s “too smart for its own good” approach to the screenplay that sees the filmmaker playing with the conventions of the B-movie crime drama and hoping to bring a real insight into the vastness of the world detectives inhabit rather than a single, insulated tale of good cops chasing down promising leads that inevitably lead to a successful capture. It wants to be about the lasting effects these cases have on detectives, the torture being unsuccessful can cause, but the idea becomes overshadowed by a million others as Hancock tries to convey his rather straightforward story of struggle through an overly complex guise; layers are needed sure, but to emphasize the point - not cloak it completely. Furthermore, this introspection as it were is executed in such plodding fashion that by the time interesting aspects concerning the core case do begin to introduce themselves the viewer is hardly invested in what’s happening...much less anticipating who might be the big bad wolf hiding under the covers. The Little Things is a film desperate to dissect obsession, guilt, and the aforementioned torture spurned by as much. It means to tackle these generationally as the symptoms go hand in hand no matter the changing times: when it's your responsibility to prevent people from becoming victims, from becoming less than what their shells present what is it that can heal your soul and your self-esteem should you fail? These are interesting questions albeit ones that have naturally been explored before in plenty of genre flicks from the time in which this is set, but again - despite the good intent - the meaning can't help but get lost in the sluggish translation of the narrative. The Little Things is never not intriguing, this much is true, but given the depths it seeks to explore it shouldn't be nearly as forgettable as it is.  

THE EQUALIZER II Review

Denzel Washington is sixty-three years-old and will be sixty-four this coming December. I can recall taking note of this fact when writing about the first Equalizer film when Washington was about to turn sixty and how impressive it seemed that the guy had no intentions of slowing down. In the interim between that 2014 film and what is the first sequel one of the world's most charismatic actors has agreed to be a part of, Mr. Washington has still shown no signs of slowing down. Since The Equalizer Washington has already paired with director Antoine Fuqua (Training Day) again prior to this latest entry with their remake of The Magnificent Seven which I found to be immensely entertaining as well as having adapted, starred in, and directed August Wilson's seminal piece of work in Fences for which he was shrouded in awards love. And again last year, the actor earned another Best Actor nomination for his work in Dan Gilroy's quirky, but largely effective Roman J. Israel, Esq. (which I probably liked more than you). The point being, each of these gave Washington the chance to continue to do what he loves as he flexed a different muscle in regard to each respective project, but the choice to return to the character of Robert McCall among every character Washington has played is a curious one. I enjoyed The Equalizer upon initial release and was happy to find it wasn't simply another case of an aging star attempting to cash in on the Liam Neeson-proven method of combining a once valuable name on the poster above a newfangled action-centric conflict. Of course, Washington was never relegated to being a star whose name ever lost any value. Denzel is Denzel and no matter what he does people typically turn out in fair enough numbers to justify his mid-range action projects and awards contenders. In fact, since 2009 (which accounts for Washington's last ten films), the star has never seen less than a $50 million lifetime gross with the exception of Israel last year with seven of those ten releases doing over $70 million worth of business during their theatrical runs. Denzel, the man, is typically all the brand recognition that is required and so it feels weird that Washington has been brought into this fold of sequels and franchises. Maybe it's just the first time someone has offered the actor a follow-up to one of his projects or maybe it's just a sign of the times. Whatever the case may be, The Equalizer 2 isn't exactly what one might hope for in a "first" from Denzel Washington, but more it plays into what the first did more to subvert in not being your by-the-numbers action flick as this sequel, with nowhere else to go, had no choice but to surrender to the trend.

