Showing posts with label Michael Peña. Show all posts
Showing posts with label Michael Peña. Show all posts
Saturday, 28 March 2020
Movie Review: 12 Strong (2018)
An action war movie based on real events, 12 Strong benefits from stirring action scenes and a strong connection to remarkable facts. But the film is overlong and often wades into traditional jingoism.
After the terrorist attacks of September 11, 2001, Green Beret Captain Mitch Nelson (Chris Hemsworth) reverses his decision to seek a desk job and accepts an assignment to lead his unit of 12 men into Afghanistan. Nelson has no combat experience but is respected by his men, including Chief Warrant Officer Hal Spencer (Michael Shannon) and Sergeant Sam Diller (Michael Peña).
The unit is dropped behind enemy lines in Afghanistan with orders to connect with the forces of anti-Taliban Northern Alliance leader General Dostum (Navid Negahban) and storm the strategically vital city of Mazar-i Sharif. Nelson finds it difficult to earn Dostum's respect, and his men have to learn horsemen skills to navigate the mountainous terrain. And although Nelson can call upon airstrikes, the Taliban are dug-in with heavy armaments and are much more familiar with the local terrain.
The first American combat mission after the 9/11 attacks was a secret incursion eventually chronicled in the 2009 book Horse Soldiers by Doug Stanton. The script by Ted Tally and Peter Craig is brought to the screen by first-time director Nicolai Fuglsig, and the film combines plenty of action scenes with some character backfill and culture clash sequences. Fuglsig is more comfortable with combat, and when the bullets start flying 12 Strong settles into a whizzy groove, over the top for sure but edited into welcome coherence.
The attempts to round some of the key members of Nelson's crew into relatable people are laudable but ultimately futile. This is a war film where tough guys just grimace and carry on, and none of the jokeyness, serious conversations and difficult-talks-with-the-wives add much nuance.
The thrust to humanize men of war includes a concerted effort on the relationship between Nelson and Dostum, and here Fuglsig finds more success if well within genre conventions. East meets west, a veteran fighter assesses an untested possible ally, and fear of the unknown cuts both ways. Both men will have to come through for each other, and while the tension between them adds to the drama, the outcome is never in doubt.
The trio of Chris Hemsworth, Michael Shannon and Michael Peña provide sufficient star presence to propel the action without overpowering the narrative. One Taliban commander is afforded the dubious honour of representing the enemy, dressed all in black all the time for emphasis, and here the script falls flat by providing no context whatsoever to the other side of the conflict.
But the greatest threat to the film's success emerges in the form of creeping length, almost every scene unnecessarily prolonged. Nelson promised to achieve his objectives in a remarkable three weeks; at 130 minutes, the film did not need to feel as long.
All Ace Black Blog Movie Reviews are here.
Labels:
Chris Hemsworth,
Michael Peña,
Michael Shannon
Saturday, 1 September 2018
Movie Review: Shooter (2007)
A high-energy action thriller, Shooter is full of ridiculous plot holes but nevertheless delivers slick entertainment.
On an unsanctioned mission in Ethiopia, expert sniper Gunnery Sergeant Bob Lee Swagger (Mark Wahlberg) provides cover for a covert US forces mission. The assignment ends in disarray and Swagger's spotter Donnie is killed. Disillusioned, Swagger leaves the military and goes into seclusion in rural Wyoming. Three years later, Colonel Isaac Johnson (Danny Glover) manages to recruit Swagger for a special assignment to counter a threat to assassinate the President.
But Swagger was really lured in to be the patsy, and on the day of the would-be assassination in Philadelphia he is framed, shot, and barely escapes with his life. A nationwide manhunt is launched. Rookie FBI Special Agent Nick Memphis (Michael Peña) is one of the few to suspect Swagger was framed. Meanwhile, Swagger seeks refuge with Donnie's widow Sarah (Kate Mara), and starts to uncover a conspiracy deep within the government centred on Senator Meachum (Ned Beatty).
Directed by Antoine Fuqua, Shooter delivers enough quality to allow mindless enjoyment of an almost laughable story. A stellar cast, a flashy visual style, and a stoic, indestructible and patriotic hero brought to life by Mark Wahlberg all help. The action scenes are sustained and generally coherent, and the bad guys lining up against Swagger are worthy: treacherous, powerful and deeply entrenched in modern-day pragmatic geopolitical meddling. The sniper jargon also sounds legitimate to the untrained ear.
