Writer: Ryan Engle
Starring: Gabrielle Union, Billy Burke, Richard Cabral, Ajiona Alexus, Levi Meaden, Seth Carr, Mark Furze, Jason George, Christa Miller, Damien Leake
Reviewed by Ren Zelen
When her estranged father, a stinking-rich, white-collar criminal, is mown down by a car on the eve of his court sentencing, under circumstances which, strange to say, no-one finds suspicious, our heroine Shaun (Gabrielle Union) takes her two kids to spend the weekend on the implausibly vast and luxurious rural Wisconsin property where she was raised, in order to prepare for its sale.
Leaving her devoted husband, who is lovingly apologetic (naturally) at having to stay in the city and work over the weekend at his (unspecified) high-powered job, dedicated mother Shaun and her two kids – youngster Glover (Seth Carr) and phone-addicted teenager Jasmine – (Ajiona Alexus), arrive at the house to find the alarm unexpectedly disabled.
They put this down to a power outage, and tech-savvy Glover goes up to investigate the state-of-the-art, high-tech security system which surrounds the house. This includes surveillance cameras, a lockdown shield system, and even a drone which can fly around checking out the numerous rooms and corridors.
However, Mom Shaun barely has the chance to make a few calls and finish a glass of wine before it transpires that they are not alone after all – the house has already been infiltrated by four ex-cons.
It turns out that Shaun’s shady dad had liquidated his assets and stored a cool $4 million in a safe hidden somewhere in his extensive country mansion. The felons we not expecting to be interrupted in their search and they are also subject to a ‘ticking-clock’, as they have only 90 minutes to find the money before the local police show up – a failsafe after the alarm has been disabled.
The disparate foursome consists of impassive leader Eddie (Billy Burke), young unseasoned informer Sam (Levi Meaden), oddly named, violent Latino gangster, Duncan, (Richard Cabral) and lastly, former military safecracker, Luke (Mark Furze).
While Shaun is out on the patio the assailants grab her children and try to extricate any information they may have about the location of the safe. Meanwhile, they send out Luke to get the mom.
However, Mom is not quite so easy to apprehend, and after a scuffle utilising a broken wine glass, and a chase into the woods, Luke is incapacitated and tied up, leaving Shaun free to return to the property. But now Mom is on the outside of her fortress of a house, having to break her way in, as her kids are being held hostage inside – hence the title of the film – a novel reversal of the usual house-siege situation.
To remind us all of Shaun’s particular predicament, Eddie spells it out for her in their first verbal exchange – “You’re a woman, alone at the mercy of strangers, and your greatest weakness is locked inside this house.”
It’s a rather contrived premise, but still intriguing, offering various tense scenarios as Shaun concocts schemes to save her kids. She’s clever and resourceful and uses her superior knowledge of the house and terrain to her advantage. Because of Shaun’s knowledge of the house and its environs, and her unexpected tenacity, the villains are often caught on the back foot, and are forced to improvise responses to her attempts, with mixed results.
Likewise, some of Shaun’s plans work, some of them don’t, but she is almost certainly more ingenious than the typical mom at the school gates – perhaps she is more her father’s daughter than she would like to admit?
Her ingenuity however, prompts a supremely corny, cringe-worthy moment of dialogue when Eddie faces Shaun in the final stand-off. He is moved to admit he underestimated her and asserts his admiration, calling her an extraordinary woman, ‘No’, she responds, ‘I’m not extraordinary, I’m just …a Mom…” (eliciting an audible groan from the audience). Nevertheless, Gabrielle Union always remains watchable – playing vulnerable and threatening by turns.
A veteran action director, McTeigue shoots individual fight scenes well enough, but never provides much modulation or escalating tension. Shaun breaks in and out of her property with relative ease, hatches plans whose parameters never become apparent, and always manages to be exactly where she needs to be. McTeigue’s other work (V for Vendetta, Sense8) tends to contain an element of social commentary, and in Breaking In we see a strong woman of colour, outwitting a group of criminals intent on violence to her children and herself.
The character Shaun certainly demonstrats the cliché of the ‘lioness-mom’ protecting her cubs at all costs, but the fact that the family has the advantage of the fabulous wealth, and that the husband and son are rendered so utterly ineffectual, does appear to be going overboard in putting across that message.
Nevertheless, Breaking In is an entertaining, untaxing thriller, whose 88-minute run-time never drags long enough for us to examine the story’s implausibility too closely. The film remains fast-paced and suspenseful, making it easy to overlook the storytelling inconsistencies and to focus instead on the emotional aspect of a mother who will stop at nothing to save her children.
