Showing posts with label Robert Patrick. Show all posts
Showing posts with label Robert Patrick. Show all posts

Sunday, 26 May 2024

Movie Review: Back Roads (2018)


Genre: Drama  
Director: Alex Pettyfer  
Starring: Alex Pettyfer, Jennifer Morrison, Nicola Peltz, Juliette Lewis, Robert Patrick  
Running Time: 101 minutes  

Synopsis: Harley (Alex Pettyfer) is a young man struggling to care for his three younger sisters after their mother Bonnie (Juliette Lewis) was imprisoned for killing her abusive husband. Eldest sister Amber (Nicola Peltz) is now a rebellious teenager and eager to make life miserable for her brother. 12 year-old middle sister Misty is quiet and withdrawn, while the youngest sibling Jody is only six years old. Harley is attracted to older married neighbour Callie (Jennifer Morrison), but as they start an affair, he is increasingly haunted by childhood trauma and overwhelmed by his responsibilities.

What Works Well: Co-writers Adrian Lyne and Tawni O'Dell (adapting her book) create a disturbingly dark portrait of a family wrecked by abuse and violence. In his directorial debut, Alex Pettyfer commands the challenging material and demonstrates maturity to register impact with understatement, his own performance a study in exhausted complexity. He is supported by a trio of bold women: Jennifer Morrison embraces lust that turns into a gateway for danger; Nicola Peltz is a study in misdirected antagonism; and Juliette Lewis shares a devastating scene with Pettyfer across the prison glass. 

What Does Not Work As Well: There is an awful lot going on in this family, and none of it is good. The featureless suburban setting and grim brown tones underline a depressed mood as the plot works hard to snuff out any ambers of hope.

Conclusion: Haunting, blunt, and essential.



All Ace Black Movie Blog reviews are here.

Thursday, 10 March 2022

Movie Review: Honest Thief (2020)

A crime thriller, Honest Thief offers an interesting protagonist but is otherwise formulaic to a fault.

Tom Dolan (Liam Neeson) is an aging professional non-violent bank safe robber known as the In and Out Bandit. Never caught or identified, he has successfully committed multiple thefts in various states over many years, stealing a total of $9 million. He moves to the Boston area where he meets and falls in love with divorcée Annie Wilkins (Kate Walsh). One year later, Tom is ready to leave crime behind and settle down with Annie, and he decides to first clear his conscious by surrendering to the FBI. He connects with Agent Sam Baker (Robert Patrick) and proposes to return all the money in exchange for a short sentence at a minimum security prison.

Agents Nivens (Jai Courtney) and Hall (Anthony Ramos) are dispatched to close the deal, but the corrupt Nivens spots an opportunity to steal the money and pressures Hall to go along. Baker's untimely appearance results in a shooting. Tom and Annie find themselves on the run with Tom now accused of murder, while Baker's partner Agent Sean Meyers (Jeffrey Donovan) starts to investigate.

The character of Tom Dolan provides Honest Thief with an intriguing-enough core. Liam Neeson injects gruff humanity into the gentleman thief, and just about sells Dolan's difficult decision to turn himself in and admit his crimes. The driving motivation is his love for Annie, and the script by Steve Allrich and director Mark Williams deserves credit for placing a caring, non-violent central character into the middle of an otherwise stock thriller.

Unfortunately, Honest Thief stumbles everywhere else. Logic gaps and lack of attention to details are a constant hazard, including Dolan carelessly yielding the keys to his storage locker, and then bad guys Nivens and Hall stealing boxes full of cash under the watchful gaze of security cameras. Later, a car is totalled but re-emerges unscathed in the following scenes (unless it's a hastily procured replica).

The action scenes are rudimentary and repetitive, with director Williams demonstrating a penchant for plenty of bullets fired but few bullets hitting any meaningful targets. The physical combat scuffles involving 67 year old Neeson are even less convincing, despite Dolan's purported background as a mine-clearing Marine. And once the stage is set with Dolan framed and Meyers dragged into the investigation, the outcome is crushingly predictable.