Which is all good, because on the negative side Swagger had to be a particular kind of momentarily stupid not to notice the jaws of a Kennedyesque assassination conspiracy plot snapping tight around his ankles. And once he goes on the run, the film becomes a blur of overlapping groan-inducing developments, characters traveling around the country with dizzying speed and no respect for a national manhunt. When a late climax arrives and Swagger has to explain his actions to a room full of men-in-suits, the lack of any due process or discipline around the proceedings is chuckle worthy.
But of course Swagger gets the upper hand in every skirmish (and the skirmishes arrive at the rate of one every few minutes), and his cool-under-pressure, one-step-ahead-of-the-bad-guys persona is comfortingly familiar. Most of the dialogue is basic, macho-infused actionspeak, and rarely gets in the way.
Fuqua's expertise is constructing few-against-many and mostly silent action set-pieces, and Shooter is at its best when Swagger infiltrates his enemies' hideouts and strongholds and dishes out the special brand of revenge reserved for action heroes seeking personal justice. American evildoers can plot the destruction of entire third world villages and suffer no consequences, but beware landing on the wrong side of one brooding sharpshooter.
All Ace Black Blog Movie Reviews are here.
Labels:
Danny Glover,
Kate Mara,
Mark Wahlberg,
Michael Peña,
Ned Beatty
Tuesday, 3 May 2016
Movie Review: Babel (2006)
An interrelated multi-story drama set simultaneously in four countries, Babel is an engrossing film about the ties that bind across continents.
In Morocco, American couple Richard and Susan Jones (Brad Pitt and Cate Blanchett) are part of a tour group as they try to rebuild their marriage after a family trauma. While on the tour bus in a remote desert region of the country, Susan is struck and badly wounded by a seemingly random bullet through the window. The accidental shooter is young local goat herder Yussef, whose father had purchased the rifle for his sons to scare away jackals. Richard rushes Susan to a local village to try and get the assistance of a doctor and call an ambulance. The shooting is mistakenly labelled a terrorist attack and triggers an international incident.
In San Diego, Amelia (Adriana Barraza) is the Jones' nanny, and the events in Morocco mean that she is stuck caring for their two young children Debbie (Elle Fanning) and Mike (Nathan Gamble) much longer than she planned for. Desperate to attend her son's wedding in Mexico and unable to find another caregiver, Amelia takes Debbie and Mike with her across the border in the car of her highly excitable nephew Santiago (Gael García Bernal) on a journey with many unexpected outcomes.
Directed and co-written by Alejandro González Iñárritu, Babel is a modern story of an interconnected world where small events create ripples with an astonishing reach. The film jumps around in place and time but remains tightly connected, the stories distinct but inseparable. There is relatively little dialogue in the film: events speak for themselves, and Iñárritu emphasizes the common human emotions of shock, grief, loss, and dealing with adversity in any context.
When communication is needed, the characters speak in their native language (and in the case of Chieko, in sign language), and at the heart of each episode is a story of an aching loss. In the case of Richard, Susan, Chieko and Yasujiro, sorrow is a starting point. For Amelia and the rural Moroccan family of goat herders, misfortune is an unexpected outcome of seemingly innocuous, and indeed well-intentioned decisions.
Doing good and finding trouble is one of the themes that seeps through Babel. The rifle that derails Susan's life changes hands for all the right reason: a hunter gifting his local guide, a neighbour helping a fellow neighbour chase away jackals. Amelia genuinely cares about Debbie and Mike, and also wants to be a good mother by not missing her son's wedding. Unfortunate events stem from kind gestures, and the film explores how characters react when the normal orbit of life is unintentionally knocked into disarray by others.
And when things do go bad, it is the kindness of strangers that often comes to the fore. Local villagers become essential to the survival of Richard and Susan, much more so that their fellow tourists. And after feeling detached from her father and peers, Chieko turns to detective Mamiya to try and recover from her sense of loss and abandonment.
Brad Pitt and Cate Blanchett are the most prominent members of a large international cast. Pitt as Richard Jones gets overexcited on a couple of occasions to help confirm the stereotype of Americans as boorish travelers, while Blanchett spends plenty of time drifting in and out of consciousness. The two best performances are delivered by Rinko Kikuchi and Adriana Barraza, two women dealing with exceptional and trying circumstances.