Released: 12th July 2018
Directed By: Rawson Marshall Thurber
Starring: Dwayne Johnson, Neve Campbell
Reviewed By: Van Connor
Be honest. Sooner or later, you knew The Rock was going to make Die Hard. It was inevitable. As he ascends higher and higher thought the upper echelons of the – increasingly spartan – Hollywood star system, this was always going to be coming. The only question really, was going to be whether or not it was going to be either any good, or even welcome in a world in which even a bonafide Die Hardsequel now typically ranks among the worst of whichever year it’s released in.
Alas, Dwayne Johnson is no Bruce Willis, and that quality control barrier could not be any clearer as Die Hard meets The Towering Inferno – with a dash of The Fugitive – for Skyscraper. Rawson Marshall Thurber’s adrenaline-fuelled ride takes DJ to China as amputee and former FBI tactical agent Will Sawyer, an American tasked with signing off on the security of The Pearl – the tallest building in the world. When terrorists seize The Pearl, however, Sawyer finds himself the subject of a Chinese manhunt and forced to find a way back into the building in order to save his wife and children from not only the terrorists seeking to fulfil their own agenda, but also to the out-of-control blaze that threatens to consume them all.
Johnson’s played in the sort of arena on more than a few occasions now, with Skyscraper arguably skewing closest to San Andreas as regards the sort of tone and polished spectacle you’re in for. There are some offhand nods to more classical genre archetypes – hell, it makes more Die Hard references than Jake Peralta – and there’s the requisite degree of fistbumping and utilisation of the term “brother”, but those still unsure of what to expect can rest easy on the promise of what’s essentially an Irwin Allen movie with a Neal Moritz sensibility. It ain’t clever, it doesn’t want to be, it just wants you to sit on the edge of your seat and then cheer afterwards. Which you will. A lot.
Neve Campbell brings an impressive amount to what’s an already impressively sketched out female supporting character in Sawyer’s wife (take notes, Bedelia – that’s how you handle hostage takers), and Pablo Schreiber (Orange is the New Black) continues to make for an engaging added value element. Roland Møller, meanwhile, makes for a decent enough villain, but lacks the charisma needed to really sell the ludicrously named Kores Botha as much of an evil mastermind. Sure, he was never going to rival Hans Gruber on the scale of action movie villains, but Botha’s so thinly devised as a villain that he’s not up to the grade of Tommy Lee Jones’ Under Siege villain either. And that’s a real detriment when your action hero lead is someone as genuinely charismatic as Dwayne Johnson. Both Jeffrey Dean Morgan and Joe Manganiello took the wrong Rock movie, would be a decent takeaway.
In lieu of a captivating villain, Thurber nonetheless ensures value for money is had with a barrage of spectacle-fuelled set-pieces the likes of which will have you squirming in your seat biting your fist for dear life – IMAX could well inspire a sense of vertigo with this one. It’s a glossy-looking actioner – thanks to some smooth production design and slick visuals from cinematographer and Mission: Impossible alum Robert Elswit – and fight choreographer Allan Poppleton goes above and beyond to stage Johnson’s antics not as the all-powerful action commando, but a credible fighter dwarfed by the spectacle of what’s up against him.
It’s a good time for all. Sure, it’s in no way destined to become an enduring classic of the action genre – though, the spoilerific marketing campaign does well and truly show off what will become one of this summer’s more memorable movie moments – but it’s Die Hard on fire. With The Rock. In 2018. And if there’s an easier sell for a good time at the movies than that, it just means Dwayne Johnson has another movie out. In which case, still see Skyscraper first.
Mission Impossible: Fallout ★★★★★
Released: 25th July 2018
Directed By: Christopher McQuarrie
Starring: Tom Cruise, Rebecca Ferguson, Henry Cavill, Michelle Monaghan, Simon Pegg, Ving Rhames, Sean Harris, Angela Bassett
Reviewed By: Darryl Griffiths
‘What the hell is he doing!? I find it best not to look.’
Rebecca Ferguson. You’re certainly not alone in questioning the thought process of a man seemingly gunning to be ‘The Greatest Stuntman’. Another one Mr Cruise? I imagine his reply is Never Enough. Never. Never.
22 years and six instalments in. Facing stiff competition from Bond, Bourne and a plethora of comicbook darlings along the way. This particular Tom has continued to be a marvel, risking life and limb to give us the adrenaline-pumping thrills we crave, admirably relying on old-school practicality instead of the obligatory CGI bombast we modern cinemagoers have grown accustomed to.
Previous instalment ‘Rogue Nation’ boasted an elegant operatic set-piece in Vienna, with returning (a first for the series) director Christopher McQuarrie masterfully pulling the strings in the background. Well imagine ‘Mission Impossible: Fallout’ as a grandiose death-defying symphony, that could easily leave you breathless in the front row, never mind the upper tiers of this cinematic arena.
Whilst consistent in its entertainment value. It could be argued these films haven’t dug deep enough into the psyche of IMF’s main man. McQuarrie is quick to remedy this right from the outset as a pulsating plutonium power struggle ensues, with Ethan Hunt (Cruise) still reeling from his encounters with Solomon Lane (Sean Harris), the latter a mere pawn now in the eyes of a terrorist organisation called the Apostles.