In the supporting roles, Jai Courtney has limited room to expand on prime villain Agent Nivens, merrily descending into industrial-scale criminality and expecting no one to notice. Jeffrey Donovan fares better as the recently divorced Agent Meyers, his ex-wife's dog providing a nice touch. Honest Thief is honest enough as functional entertainment, but honestly not that good.



All Ace Black Blog Movie Reviews are here.

Sunday, 9 May 2021

Movie Review: Firewall (2006)

A feeble hostage drama, Firewall abandons technothriller ambitions and settles for a bland recycling of tired ideas.

In Seattle, Jack Stanfield (Harrison Ford) is in charge of network security at Landrock Pacific Bank. His colleagues include fellow security expert Harry Romano (Robert Forster), executive Gary Mitchell (Robert Patrick) and President Arlin Forester (Alan Arkin). With the bank in the middle of merger negotiations, tensions are high.

Master criminal Bill Cox (Paul Bettany) leads a group of armed men who invade Jack's house and hold his wife Beth (Virginia Madsen) and two children hostage. Cox wants Jack to digitally break into the bank's network and transfer $100 million into off-shore accounts. With the help of his assistant Janet (Mary Lynn Rajskub), Jack has to find a way to thwart the criminals and save his family.

A haphazard and immediately forgettable thriller, Firewall finds Harrison Ford trading on his old hits. The well-worn concept of a man forced into action while his family is held hostage is trudged out for yet another go-around. Other than a grand hilltop architectural marvel of a house that suggests Jack and Beth are well-paid indeed, writer Joe Forte and director Richard Loncraine cannot conjure up any new or interesting angles.

The initial intent to focus on the world of digital security is half-hearted and all but abandoned, with no firewall in sight. And after pairing Ford with a 19-years-younger Madsen, the script defaults to an inane climax subjecting the 64 year old to physical altercations that would challenge men half his age. Meanwhile, back at the bank Robert Forster, Alan Arkin and Robert Patrick represent a trio of utterly wasted veteran talent.

But maybe worst of all is the motiveless Cox as a crime boss who has thought of everything except the most important things, while his group of bumbling armed men have all the necessary weaponry and technological toys yet spend the movie watching television and getting outsmarted. Fox's main method of intimidating Jack is to kill his own men

With no one expressing any rational plans as the climax approaches, Firewall literally defaults to man chases dog. And only the dog maintains a semblance of dignity.



All Ace Black Movie Blog reviews are here.

Sunday, 5 March 2017

Movie Review: Striptease (1996)


An adult-oriented comedy thriller, Striptease attempts to mix salaciousness with humour and some action. It falls short on almost all counts.

In Florida, Erin Grant (Demi Moore), formerly an FBI secretary, loses custody of her young daughter Angela (Rumer Willis) to her sleazeball husband Darrell (Robert Patrick). To make the quick money she needs to launch an appeal, Erin accepts a job stripping at the Eager Beaver nightclub, where the sympathetic bouncer Shad (Ving Rhames) looks after the girls.

One night Erin catches the eye of David Dilbeck (Burt Reynolds), a lecherous Congressman. Dilbeck is photographed getting into an embarrassing altercation at the club, setting off a cycle of blackmail that spirals into murder. Lieutenant Al Garcia (Armand Assante) starts snooping around, and Erin finds herself sucked into a world of big money, political corruption and personal danger as she doggedly pursues custody of Angela.

Directed and written by Andrew Bergman, Striptease is most famous for Demi Moore's record $12.5 million salary, and for perhaps being the first movie where an A-list actress aggressively promotes her nudity almost for its own sake. The film is not good, but also not nearly as awful as its reputation.

After the critical failure of 1995's Showgirls, the marketing and tone of Striptease was thrown into disarray, with attempts to focus more on the comedy and human story while somehow still capitalizing on Moore's bareness. The disconnects are evident in the film. The striptease sequences are longer and more numerous than they need to be for any purpose other than cheap titillation. When she is not gyrating, and despite the lack of meaningful character depth, Moore adopts a serious and dramatic mother-on-a-quest stance, which is generally completely at odds with all that is going on around her.