In Babel the characters speak the many different languages, and some don't speak at all; regardless, their lives are intricately interwoven across time and space.
All Ace Black Blog Movie Reviews are here.
Labels:
Brad Pitt,
Cate Blanchett,
Elle Fanning,
Michael Peña
Wednesday, 28 October 2015
Movie Review: The Martian (2015)
A space survival and rescue drama, The Martian is an epic odyssey. The film celebrates science, resiliency and innovation under pressure, in a graceful, visually rich package.
In the relatively near future, the crew members of the Ares III mission, under the command of Melissa Lewis (Jessica Chastain), have established a temporary base on Mars and are conducting scientific experiments. An unexpectedly severe Martian storm descends on them suddenly, forcing a quick evacuation. In the darkened confusion, crew member Mark Watney (Matt Damon), the mission botanist, is struck by debris, assumed dead, and left behind. But Mark is very much alive, just temporarily knocked out, his space suit damaged to falsely indicate no vital signs. He is completely alone on Mars.
Once Mark takes care of his puncture wound, he realizes that he will soon run out of food, and starts the process of planting his own nutrition. He puts his botanist skills to use, creates soil from packets of human waste, water by mixing hydrogen and oxygen, and is soon harvesting new potatoes. He eventually re-establishes contact with NASA back on Earth. NASA Director Teddy Sanders (Jeff Daniels) has to explain to an astounded public why a man was abandoned on Mars. Sanders then gets to work with Mars Mission Director Vincent Kapoor (Chiwetel Ejiofor), Flight Director Mitch Henderson (Sean Bean) and a team of scientists and contractors to concoct an on-the-fly resupply plan until a manned rescue mission can be prepared. Meanwhile a debate rages as to whether Lewis, her pilot Rick Martinez (Michael Peña), and the rest of the Ares III crew, still on the return flight to Earth, should be told that Mark is alive.
Director Ridley Scott again returns to space to create another cinematic classic. An adaptation of the Andy Weir book, The Martian is a grand, feel-good, gorgeously filmed space adventure, celebrating the human spirit and ingenuity in the face of adversity. Cinematographer Dariusz Wolski and the special effects team create an astoundingly beautiful yet desolate Mars, while Matt Damon and the rest of the cast bring to life unforgettable characters.
At over 140 minutes, this is an interplanetary story told with both breadth and depth. For the most part Scott takes his time to explain what Mark is up against on Mars and the science behind every step he takes to survive, while similarly tracking NASA's frantic efforts back on Earth to first get to grips with the situation and then devise an extraordinary rescue. Some plot points are glossed over, but overall, the film exudes the confidence of an adventure that soars in space but is grounded by reality.
The story of The Martian mixes familiar elements from other excellent films where individuals face great tests of survival. The abandonment theme in a strange environment with minimal resources carries echoes of Cast Away (2000), the lost-in-space premise was explored in Gravity (2013), the small group risking everything to save one of their own was the central premise of Saving Private Ryan (1998), and space mission innovation under pressure was highlighted to great effect in Apollo 13 (1995).
But The Martian creates its own identity thanks to a smart script by Drew Goddard, firmly grounded in science and steering well clear of any antagonists. There are no melodramatics in The Martian, no evil plots, conspiracies or even hostility on any planet surface. Mars just is what it is, Mark just is where he is, and the story of adaptation and rescue unfolds with simplicity and minimal fuss.In 3D, the film is marvel to look at, with awe-inspiring red Marsscapes, Mark and his meagre equipment often a dot set against a vast, empty, quiet and beautiful expanse. But despite the majestic scenery, Scott keeps the focus firmly on the people, and The Martian is a straightforward narrative of one man, first innovating to fend off starvation, then innovating to survive long enough to give his rescuers a half chance. The deployment of science expands from Mark alone, to Mark assisted by NASA, and then unexpected allies are found in the unlikeliest of places, and the effort to save one man spans the multicultural globe. It is a hopeful, perhaps idealistic stance, but the film is unapologetic in presenting the best that humanity can offer, from individual strokes of genius to nations sweeping away mistrust and offering a helping hand - or rocket.
