The Equalizer Movie Review 0 28


The Equalizer is the latest in a long line of classic entertainment properties to get the modernized, big-screen treatment. Stepping into the role famously played by Edward Woodward in the ‘80s TV series is Denzel Washington, one of Hollywood’s few remaining truly bankable movie stars.

He plays Robert McCall, a seemingly ordinary man who lives a quiet life working at a DIY store. However, his subdued existence is shaken up when he meets Teri (Chloë Grace Moretz), a young girl who is under the control of violent Russian gangsters. He decides to take it upon himself to help the girl get out of that life, soon revealing his mysterious past as an intelligence officer, armed with lethal skills against those who seek to harm the helpless.

There are obviously going to be changes made in any adaptation of an older movie or TV show and this is no exception. However, treated on its own merits as opposed to be constantly compared to what came before, this is an efficient and effective, if not particularly ground-breaking, action thriller. It serves up many clichés associated with the genre, from its generic Russian gangster baddies who verge on the pantomime – led by a generically evil enforcer, played by Martin Csokas – to the style of action that includes Bourne-like hand-to-hand combat and lots of gunplay.

But under the direction of Antoine Fuqua (reuniting with his Training Day leading man) it’s a slick, entertaining watch that gets the job done. He’s a director that knows how to shoot an action sequence in a stylish, attention-grabbing way, even if there isn’t much substance beyond the surface of his work – see also ‘Law Abiding Citizen’, ‘Shooter’ and ‘Olympus Has Fallen’ for other examples of this.

The film ultimately falls on the shoulder of its leading man and Washington makes it work. He has spent much of his career over the last 15 years or so, in everything from Man on Fire to last year’s 2 Guns, perfecting the badass action hero persona and he uses that to full effect here. Although a somewhat quieter version of that persona than we’ve seen him play before, he absolutely oozes charisma throughout and more than steps up to the plate when it comes to the action, of which there is plenty, dispensing with bad guys using a variety of different bloody methods, particularly during the film’s overblown but nevertheless fun Die Hard-esque finale.

For a man pushing 60 (yes, really) he’s still able to convince as the type of leading man we’ve all come to know and love. And while the screenplay by Richard Wenk (The Expendables 2, The Mechanic) doesn’t imbue this particular portrayal of the character with much beyond clichés (much like the plot itself), Washington elevates him to make for an intriguing protagonist, a loyal protector to those who warrant it and a deadly force to be reckoned with to those who deserve it. We’re very likely going to get a sequel (contingent, as always, on sufficient box office success) and perhaps the script next time can give Washington even more with which to work.

At 132 minutes long, the film could have done with about 30 minutes shaved off its runtime. As it is the film struggles to keep a consistent pace, occasionally lumbering when it should be speeding along. This fairly lengthy runtime is, perhaps, an attempt to make it a meatier, more meaningful cinematic experience but it doesn’t have the dramatic weight to back it up. At its heart it’s an action thriller and a leaner approach might have helped it make more of a more memorable mark. Nevertheless there’s enough going on in this solidly made, slickly presented film to keep both Washington and action thriller fans engaged.

This review was previously published on Scotcampus.

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I’m a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features.

I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

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Movie Review: Home Again 0 415

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10

Movie Review: Goodbye Christopher Robin 0 448

This review was previously published at The National.

The world of celebrated children’s author A. A. Milne and the creation of his beloved Winnie the Pooh stories are chronicled in this frightfully polite biopic from director Simon Curtis (My Week with Marilyn) that flirts with dipping its toes into darker waters but steadfastly clings to safe tropes and always with its top button firmly fastened.

We start off in 1941 where we find an ageing Milne (Domhnall Gleeson in questionable make-up and greyed hair) and his wife Daphne (Margot Robbie) living on their secluded East Sussex farm. They receive a telegram informing them that their son, C.R. Milne, is missing presumed dead after heading off to fight in World War Two.

We then jump back in time to Milne on the front lines of the First World War. He returns from the fighting a changed man; suffering from PTSD (popped balloons evoking sudden gunfire et al.), becoming increasingly sick of just making people laugh with his West End plays and the general hustle-bustle that comes with big city life.

He convinces his reluctant wife to move to the country for some peace and quiet and where his infant son, Christopher Robin (played by Will Tilston at the younger age, Alex Lawther as he gets older), can go on the childhood adventures he deserves with the support of loving nanny Olive (Kelly Macdonald).

Settling into the kind of serene life he craves, he is inspired to create Winnie the Pooh and the rest of his soon-to-be-beloved friends inspired by the stuffed animals with which his young son has become so enamoured. Unfortunately for Christopher – referred to by everyone as “Billy Moon” – his father uses his real name in the stories, turning him into one of the most famous boys in the nation.

Despite the obvious attraction of it exploring the world famous Pooh stories, it’s a film much more interested in the effect it has on a fractured family clinging on to peacefulness, not least the unwanted attention thrust upon a young boy who simply isn’t equipped to handle it and how his parents carry on oblivious.

If anything it takes a curiously bleak outlook on what these stories mean to the world once they’ve been put out there, conveying a somewhat confusing message for a film that ultimately wants us to celebrate these stories as immortally cherished tales; that the Winnie the Pooh embraced immediately by the public and has now stood the test of time for almost a century is in some way missing the point of what it truly means to the author and a son who, inadvertently or not, was used as a tool of innocence to sell the idea of an idyllic childhood in Milne’s Hundred Acre Wood.

It’s bolstered by almost uniformly moving performances; Gleeson plays Milne with a kind of damaged empathy that makes you feel like you get to know the author beyond the public persona. Macdonald is oftentimes heart-breaking as Christopher’s devoted caregiver and Tilston walks away with the film as the adorably sweet-natured young Christopher. It’s only with Robbie that the film makes a misstep; she’s miscast as Milne’s wife and never stepping out of the shadow of cold motherly cliché.

In spite of its darker leanings, the film remains too buttoned up to properly wrestle with those themes in any sort of lasting way, far too polite to ever dive head first into the murky waters into which the drama intermittently peers.

Wrapped in Ben Smithard’s handsomely old-fashioned cinematography and soaked in Carter Burwell’s perpetually swelling score, it’s an aesthetically and emotionally appealing but nevertheless fairly vanilla period biopic best suited to being enjoyed on a rainy Sunday afternoon with tea and biscuits.

6.5 out of 10