Burt Reynolds as Congressman Dilbeck and Robert Patrick as the lowlife Darrell are on a different wavelength entirely and play their roles with screwball intentions. The result is quite a few funny moments, but also a film that is mainly stuck in a no man's land as eroticism, drama and comedy walk away from each other.

Despite the disharmony, the film delivers several sharp jabs towards the hypocrisy of seedy politicians like Dilbeck, a man who cannot control his libido, gets off on Erin's laundry lint and slathers himself with Vaseline in search of a cheap thrill, but yet stands up and pontificates about family values at election events. And Reynolds is in fine form, infusing the role with a breathtaking level of selfish yet clueless entitlement.

Ironically Striptease is limp when revealing flesh, but sharp when shredding spurious sanctimony.






All Ace Black Blog Movie Reviews are here.


Tuesday, 12 May 2015

Movie Review: Safe House (2012)


A fast-paced action thriller with substantial star power, Safe House does most things right but contributes little that is new to the Bourne-inspired ex-agent-on-the-run sub-genre.

In Cape Town, South Africa, inexperienced CIA agent Matt Weston (Ryan Reynolds) has little to do as the keeper for a seldom-used safe house, and keeps his real job a secret from French girlfriend Ana (Nora Arnezeder). But Cape Town is about to become a lot more exciting. Rogue ex-CIA agent Tobin Frost (Denzel Washington), a most wanted man, purchases a microchip with international state secrets from disgruntled MI6 agent Alec Wade (Liam Cunningham). Wade is immediately assassinated and Frost is targeted by the ruthless Vargas (Fares Fares) and his men. Frost is forced to take refuge at the US consulate.

At CIA headquarters in Langley, supervisors David Barlow (Brendan Gleeson) and Catherine Linklater (Vera Farmiga) and director Harlan Whitford (Sam Shepard) are immediately alerted to Frost's sudden appearance at a US facility. They decide to move him to Weston's safe house for interrogation. A squad headed by agent Kiefer (Robert Patrick) extracts Frost from the consulate and transfers him to the safe house, and Frost is subjected to waterboarding. But Vargas and his men invade the safe house, forcing Weston to flee with Frost, and initiating a prolonged chase as the untried Weston is suddenly plunged into a high-stakes game of brutal, take-no-prisoners international spy deception.

Directed by Daniel Espinosa, Safe House is a slick-enough thriller. The action is frequent, there are sufficient reflective scenes to grow the characters, and the presence of Washington and Reynolds with a strong supporting cast ensures a consistent level of quality. The South African setting, a relative backwater in the global spy game, introduces a fresh perspective and justifies some of the agency stumbling. But the McGuffin at the centre of the film, in the form of an abstract database of intelligence agency wrongdoings, is rather stale.

This is a post-Bourne secret agent film, and so Espinosa adopts the shaky-camera and micro-editing techniques as his defacto style to jazz up most of the action scenes. He also frequently mixes in tiny flash-backs and flash-forwards to inject a sense of energy into the quietest interludes. There are some undeniably exciting moments and even a few relatively original set-pieces, including an expertly filmed rooftop chase at a Langa shantytown.

All the flashy touches teeter on the edge of overstaying their welcome, particularly with a running length of close to two hours. In the final 40 minutes it becomes evident that every shoot-out will be followed by a brutal hand-to-hand combat showdown which will be quickly followed by another shoot-out, but Espinosa maintains just enough control to deliver a taut chase movie with more good moments than bad.

As is usually the case, the strongest scenes feature the actors actually acting rather than dodging bullets or throttling each other. Washington and Reynolds never descend into trite buddy territory, and the tension between the jaded ex-agent and the bright-eyed wannabe hero underpins the film. Farmiga, Gleeson, Shepard and Patrick have less to do, but do it well. Safe House may be riddled with a few too many bullets, but it is well worth a visit.






All Ace Black Blog Movie Reviews are here.