The rest of the cast is sound, with Jessica Chastain and Michael Peña exploding to life in the final third as Mark's crewmates take it upon themselves to execute an audacious rescue mission. Kristen Wiig as a NASA communications advisor, Kate Mara as a member of Lewis' crew, Donald Glover as a scrappy astrodynamicist and Mackenzie Davis as a NASA satellite tracker get small but still prominent and sometimes crucial supporting roles.
The climax of the film is thrilling, but also pushes towards the edges of credibility, as the pace of on-the-fly problem solving accelerates to almost manic levels. But despite all the technology, elegant space crafts and silent planets, at the end it is the human connection that triumphs. The Martian finds deliverance with an elegantly clumsy dual pirouette and then a small bump in space, humans reconnecting, eliminating the distance between them, and embracing the closeness that makes us stronger together.
All Ace Black Blog Movie Reviews are here.
Tuesday, 8 September 2015
Movie Review: End Of Watch (2012)
Officers Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Peña) are patrol partners in the Los Angeles Police Department. For a school project, Brian takes to recording their daily routine by combining footage from handheld and body-mounted cameras. Brian and Mike spend long hours in their patrol car, punctuated by responding to frantic emergency calls on streets littered with gang wars, domestic violence, and worse. In their personal lives, Brian has started a relationship with Janet (Anna Kendrick), while Mike is expecting a child with his wife Gabby (Natalie Martinez).
The calls they respond to include dealing with Bloods gang member Tre (Cle Sloan), and trying to diffuse a street war between the Bloods and a Hispanic gang led by Big Evil (Maurice Compte) and the near-psychotic La La (Flakiss). They uncover gruesome child abuse at a drug den, rescue occupants in a house fire, respond to an assault on fellow police officers, and start to find evidence of extremely violent human trafficking cartels operating out of safe houses in South Central. But Brian and Mike are just officers, not investigators, and they are ordered to leave the detective work to others. Brian's relationship with Janet turns serious and Mike welcomes his new child, just as the two officers unwittingly get too close to the most violent criminals ruling the Los Angeles underworld.
The two officers get along, get on each others nerves, rely on each other, make fun of each other and their fellow officers, share everything, and ultimately create an unbreakable bond. Moving well past buddy movie territory, End Of Watch creates two characters who discuss everything with the awkwardness of real conversations in everyday life. They become people to care about, and two individuals who genuinely care about each other. When the action erupts and lives are at stake, the drama is heightened, because Brian and Mike have no super human capabilities, no indestructible qualities, and are just two men nurturing dreams to live a better life with their loved ones.
The business of front line policing is presented as an infuriatingly discontinuous series of engagements. Brian and Mike rarely get to follow up on what they police, and are actively shoved out of the way of detective work and major investigations. They are reduced to dealing with the right here and the right now, and whatever clues they find to connected crime scenes and threads of criminality are beyond their scope. The cops just get to uncover the most grisly evidence of cartels at work, but their jurisdiction is limited to responding to the next emergency call.
Stylistically Ayer relies on hand-held camera work, simulating amateur video and body-mounted cameras, and infusing the film with a thick dose of street-level realism. The soundtrack of mostly forceful rap combines with the bucketfuls of foul-mouthed language to strengthen the film's raw punch. Jake Gyllenhaal and Michael Peña melt into their roles, disappearing as actors and emerging as two young men doing their best in an unforgiving environment.
End Of Watch is an exceptionally well made drama, a salute to policing with all its frustrations, foreboding and moments of pure exhilaration.
All Ace Black Blog Movie Reviews are here.
Labels:
Anna Kendrick,
Film Review,
Jake Gyllenhaal,
Michael Peña,
Movie Review
Thursday, 22 January 2015
The Movies Of Michael Peña
All movies starring Michael Peña and reviewed on the Ace Black Movie Blog are linked below:
Crash (2004)
Million Dollar Baby (2004)
Babel (2006)
World Trade Center (2006)
Shooter (2007)
Lions For Lambs (2007)
Battle: Los Angeles (2011)
The Lincoln Lawyer (2011)
Tower Heist (2011)
End Of Watch (2012)
Gangster Squad (2013)
American Hustle (2013)
Fury (2014)
The Martian (2015)
Collateral Beauty (2016)
12 Strong (2018)
The Mule (2018)
A Working Man (2025)
Labels:
Michael Peña
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