Official Trailer for THE EQUALIZER II Starring Denzel Washington

Denzel Washington, who is now a ripe sixty-three years-old, has finally decided to make a sequel and while that may sound exciting and enticing given the actors prolific and well-regarded career it might get a little less enticing when I tell you the character Mr. Washington has decided to re-visit for the first time in his nearly thirty-five plus year career is that of Robert McCall, a retired agent turned hired gun. Director Antoine Fuqua (Training Day, The Magnificent Seven) is back as well with Jack Reacher: Never Go Back and the first The Equalizer screenwriter Richard Wenk. That is to say, if you enjoyed the first one-which I liked well enough, then odds are we're in for more of the same here as it will no doubt be done just as effectively. I remember being surprised by how methodical the first half of that first film was-Fuqua and Wenk really giving the movie time to breathe and the character of McCall to really be defined before getting pulled into what the movie inevitably was-another of Washington's shoot 'em up actioners in the vein of 2 Guns, Safe House, and Out of Time that would be profitable due to Washington's name above the title and the fact every credible leading man from the nineties was now getting their own shot at an action franchise. Washington is different in this regard though, as he has always been able to walk the line between critical and commercial projects rather seamlessly and has built a brand because of that. Now that Washington has actually engaged in a franchise with which he will forever be associated it will be interesting to see if Fuqua went about doing anything different in his approach to the continuation of McCall's story or if they will ditch the nuance of that first film altogether for little more than revenge scenarios and broken bones. What we glean from this first trailer is that McCall is still serving justice for the exploited and oppressed, but his limits are seemingly put to the test when someone he loves is brought into the fold. Not much to go on, but if you're up for another gritty action thriller starring Denzel Washington you likely can't go wrong with what this will deliver. The Equalizer II also stars Melissa Leo, Bill Pullman, Pedro Pascal, Jonathan Scarfe, Sakina Jaffrey, Ashton Sanders, Abigail Marlowe, and opens on July 20th, 2018.

ROMAN J. ISRAEL, ESQ. Review

Rome and Israel. They share quite the history with one another; a history that is splattered with wars over ideals some of which deal in economics, but those most notably that deal in religious and/or philosophical dealings. In the latest from writer/director Dan Gilroy (Nightcrawler) it seems the use of these two titles that exist in the realm of common knowledge as opposing forces is to illustrate another kind of philosophical war-the one within a person who has principles, a code of ethics he has lived by his entire life, and the choice to betray those principles, a choice he is totally justified in, due in large part to the fact the world doesn't understand him. One could draw many conclusions as to why Gilroy might have chosen these two words to identify the unlikely hero of his story, but it seems to make the most obvious sense that Rome and Israel are these two ideas, these two kinds of states of consciousness that are constantly at odds with one another. In Roman J. Israel, Esq. these two pillars of opposing thought form the basis of Denzel Washington's character, a savant of sorts who has worked behind the curtain at a law firm for thirty plus years while his partner, an unseen enigma of a man who was nicknamed "The Bulldog", handled all of the courtroom dealings that Roman didn't have the desire nor the social skills to navigate. It is when our titular character is unexpectedly put under this spotlight and then further humiliated by the realization he's invested his life in a practice that has seemingly invested nothing in him that he comes to this fork in the road where his ideals no longer seem to matter and so the point or validity in continuing to try to fight for them is futile. On a broad scope that all may sound like a fancy way of saying this film deals in themes of doing what one feels is right for the recognition and doing what one feels is right because it's right and the difference in character that dictates the difference in intent, but Roman J. Israel, Esq. goes a little deeper than that for Washington's Roman gladly worked in the shadows for years doing work he needed little recognition for, but that he at least thought was making a difference. When Roman is forced to awake from his routine he comes to realize the system he has worked under all these years has allowed for little change after all, but has instead been replaced by a world that isn't based around right or wrong or bad or good, but more around what deal can be made to avoid circumstance as long as possible.

FENCES Review

Troy Maxson (Denzel Washington) really just wants to matter. He wants to hold influence in an area that means something to him-that matters to him-and as he feels cheated out of such significance when it comes to professional baseball it seems his only way to relieve this need is to fence in all that is his domain and rule over it with an iron fist. Of course, what Troy doesn't realize or simply doesn't care to acknowledge is that he is poisoning that of which he draws his biggest sources of admiration. Whether it be in Rose (Viola Davis), his loyal wife, or their son Cory (Jovan Adepo) who only aspires to impress and be like his father, but whom Troy cannot help but to hold back. Troy is a deeply flawed man; one who epitomizes passing the sins of the father to those of the following generations. What Troy experiences are more the effects of the sins of the father-some of which Troy couldn't help, original sin if you will, as he is simply a victim of circumstance who can't forgive the world for as much. One might say it was just as much Troy's choices within these circumstances that set him on the path in which he ends up, but there is certainly a right to some of his anger and resentment. It's where he unfolds that anger and resentment that we see his flaws. It is in the unraveling of who Maxson is and how the dynamics of his relationships with each member of his family inform this portrait of black culture in the 1950's that takes up much of the substance in Washington's third directorial effort. Adapted from a stage play by August Wilson, who also wrote the screenplay before his death in 2005, in which both Washington and co-star Davis starred in a revival of not five years ago Fences, the movie, in many ways feels like something of a safe bet for Washington to try his hand at next. It certainly meets the credentials of an awards contender and the material alone has already proven critic-proof and so what is there to do with such a property that might inspire new audiences to discover? Turns out Washington doesn't seem to feel the need to change or adapt too much at all as this feature version of Wilson's most popular play still very much feels like a play. That isn't necessarily a bad thing, but it’s the fact Washington's directing still feels timid more so than it doesn't serve the material well. The dialogue can certainly stand on its own and when it has actors such as our two aforementioned leads delivering it it's hard to go wrong, but just because something is obviously of a high quality doesn't also automatically render it infinitely effective either.

