Tag Archives: Eddie Marsan

Gun for Hire

The Contractor

by Hope Madden

Chris Pine is Hollywood’s unsung Chris, isn’t he? Under-sung, anyway. Just because he’s not an Avenger. He is a dependable, charismatic presence in any film, though, which is why each of his efforts deserves a little optimism. Even one as seemingly unremarkable as The Contractor.

Pine plays James Harper, a Navy Seal with 5 tours under his belt. One shredded knee, one worthless lung and a host of other physical consequences from his time under fire mean that Harper is no longer of use to the US military. Debts at home have him entertaining offers he probably shouldn’t.

After too lengthy an Act I, The Contractor pivots to tight action thriller. Pine delivers vulnerability and honor as the damaged service vet, and director Tarik Saleh surrounds him with able support.

The great Ben Foster arrives about 20 minutes into the feature, and that’s never a bad sign. The film’s biggest draw is the chance to see Pine and his Hell or High Water co-star reunite. Foster is among the most effortlessly authentic actors working, every character’s backstory hanging on his face and haunting his eyes.

He and Pine have a lived-in camaraderie that goes a long way toward deepening the emotional underpinning of what is otherwise a blandly repetitive, unimaginative military action flick.

The real surprise is that Saleh — who began his career with the bizarre and amazing dystopian fantasy Metropia — couldn’t produce something a little more intriguing. The by-the-numbers script from J.P. Davis doesn’t help, but aside from a handful of decent fisticuff sequences, Selah does not prove himself as an action director.

Gillian Jacobs, Fares Fares, Eddie Marsan and Kiefer Sutherland — all underused — do what they can to bring nuance to underwritten characters, but it’s not enough to salvage the film.

Rather than elevate a bland picture, the performances feel wasted in this derivative and formulaic thriller.

He Is Wrath

Wrath of Man

by Hope Madden

I’m not saying Jason Statham is unconvincing with a gun. Nor am I saying that Guy Ritchie is ill-suited to direct a humorless vengeance drama.

I’m just saying that these are not their strong suits.

Wrath of Man shadows a very dour Statham—just call him H, like the bomb—as he begins training for his new gig with a cash truck crew.

Something’s up, obviously, and the only fun to be had in the film is trying to figure out what it is, so do not watch the trailer.

At The Depot, where all the trucks come and go and all the crew mock and belittle one another, we meet the assortment of characters you will not come to know or care about: Boy Sweat Dave (Josh Hartnett – where have you been?), Dana (Niamh Algar), Bullet (Holt McCallany). All of them choking on ludicrously overwritten banter, none of them drawing even a single compelling character.

Which is fine because there are at least 16 more people you won’t get to know, won’t care if they’re killed, won’t be invested in their conflicts.

Ritchie is usually much better than this at scattershot introductions of oddball lowlife clusters, each pod with its own story, each story intersection every other story at one turn or another. Maybe he’s just too out of his element setting the action in LA rather than his beloved London, but the lived-in feel of a reprobate world that’s usually a high point to a Ritchie flick is sorely missing here.

And what is the deal with these accents? By now, we know better than to expect Statham to attempt a yank accent, but what exactly is Eddie Marsan’s nationality supposed to be? Or Andy Garcia’s, for that matter?

Hell if I know. I do know that casting Statham generally guarantees some nifty fisticuffs.

Not today!

He shoots a bunch of people, sure, but there’s no panache to anything. It’s a heist movie without the meticulous execution, a vengeance thriller with no emotional connection to the villain, a Statham movie with no ass kicking, and a Ritchie movie with no humor, no flash, no style.

No thank you.   

Hell Week

7 Days in Entebbe

by George Wolf

A film that sells the importance of negotiation while it details a harrowing plan of action, 7 Days in Entebbe gets caught in the awkward space between show and tell.

In July of 1976, Israeli Defense Forces invaded Uganda’s Entebbe airport for a daring rescue of hostages from a hijacked jetliner out of Tel Aviv. Bolstered by the support of Ugandan dictator Idi Amin, the terrorists were seeking the release of 40 Palestinian militants – as well as 13 other prisoners around the world.

As Israeli Prime Minister Yitzhak Rabin (Lior Ashkenazi) weighed his options, Defense Minister Shimon Peres (Eddie Marsan) led the chorus calling for military intervention.

Director Jose Padilha (Elite Squad/the Robocop reboot) assembles the drama with precision, beginning with the motivations of German hijackers Wilfried Bose (Daniel Bruhl) and Brigitte Kuhlmann (Rosamund Pike). Padilha’s approach is detailed and informative, but often prone to favoring exposition over illustration.

Leading an outstanding ensemble cast, Bruhl and Pike both give terrific performances, letting us glimpse the early commitment of their characters and a growing disillusionment when the ordeal drags on. As the weight of the hijackers’ German heritage grows heavy amid their Jewish captives, the pair deal with their guilt in different ways, both finding an effective authenticity thanks to Pike and Bruhl.

Gregory Burke’s script has moments of bite (“You’re here because you hate your country. I’m here because I love mine.”) but retraces its steps too often, and the film feels like it’s running in place. Even more problematic is a curious approach to the actual rescue, when tension is undercut by the need to draw parallels with a well-rehearsed dance performance.

The payoff the film needs to resonate as more than a well-produced history lesson never materializes, and it leaves shrugging its shoulders at the elusive nature of peace.