Trust in Ethan’s methods diminishing with the addition of CIA superior Erica Sloane (Angela Bassett) who compares him to a scalpel, she introduces a ‘hammer’ to the situation in the form of August Walker (Henry Cavill), who is tasked with assisting Hunt and his usual suspects Benji (Simon Pegg) and Luther (Ving Rhames) in preventing further global atrocities. Interrogation? Not for this Man Of Steel.
Intertwining plot threads left dangling by its predecessors to layer its absorbing narrative, with Michelle Monaghan’s love interest Julia a notable inclusion. McQuarrie truly allows the audience to become emotionally attached to these characters this time around beyond the wisecracks and gadgetry, which only serves to fuel the tension and raise the stakes of its balletic action choreography. Playing a lead protagonist who can easily be perceived to be indestructible up to now. The moral angst that engulfs Cruise’s Hunt is refreshing, as his unwavering loyalty to his fellow field agents is deemed a weakness in achieving their intended objective.
Only for this aspect to be amplified by the compelling complexity of Rebecca Ferguson’s Ilsa Faust who returns with her own agenda, remaining appreciative of Hunt’s relentless nature to complete a mission by any means necessary, with one particular Paris stand-off utterly engrossing. Whilst Sean Harris’ Solomon Lane continues to favour chilling prose, it’s a joy to finally see Henry Cavill utilised in a blockbuster effectively as August Walker, a bruising no-nonsense adversary whose reloading arms prove a worthy match for Hunt.
Yet for all its superior characterisation. Mission Impossible would amount to little without its enthralling stunts, with the film gleefully looking to out-do the previous set-piece throughout its running time, only to succeed in jaw-dropping style. From heart-stopping halo jumps at 25,000 feet to a heady helicopter chase that made me audibly gasp at its sheer audacity, McQuarrie’s dizzying camerawork and respectful capture of its sleek locations as we witness Cruise’s crazy antics close-up, is as pure as popcorn cinema gets.
‘Fallout? With this franchise? I suspect that thought will self-destruct in five seconds once you clap eyes on this outing. An astonishing genre offering in its own right, in a series that continues to evolve in exhilarating fashion.
First Reformed ★★★★★
Consider the bar raised…
Stars: Ethan Hawke, Amanda Seyfried, Cedric the Entertainer
Released: 13th July 2018 (UK)
First Reformed has been dubbed as Paul Schrader’s triumphant return to cinema. Widely praised by critics and audiences, it finally hits UK cinemas. What is First Reformed all about you ask? Reverend Ernst Toller (Ethan Hawke) is a solitary parish priest at a small church in upstate New York. Now more of a tourist attraction catering to a dwindling congregation, it has long been eclipsed by its nearby parent church. When a pregnant parishioner (Amanda Seyfried) asks Reverend Toller to counsel her husband, Toller is plunged into his own tormented past and finds himself questioning his own future and where redemption might lie. With the pressure on him beginning to grow, he must do everything he can to stop events spiralling out of control.
Alienation, social decay makes First Reformed one of the most powerful self portraits in cinema. First Reformed tackles current event topics like the environment, organised religion, politics, and alcoholism as a backdrop for Reverend Toller’s journey through despair. Hawke’s Toller establishes the key theme early in the film: we’re told that we must hold onto both despair and hope simultaneously. Toller’s efforts to live this self-contradicting life, leads him down a path of madness.We discover that existential crises and sincere Christianity make quite the self destructive couple. Toller finds he must reject the shiny glossy presentation of modern contemporary Christianity, and discover his own self belief and re-build his faith within himself. The careful logic of it draws us in; it’s difficult to see where Toller and society goes wrong.
Paul Scharder’s visuals are utterly striking, each shot is rich with balance, depth and artful symmetry; despite the fact that the film is presented in an unusual aspect ratio of 1.37: 1, it pulls its viewers in with nonstop beautiful photography, mostly high-contrast shots with a muted colour palette.The story is spiritual as you would expect but it’s surprisingly political. The pace of the film is steady and switches seamlessly between snapshots and long takes. The scoring slowly builds its ominous tone, every element of First Reformed is built with intention that serves its sobering themes.
Ethan Hawke has delivered the performance of his career as Toller. This performance is truly next-level from him, and I cannot describe enough to you about how captivating it is to watch Hawke. He is spectacular in this, and an early front runner for award season. First Reformed is quietly intense, disturbingly real with a memorable ending. Paul Schrader carefully tackles controversial topics, especially with handling the concept of Christianity. The movie is neither preachy or anti-Christian in its delivery, but rather shows religion for what it is: a reasonable release for sadness and guilt, but also a burden. First Reformed is without a doubt one of 2018’s finest films.
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