First Trailer for FENCES Starring Denzel Washington

I can remember reading Fences in my senior English class and being taken with the August Wilson play. It was a work that certainly made an impression, but given I'd been exposed to the mastery of Flannery O'Conner's "A Good Man is Hard to Find," earlier that semester I don't remember as much of it as I do that O'Connor short story. The original Broadway production that opened in 1987 earned the Tony award for Best Play as well as a Best Actor win for James Earl Jones, but it was the revival that opened in 2010 and gave Denzel Washington and Violas Davis wins for Best Actor and Best Actress that has given way to the first film adaptation of Wilson's sixth installment in his ten-part "Pittsburgh Cycle" series. With Washington also at the helm of the project and given his familiarity with the material after performing it night after night six years ago (not to mention what new shades of perspective coming back to such material even later in life might have provided) it would seem this might be the first time the iconic actor might also be praised for his filmmaking skills. Washington's previous directorial efforts, Antwone Fisher and The Great Debaters, were fine if not exceptional pieces of inspirational entertainment, but as Washington is taking such a coveted piece of American literature that explores the evolving African-American experience and examines race relations, among other themes, it would seem Washington certainly might have felt a need for this film version more than ever considering the state of race relations in the world right now. And thus, such aspirations and intentions might produce something truly great. August Wilson insisted that a film adaption of the play be directed by an African American and despite his death in 2005 I can't imagine Mr. Wilson could have imagined a better, more prominent fit for his material than Mr. Washington. Here's to hoping this turns out to be the Oscar contender most are predicting it will be as this first trailer looks rather fantastic. Fences also stars Davis reprising her role as Rose, as well as Mykelti Williamson, Russell Hornsby, Saniyya Sidney, Stephen Henderson, Jovan Adepo, and opens on Christmas Day.

THE MAGNIFICENT SEVEN Review

The Magnificent Seven, the re-make of the 1960 John Sturges film starring Yul Brynner and Steve McQueen, from director Antoine Fuqua (Training Day, The Equalizer) accomplishes exactly what it intends to be. This is pure popcorn entertainment meant to capitalize on the combination of brand awareness and the popularity of the actors it has on its roster. That said, it takes full advantage of those aspects while delivering a wholly satisfying blockbuster western. It is difficult even, to take away from what is being accomplished within this pure Hollywood product as its only ambition is clearly to deliver something of an updated mythos on the story of seven exceptionally skilled sharpshooters and little more. Given the Sturges film itself was a re-make of director Akira Kurosawa's 1954 film, Seven Samurai, that supplanted the story of a poor village under attack by bandits who recruited seven samurai warriors to help defend their village with an oppressed Mexican village that assembles seven gunfighters to help defend their homes from outlaws relays the idea this particular story is one that can easily be adapted for new ages, new circumstances, and with new relevance. And so, why re-make The Magnificent Seven once again? It seems as though Fuqua, while not having a complete answer, mostly intends to use MGM's idea to raid their classics catalog by allowing him to lend more context to and highlight more of the race relations that were taking place in the late 19th century than might have been approved of in 1960. In light of such a re-framing of history as people see it through pop culture (which is never a good place to rely on for your history, not in 1960 and not now) Fuqua has cast frequent collaborator Denzel Washington in the lead role or the equivalent of what Brynner played in the original. Filling out the titular seven we also have a Mexican in Vasquez (Manuel Garcia-Ruflo), a Korean in Billy Rocks (Byung-hun Lee), and a Native American in Red Harvest (Martin Sensmeier) with the remainder of the crew filling out the tall white man quota with the likes of Chris Pratt, Ethan Hawke, and Vincent D'Onforio. Whether Fuqua's version of these events takes advantage of such changes and actually pulls insight or interesting dynamics from these updates is another thing as the 2016 The Magnificent Seven doesn't stand to get too weighty or theoretical, but instead it simply puts these ideas out there for audiences to recognize while at the same time making these characters so bluntly badass that boxes such as ethnicity hardly seem to matter. Whether this works in favor or against the reasoning for this movie to exist is a conversation to be had, but as far as I'm concerned Fuqua's film is so relentlessly entertaining and such a fun experience there need be no greater reason for its existence.

