by George Wolf
Insurgent
Just last year, Divergent glimpsed a dystopian future where destinies rose and fell with the company you kept, and social cliques were used to enforce a merciless pecking order. In short, high school all over again.
Insurgent, part two in the latest “three books as four movies” franchise, ups the ante on action, but delivers little more than some flashy CGI amid a formula growing increasingly tiresome.
Tris Pryor (Shailene Woodley) and her boyfriend Four (Theo James) are on the run from henchmen sent by Council leader Jeanine (Kate Winslet). Seems Jeanine has uncovered a strange, Hellraiser-looking puzzle box containing a message that could end the civil strife among her subjects. But this box can only be opened by a “divergent” with enough specialness to pass a variety of deadly tests…so Jeanine is hunting them all down to find the one.
Whoops, I mentioned “the one,” so I’ll pause now while director Robert Schwentke swoops in for a quick tight shot of Tris looking pensive. Get used to it.
There are some nifty visual sequences, but the core of Insurgent remains overly familiar young adult elements and overly bland presentation. The special girl burdened with a uniqueness she didn’t ask for, angst, melodrama, parental issues, walking among the rubble…all the basics are here. Ironic, then, that Schwentke (R.I.P.D., Red) doesn’t seem interested in moving his film beyond the ordinary.
The dream/virtual reality red herrings are as numerous as they are obvious, and those high drama arm-grab-turnarounds are better left to the daytime soaps. Woodley is one of the best young actresses working, and she is plenty spunky during Insurgent‘s action scenes, but she’s saddled with dialogue and direction that is difficult to elevate. Even the great Winslet is reduced to standing still and looking villainous.
Attempts at social commentary are clunky at best, while contrivance in the script finally gives way to outright laziness, as when the common folk are enslaved by a behavior modifying implant which can’t be removed – until it is.
Tris is told, “We finally found a way to remove it.” Okay, then.
Two more Divergent films may be coming, but Insurgent will only leave you eager for the next round of Hunger Games.
https://www.youtube.com/watch?v=suZcGoRLXkU
The Gunman
Taken director Pierre Morel helms a film where a middle aged man with a particular set of skills finds himself marked for death and must shoot/stab/explode/punch his way out of it to redeem himself and save the one he loves. At first blush, The Gunman just looks like a Liam Neeson movie with a better cast, right? Not quite.
Sean Penn (2-time Oscar winner and 5-time nominee) goes beefcake as Terrier, the retired and often shirtless gun-for-hire who gets pulled back in. Terrier was once a triggerman for a Democratic Republic of Congo assassination, but he’s carried the guilt and remorse over a bad breakup for 8 years. Now, with a plot against his life (the contrivance that gets him into and out of hot water is beyond ludicrous), he sets out to make amends.
Penn cannot find his footing as an action hero. Yes, he now has the build for it, but his performance is laborious. Whether he’s smooshy and romantic or single-mindedly ripping through foes, nothing has the honesty of his dramatic work or the exciting edge of an action flick.
Flanking Penn are Oscar winner and 3-time nominee Javier Bardem (arguably the best actor of his generation) and the endlessly underrated character actor Ray Winstone. Both men are worth watching, each chewing scenery just enough to keep their screen time vibrant and intriguing. Neither actor has ever turned in a lackluster performance, and this film needs that level of generosity and skill.
Unfortunately for us, the great Idris Alba is woefully underused and Terrier’s love interest Annie (Jasmine Trinca) is both predictably bland and, at twenty-plus years Penn’s junior, embarrassingly young for the effort.
Morel cannot find a usable path through the convoluted story and the only tensions that feel real at all are those in fleeting scenes between Penn and Bardem. There’s a murkiness to the script that requires more skill than Morel has ever shown, and the final product suffers from misplaced drama, uneven tensions, badly tacked on symbolism and misspent artistic capital.
At least with Neeson’s current catalog you know what you’re in for. The Gunman doesn’t know what it is. Too plodding to be an action movie, too obvious to be a thriller, too needlessly bloody to be a drama, The Gunman is a man without a country.
The Wrecking Crew
Giving credit where it’s due is a fine idea – no matter how long it takes. After years of legal delays, The Wrecking Crew arrives as the latest documentary to give unsung musicians a well deserved spotlight.
The film premiered on the festival circuit in 2008, but a wider release became hostage to publishing disputes over the music, which amounts to a non-stop hit parade from the 60s and 70s. During that time, a group of select L.A. session musicians played on countless songs -often uncredited. The record may have said Sonny and Cher, the Mamas and the Papas, the Righteous Brothers, or even the Beach Boys, but the session band behind them all was unknown except to music biz insiders, which dubbed the group the “Wrecking Crew.”
The Crew’s lead guitarist was Tommy Tedesco, and the film is directed by his son Denny as a bonafide labor of love. What 2002’s Standing in the Shadows of Motown did for the Funk Brothers – namely, pull the curtain back on their immense contributions- Denny Tedesco wants to do for his father’s band.
We not only come to appreciate the group’s technical abilities, but glimpse the stylish additions they contributed during the record sessions -such as the bass line to “I Got You Babe” or the opening notes of “Wichita Lineman” – that often turned average into unforgettable.
Despite some uneven production values, Tedesco shows fine instincts for showcasing both musicianship and biography. We get to know his father, and several other members of the Crew, including bassist Carol Kaye. A trailblazer with immense talent and a winning personality, Kaye herself would be a fine choice for Tedesco’s next documentary.
There are also some great anecdotes from an array of famous faces…with a twist. The interviews are mostly years old, and seeing a vibrant Dick Clark, or Cher from three faces ago sometimes gives the film a musty air. But then, when a much younger Glen Campbell (himself a Wrecking Crew member before going solo) laughingly admits he can’t remember certain details of a story, there’s some unexpected poignancy to the foreshadowing of his current battle with Alzheimer’s.
Beyond all the feels, The Wrecking Crew comes off as a fun day at school, While not as polished or as universally entertaining as Standing in the Shadows of Motown or Twenty Feet from Stardom, it is just as much of a must see for fans of music history.
Read more of my reviews at MaddWolf.com!