Saturday, 29 March 2014

Movie Review: Terminator 2: Judgment Day (1991)


A science fiction masterpiece, Terminator 2: Judgment Day finds star Arnold Schwarzenegger and director James Cameron at their peak, combining astounding action with visionary special effects and a compelling story.

It's 10 years after a T-800 terminator robot was sent from the future by the Skynet computer network machines to try and assassinate Sarah Connor (Linda Hamilton) to prevent her from giving birth to future human rebel leader John Connor. Sarah is now incarcerated in a mental institution after trying to blow up a computer factory. John (Edward Furlong) is 10 years old, a troubled but resourceful boy living with foster parents.

T-1000 (Robert Patrick), a deadlier, more advanced terminator unit with a liquid metal core is sent by Skynet to try and kill John. In response, the humans send a T-800 unit (Arnold Schwarzenegger) to protect him. As John and T-800 escape from T-1000 and rush to reconnect with Sarah, she is troubled by nightmares of the Skynet-initiated nuclear apocalypse to come, and is busy trying to escape from the mental hospital. Once John, Sarah and T-800 join forces, they arm themselves for the fight to come, and Sarah insists on trying to alter the future by eliminating Miles Dyson (Joe Morton), the computer scientist unknowingly creating the genesis of Skynet.

A sequel that matched and bettered an already terrific original, Terminator 2 ushered in a new era of computer generated special effects. The shape-shifting, self-repairing molecular liquid metal capabilities of the T-1000 are presented in some eye-popping segments, totalling no more than five minutes of screen time but forever changing the science of what is possible in creative movie making. And the effects are only used to serve the story: as Cameron gradually reveals the capabilities of a killer robot engineered out of liquid metal, the indestructibility of the T-1000, as played with lethal iciness by Robert Patrick, looms large over the film, creating a terrifying new and seemingly unstoppable villain.

Every monster needs a hero to battle, and Schwarzenegger steps up to the highest level of action hero superstardom in bringing back the comparatively more rudimentary T-800, this time as a saviour rather than a terminator. Arnold as a robot was always a good match, but here star and character are both ironically humanized by a powerful father-son bond that develops between T-800 and the young John Connor. Cameron was obviously recreating the hugely successful mother-daughter experience between Ripley and Newt from Aliens, and he gets it right again. The T-800 does the heavy lifting in terms of protecting John and Sarah, but John does all the teaching and mentoring, transforming the robot into a humane presence and giving the movie its humorous bite.

The script, written by Cameron and William Wisher Jr., achieves an impeccable balance between stunning action and character development. The pace is unrelenting, but there are a surprising number of scenes where Sarah, John and T-800 advance the story through personal growth. Sarah has to confront her justifiable rage, John has to grow from child to future leader, Sarah has to let him achieve that growth, and T-800 has to remain true to his orders and his master while learning about some uniquely human attributes.

All this takes place against a backdrop of T-1000 incessantly hunting John down, and Sarah insisting on hunting down Dyson to re-write human destiny. The chase scenes and stunts are plentiful and simply breathtaking, edited with grace to maintain clarity amidst brilliant mayhem. And when the machine guns, Gatling guns and grenade launchers come into play, which is often, Cameron does not spare any bullets or explosions.

Linda Hamilton transforms Sarah Connor from the innocent victim of the original film to a lean, angry and muscular fighting machine, Cameron again inspired by Aliens to place a strong and kick-ass woman near the centre of an action movie. Edward Furlong, making a dream debut and all of twelve at the time of filming, gives a touching performance as the young and scrappy John Connor, quickly getting to grips with his destiny after realizing that the wild stories of his mother were true after all. Unfortunately, Furlong's promising career was subsequently derailed by substance abuse.

Packed with memorable characters, tremendous action, visionary creativity, and many enduring little moments of humour and humanity, this is the perfect action-oriented science fiction film. After a rollicking climax, Terminator 2 proceeds to find an elegant ending, as good things come to an end to prevent worse things from coming to mad fruition.






All Ace Black Blog Movie Reviews are here.