Teaser Trailer for THE MAGNIFICENT SEVEN Starring Denzel Washington

Antoine Fuqua has become something of a reliable, but still very interesting director save for the occasional Olympus Has Fallen, but even that film had its own set of charms. Following Training Day, which put him on the map and on the road to bigger things, Fuqua turned in a few standard genre films and the obligatory brand recognition blockbuster than never took off before returning to the arena that garnered him attention in the first place. The complicated and arguably underrated Brooklyn's Finest let audiences know (or those that saw it) that this was a man with a certain vision and, at the very least, a deep respect for character and story. With Olympus giving the director a little more creative leeway Fuqua teamed up with Denzel Washington once again for the steady and precise Equalizer which turned out better than it had any right to be. While Southpaw wasn't all I'd hoped for it looks as if Fuqua could really be in his element with his new film, a remake of the 1960 classic The Magnificent Seven. Re-teaming once again with Washington and having well-regarded screenwriters John Lee Hancock (The Blind Side) and Nic Pizzolatto (True Detective) adapt the screenplay from Akira Kurosawa's original Seven Samurai script there is certainly reason to be excited for the potential this remake holds. The IMDB page for Fuqua's film doesn't give William Roberts, who adapted Kurosawa's film for the 1960 film, any credit. And so, what this might mean we're getting in terms of Fuqua's film is anyone's guess, but with this first glimpse it seems Fuqua is staying very much within his own stylistic wheelhouse, but in bringing that to the Western terrain we could be in for something very cool if not exactly unique. The Magnificent Seven also stars Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung-Hun Lee, Manuel Garcia-Rulfo, Martin Sensmeier, Peter Sarsgaard, Haley Bennett, Matt Bomer, Cam Gigandet, Vinnie Jones, Sean Bridgers and opens in theaters on September 23rd.

THE EQUALIZER Review

It seems that just last week I was talking about the lengths in which Liam Neeson takes to prove his badassness, how he uses his credibility as an actor to up the quality of what would otherwise be B-movie action thrillers and how he sometimes uses his new reputation to his advantage (such as luring folks into A Walk Among the Tombstones which is more noir than pulp). In the wake of such power it seems he's started a trend. I discussed this when Kevin Costner (so desperately seeming) tried to replicate this kind of success earlier this year with 3 Days To Kill, while folks such as Tom Cruise and Guy Pearce have completed a version of these excursions in hopes of carving out their own character with a particular set of skills. All of this is to say that Denzel Washington didn't necessarily need a character of his own (much less one that he resurrected from an 80's television show) but it wouldn't hurt to try and so he did and so we have the feature film version of The Equalizer. On that note, this is a movie made in a manner that is extremely content with itself; from the marketing (those horribly plain posters) to the over-used slow motion and standard score (seriously, this soundtrack is pretty awful) and it clearly feels very little need to be more than this because it has Mr. Washington at the center of it and his presence alone garners it all the dignity and solemnity it needs to be taken more seriously than it actually is. Having said all of that, I rather enjoyed myself in the slow paced, but precise thriller that allows Washington to develop a more singular character than he has since maybe Frank Lucas. That isn't to dismiss the work he has done in between (he certainly deserved his nomination for Flight), but we all watch a Denzel Washington movie to see Denzel Washington and while he still plays that card to good effect here he also isn't the typically charismatic, well-rounded human being we are accustomed to seeing him portray. He is a man supposedly cut off from emotion or sentimentality, but who can't help but feel if he has the power to do something right, he should do it. No, The Equalizer isn't a great film, but like so many Liam Neeson and Tom Cruise features it does what it's supposed to do and it does it well enough that we'll take the sequel with open arms when it comes around.

