Tag Archives: Joel Kinnamen

Secret Garden

The Secrets We Keep

by George Wolf

Anyone who saw the original The Girl With the Dragon Tattoo knows if you get on the wrong side of a score with Noomi Rapace, she’ll have no problem settling it.

As Maja in The Secrets We Keep, Rapace has a similar mindset. Settled into post-war Suburbia in an unnamed town, Maja and her physician husband Lewis (Chris Messina) run the local medical clinic while raising their young son, Patrick.

On one fateful afternoon, the Romanian-born Maja is shaken to her core by the sight of a man (Joel Kinnaman) she believes committed heinous war crimes against her and her family years before. After setting a successful trap, Maja kidnaps the man and holds him captive in her basement, finally detailing to Lewis the horrifying ordeal she has never spoken of.

Director and co-writer Yuval Adler sets an effective hook despite some forced visual cues (a literal bubble bursting, North by Northwest on a theater marquee). Rapace delivers the right mix of confused trauma, making Maja’s indecision between murder and interrogation ring true (much more so than the petite Rapace’s ability to maneuver the dead weight of Kinnaman).

Is the suburban hostage a Swiss immigrant named Thomas, as he claims, or is he the former Nazi Karl, whose war crimes haunt Maja’s dreams?

Adler seems to sense the need to distance the film from Death and the Maiden (and, to a lesser extent, Big Bad Wolves), but as events move further from the basement, an air of B-movie pulp emerges.

A visit from the neighborhood cop seems to exist only for contrived tension, while Maja’s burgeoning friendship with her captive’s wife (Amy Seimetz) and daughter can never quite move the shadow of secrets over the entirety of picket-fence Americana the way Adler intends.

And despite a terrific performance from Messina, Lewis lands as a frustrating and sometimes distracting presence. While Lewis’s struggle to believe Maja – even without a confession – is one of the film’s most resonant strengths, the bigger struggle concerns the film’s commitment to defining Maja on her own terms.

When it does commit, The Secrets We Keep rewards the investment. But when it cops out, there’s little here we haven’t already been told.

No Donuts Required

 

by George Wolf

 

Rebooting 1987’s RoboCop seems like such an obvious idea, you may wonder why it took this long. No matter, the new RoboCop is here now, ready to clean up the streets and pump some fun (along with a decent amount of lead) into your Valentine’s date plans.

We’re back in crime-ridden Detroit with honest cop Alex Murphy (Joel Kinnamen) but beyond that, the backstory is rightly, and effectively, re-imagined for a new audience.

Robot drones built by global conglomerate OmniCorp have become commonplace in American military action overseas. OmniCorp would like to expand but Congress, bowing to public sentiment against these “soulless” enforcers in our own backyards, has blocked any attempt to put the same robots to work in law enforcement here at home.

That’s a problem for OmniCorp honcho Raymond Sellars (Michael Keaton), and for uber-outraged TV host Pat Novak (Samuel L. Jackson, just as hilariously over-the-top in his Bill O’Reilly sendup as you would expect).

The chance to turn the public tide their way comes when Murphy is blown nearly to bits by the local crime lord. OmniCorp scientist Dr. Dennet Norton (Gary Oldman) and his team spring into action, meticulously bringing Murphy back to ass-kicking life via the super suit!

Director Jose Padiha (a Brazilian film veteran making his English language debut) has no trouble delivering the frenetic action and impressive visuals, so much so that any motion- sensitive viewers might want to skip the IMAX print. Otherwise, strap in and enjoy the ride! It’s one that Padiha paces well, hitting the gas just when events start to bog down in melodrama.

Screenwriter Joshua Zetumer dials back the misanthropy of the original to provide more thoughtful inner conflict, as Murphy/RoboCop fights to overcome the engineering which allows him only the “illusion of free will.” Less subtle, but still worthwhile, are the nods to the ongoing debate about liberty versus security.

What’s missed in this new version is the knowing approach the original brought to the entire cop genre. Murphy’s fight to bring down the crime boss and his cronies is stitched together with nothing but well-worn cliche, and just doesn’t mesh next to the satirical layers that bubble up elsewhere.

No, RoboCop 2014 ain’t perfect, but it’s sleek and exciting enough to make the inevitable sequels feel much more promising.

 

Verdict-3-0-Stars

 

 

http://www.youtube.com/watch?v=INmtQXUXez8