First Trailer for THE EQUALIZER

Folks, Denzel Washington will turn sixty years old this December, but lucky for us he shows no signs of slowing down as he continues not only to act in films and lead them, but to lend his name to high-octane, adrenaline pumping pictures that one would think more in line with what Jason Statham and Mark Wahlberg are looking to add to their resumes. To follow-up his fun-time team-up with the aforementioned Wahlberg in last years 2 Guns Washington has enlisted in a re-make of the hit 1980's show The Equalizer under the helm of his Training Day director Antoine Fuqua. As a child of the 90's who was born in the late 80's I have no real connection to the source material or know what the premise of it was besides a guy kicking ass and taking on missions, but if there were those worried the film adaptation might change things up there seems no reason to worry as the first trailer for Fuqua's film shows off little more than Denzel kicking butt and taking names. The thing of note here is the style in which all of this is done as Fuqua clearly has a consistent tone nailed down while seemingly borrowing from Guy Ritchie and his Sherlock Holmes films as Washington's Robert McCall visualizes his altercations before engaging in them while Fuqua's camera takes us inside his mind and shows us step by step what McCall plans to do to the bad guys in slow motion then allows the scene to play out in real time in which McCall utilizes his environment to brutal results. It is a technique we've seen before, but will likely work well because so much of it depends on the mind it takes place within and Denzel Washington, being one of the last real movie stars working today, is no doubt a charismatic and interesting place to be. Needless to say, I'm eager to see what this seemingly straight-up B-movie actioner has to offer. The Equalizer also stars Chloe Grace Moretz, Melissa Leo, Martin Csokas, Haley Bennett, David Harbour, Bill Pullman and opens September 26.

2 GUNS Review

Contraband was an exercise in complete complacency for me. Director Baltasar Kormakur crafted little more than the standard action flick with the assumed hook of it centering around smuggling on cargo ships. The film mixed a few "family first" morality tales in there and sported a strong enough cast to help the material rise above something that would have otherwise been nothing more than a barely acceptable TV movie. The same could be said about Kormakur's follow-up, 2 Guns, but I had a lot more fun with this one than I can even remember plot points from Contraband. While the film fits squarely into the genre of shoot-em up, buddy action flicks 2 Guns doesn't allow itself to be restrained by the conventions while at the same time playing to the strengths of those kinds of films. Neither of these characters are cops and neither of them really care to be friends (though Wahlberg's Stigman is certainly open to the idea), but while it is the odd couple chemistry that keeps this train moving I was also impressed with just how far the movie was willing to go to try and avoid the standard cliche's of its genre while still being more than willing to include a Mexican drug cartel and scenes with massive amounts of gunplay rather than intelligent or calculated conversation. Beyond this there is nothing especially insightful to be said about the film, but for what it's worth there should be a level of congratulation here for the simple fact that it isn't horrible. Truly though, with such hot commodities as Wahlberg and Washington in the leading roles that was never an option. Both guys have a strong following, much of which likely overlaps, and the sole fact they were teaming up was going to make for a good time at the movies even if the story offered nothing. That there is just the smallest amount of substance here that makes the experience all the more stimulating is a plus and reverts it from expectations that it might be one too many times Denzel has played a cop and there was no other fate for this than being dull. At the very least 2 Guns is entertaining and in reality that is what audiences go into this kind of movie for; that it offered this value in spades makes it nothing short of a success.

First Trailer for 2 GUNS

The first trailer for director Baltasar Kormákur's 2 Guns has premiered and it at least looks to be more entertaining and mind numbing than his previous collaboration with Mark Wahlberg, Contraband. I wasn't a huge fan of that film finding it to be extremely mediocre with no truly redeeming qualities. Still, Wahlberg is white hot right now (though I wonder why they didn't wait to premiere this before Pain & Gain later in April) and Denzel Washington is coming off a great year with the commercial successes of Safe House and Flight as well as his Oscar nomination for the latter. Teaming these two up seems like a no-brainer and a way for the studios to try and capture that Lethal Weapon magic in a bottle while cashing in on it late this summer. I will see this film, and am even somewhat looking forward to it but for no other reason than the fact it stars these two guys. If it were a cast of unknowns with an independent director looking for distribution there would be no reason to pick this up. I only hope the studio realizes that and plays up the relationship between Wahlberg and Washington both in the marketing and in the final film. There are some other reasons to be hopeful here despite the horrible poster. The tone implies they have a sense of self-awareness around what kind of movie this is and there are several hints at comedy as well which will likely be a relief as summer draws to a close. I'm not necessarily turned off by the trailer, but I'll be very surprised if the movie doesn't play out exactly how I think it will after seeing this. The film also stars Bill Paxton, Paula Patton, James Marsden, and Edward James Olmos. 2 Guns opens August 2nd. Hit the jump to watch the trailer.

FLIGHT Review

Denzel Washington defines magnetism. The guy produces this aura that attracts audiences to him no matter what character he is playing. No matter if his character might even be the most repulsive person we've ever met. In the new film from Robert Zemeckis (his first live action film since Cast Away) Mr. Washington plays Captain Whip Whitaker who may not necessarily be the most repulsive guy we've ever seen grace the screen, but regardless, has a full plate of issues. While the advertising for Flight has made the film seem like an interesting, if not mystery-steeped production that deals with what I anticipated climbing to a dramatic final courtroom sequence actually turns out to be a serious yet nuanced film about the struggles and downfalls that come along with any kind of addiction. We are of course teased with the fact that Whitaker was intoxicated while piloting the plane in the trailer, but we are unaware that this is where the heart of the story is going to lie. Though the overall film is less than I expected it to be I cannot deny that I felt a certain intrigue throughout. While Flight is a little too long and sometimes can become a little too preachy when its momentum begins to slow in the third quarter you never want to give up on the film because Washington brings such presence and pain to Whitaker that he makes you not want to give up on him. Even as it seems his chances are bleak and that the man would do anything to continue avoiding and ignoring those in his life who want to help him, we hold out hope as an audience. The film is captivating as a character study with a great performance at the center holding it together. The film crashes when trying to escape its dark territory.

SAFE HOUSE Review

Many people will bash "Safe House" for being exactly what it promised to be. This is because they wanted more from it, they expected, with such a top notch cast, for it to deliver a little more than the standard CIA-gone rogue story. You shouldn't expect more though, simple as that. This is a February release that boasts enough talent and enough action sequences to warrant the price of admission and get you into a seat and ready for a film that doesn't let up. No, Denzel is not working again with Tony Scott, though director Daniel Espinosa would like to have you think so with his tinted film stock and contrast to color ratio a bit off. Sadly, this is no "Man on Fire" but it fits nicely in line with other recent Denzel thrillers like "The Taking of Pelham 123" and "Unstoppable". Reynolds redeems himself somewhat in the wake of two bombs and with a strong supporting cast in Brendan Gleeson, Sam Shepard, and Vera Farmiga it is inevitable that you won't be at least entertained by the film. I'm not saying this is high art and it is nothing close to original, but it means well and it delivers on our expectations, occasionally even exceeding them. If you plan to see "Safe House" though you most likely already know this. You know what to expect and more importantly what not to. What you do get is a high octane, brutal and gritty picture that creates an aura around Denzel as being the most badass CIA agent ever. Mission accomplished.

Matt Weston (Ryan Reynolds) prepares his safe house
for its first guess in a long time.

The set up might be the best part about the film though and despite most of it being given away in the trailer we are engaged from the first sequence where Reynolds Matt Weston and Washington's Tobin Frost are inter-cut in their proceedings leading up to their confrontation. Frost is the rogue CIA agent that has a secret meeting with a mysterious man who is of course a devious looking guy and they exchange some kind of high tech chip that contains what is no doubt some very important information. This triggers a group of strange assassins to hunt down Frost and try and extract that information from him, but we don't exactly know why. Meanwhile, Matt Weston is just a guy trying to get ahead in life and has currently been serving 12 months monitoring a safe house in South Africa. As the trailer shows you the safe house is compromised and Weston gets his chance to step up to the plate and prove himself as a real agent when he is given the task of bringing Frost in. From here it is a series of shoot outs and narrow escapes as Weston tries his best to be a serious agent without letting Frost into his mind and Denzel plays it very much like we would expect Denzel to play it as he runs around with that air of superiority that tells you he is much smarter than you are. Not that this isn't exciting and fun to watch it hints that the layers of the plot shouldn't really matter, but Espinosa keeps the narrative on track and doesn't let his gun battles run away with the story. It is not quite a cat and mouse thriller, but it contains that consistent tone that speaks to the audience and says all is not what it appears to be and though we also probably knew that from the trailer, it is nice to see the film stay so committed to being more than the average action flick.

Vera Farmiga and Sam Shepard play CIA officials who have
the fate of both Weston and Frost in their hands.

You have seen this film before, no doubt countless times, but there is a level of understanding with this film. It knows what it is and it flaunts it unabashedly. It executes its story with finesse and documents its action in the free hand, sloppy style that mimics the films environment. The straightforward, no hesitation with which Frost kills his enemies is inherently the way a sociopath might act. He is a jaded agent, one who knows his lies have become his truth and that he can hardly tell the difference anymore. He shows no hint of conscious and will do anything to get him ahead, to keep him winning. Denzel plays it perfectly. He is one of only a few actors that can truly be as charismatic and ooze appeal in a villainous role as he can playing the hero. He dominates every scene he is in and gives Reynolds, the one usually playing the charming, charismatic type a chance to play opposite his stereotype. I actually really enjoyed Reynolds performance here. Despite his obvious physical stature he is still a guy who is insecure and vulnerable to the task at hand and makes us as unsure about his chances as he probably feels. There is an unnecessary love story tacked on for Reynolds that somehow managed the to nab the final scene in the film (no spoiler there!) but despite each of these actors having to speak in dialogue that only a Hollywood action thriller would provide they still come off as likeable and honest performances that along with the great and intense fight scenes and exhilarating chase sequences escalate this to a solid action flick that sticks to its guns while doing them a little bigger than some of the other boys.

Carlos Villar (Ruben Blades) helps out his old friend
Tobin Frost (Denzel Washington) in a time of need.

I really enjoyed the movie, even with seeing a late show of it and yawning before I entered the theatre I never once was given the opportunity to be bored or even consider nodding off. The audience I watched it with seemed to generally enjoy it as well, especially when Washington let his little Denzel-isms run rampart on the rest of the cast. Reynolds holds his own though despite the bite the name Tobin Frost offers, together these two more than capable actors deliver a predictable yet entertaining ride. It will certainly fulfill your need for action until we get closer to the summer months and the higher-budgeted actioners start to arrive (especially that new Bourne installment that was so strategically played before this movie). Even then it will be hard pressed to find one that has the privilege to cast someone as commanding as Washington in the lead role. I said in the beginning, that if you go in expecting what the film has promised then you will not be let down. Through the process of writing the review that remains true but I think even now I might appreciate the ferocity and blunt force the movie produces with a no apologies type mentality that forces us to confront these characters and their predicaments. Yea, this may be standard stuff but it pulls you in and doesn't let go. Its good solid action and really, would you want it to be anything else?

SAFE HOUSE Review

Many people will bash "Safe House" for being exactly what it promised to be. This is because they wanted more from it, they expected, with such a top notch cast, for it to deliver a little more than the standard CIA-gone rogue story. You shouldn't expect more though, simple as that. This is a February release that boasts enough talent and enough action sequences to warrant the price of admission and get you into a seat and ready for a film that doesn't let up. No, Denzel is not working again with Tony Scott, though director Daniel Espinosa would like to have you think so with his tinted film stock and contrast to color ratio a bit off. Sadly, this is no "Man on Fire" but it fits nicely in line with other recent Denzel thrillers like "The Taking of Pelham 123" and "Unstoppable". Reynolds redeems himself somewhat in the wake of two bombs and with a strong supporting cast in Brendan Gleeson, Sam Shepard, and Vera Farmiga it is inevitable that you won't be at least entertained by the film. I'm not saying this is high art and it is nothing close to original, but it means well and it delivers on our expectations, occasionally even exceeding them. If you plan to see "Safe House" though you most likely already know this. You know what to expect and more importantly what not to. What you do get is a high octane, brutal and gritty picture that creates an aura around Denzel as being the most badass CIA agent ever. Mission accomplished.