Shame Review

Rated NC-17 (Some Explicit Sexual Content)

Running Time: 1 Hour & 41 Minutes

Cast-

Michael Fassbender-Brandon Sullivan

Carey Mulligan-Sissy Sullivan

James Badge Dale-David Fisher

Nicole Beharie-Marianne

Elizabeth Masucci-Elizabeth

Directed by Steve McQueen

Michael Fassbender stars in Steve McQueen's "Shame," one of the best films of 2011.

Addiction. Drugs, alcohol, gambling, etc., it matters not what your poison is as the emotions that all addicts suffer through is universal. It gets to the point where there is only the addiction as you spiral out of control into a never-ending cycle of self-hate and loathing until you are left alone with…shame. You know to continue is wrong as your compulsive urges have long ceased to grant you any satisfaction but stopping ultimately becomes a futile effort even if you desperately wanted to. This is “Shame” in a nutshell, the latest film from British auteur Steve McQueen which stars Michael Fassbender and Carey Mulligan. Fassbender has been on quite a roll in recent years, appearing in no less than four films in 2011 including Cary Fukunaga’s adaptation of the famous 1847 Charlotte Brontë novel “Jane Eyre,” the Marvel Comics prequel “X-Men First Class,” David Cronenberg’s “A Dangerous Method” where he plays world-renowned Swiss psychiatrist Carl Jung, and now “Shame.” Even more impressive is that all of these films have received critical praise, especially for Fassbender. 2012 looks to be a big year as well as he is set to appear in Steven Soderbergh’s action-packed “Haywire” in January and the highly anticipated “Prometheus” in June, a semi-prequel to 1979’s “Alien” with Ridley Scott back at the helm. Brilliantly shot by McQueen and boasting standout performances from Fassbender and Mulligan, “Shame” is by far one of the best films of 2011 as it plunges audiences into a haunting and harrowing character study of a man consumed by his addiction yet is unable to escape his hellish existence even as his life begins to fall apart around him. 

Brandon Sullivan (Michael Fassbender) is an attractive, successful businessman in his thirties living in New York City but he leads an isolated life in a sterile Manhattan apartment and forms no real connections. Unbeknownst to everyone around him, Brandon suffers from a debilitating addiction to sex where his daily routine consists of masturbating at every opportunity, watching violent pornography on his work computer, interacting with cam girls on his home laptop, and paying for expensive call-girls in a desperate but futile search for human companionship. Sometimes he accompanies his married boss David (James Badge Dale) to bars in order to hook up with women for a one-night stand. Brandon always succeeds with little effort with his quiet yet suave mannerisms while David comes off too strong and obvious in his intentions. Brandon arrives home one night to find his troubled sister, Sissy (Carey Mulligan), a deadbeat jazz singer, with nowhere to go and begging for a place to stay. He reluctantly lets her live with him at his apartment but this arrangement soon wrecks havoc on his structured life as he finds himself recklessly spiraling out of control and plunging into a hell in which he cannot escape from. 

Sex addiction was acknowledged in 1987 as a mental disorder by the American Psychiatric Association and was defined as ‘distress about a pattern of repeated sexual conquests or other forms of non-paraphilic sexual addiction, involving a succession of people who exist only as things to be used’ but this was removed in 2000 and whether it is an actual disorder has remained up for debate. It continues to be treated as little more than a joke in films and television since our brains are hardwired to consider the act of sex and therefore orgasms as pleasurable but “Shame” treats sex addiction as no laughing matter. At first the film appears to tell a fairly conventional narrative but do not be fooled as the film proves the age-old adage that looks can be deceiving. Set to a haunting melodic score from Harry Escott, the opening shot shows Michael Fassbender’s Brandon staring blankly at the camera with the bed sheets rumpled around his bare mid-section. He stands up fully nude and listens to the voice mail of a woman pleading with him to pick-up the phone before getting into the shower and masturbating. This routine is intercut with scenes of Brandon riding the subway to work and staring intently at a pretty woman (Lucy Walters) sitting across from him. She smiles back and flirts by slowly crossing her legs but he continues to stare with the same blank expression from before. The woman leaves when the subway arrives at her stop but not before subtly flashing her engagement ring at Brandon, who desperately tries to follow to no avail. He arrives late to work and finds his computer being hauled away due to a virus infection. Later, Brandon sneaks off into the men’s bathroom to masturbate again. He ends the night by having sex with an expensive call-girl and the cycle continues anew the next day. The interesting thing about these scenes is that very little is actually said and what is ends up being mundane and ultimately inconsequential. However, even though Brandon rarely utters a word, his expression already reveals everything we need to know about him. The opening shot of Brandon is one of depression on the verge of suicide and even when he masturbates, his face is absent of any pleasure, only desperation and even pain. McQueen’s framing is very calculated as he utilizes long takes where his camera lingers for minutes at a time. He depicts New York City as a place of contrasts with upscale yet sterile apartments and grimy streets covered with graffiti. It is a way to symbolize how Brandon presents a clean exterior of normalcy but hides something ugly deep inside him. 

Once Sissy arrives to live with Brandon, that’s when his life starts to unravel. At first, the film does not even reveal that she is his sister and we initially assume that they are estranged lovers given the way they behave around each other until an off-handed comment is made. The two are unperturbed at seeing each other naked and it is implied that they suffered a traumatic event in their childhood but McQueen keeps his cards close to the chest as much is left up to the viewer’s interpretation. Brandon and Sissy are both troubled individuals desperately looking to make an emotional connection but the two go about it in different ways with one seeking it from casual sex and the other by clinging obsessively to anyone who pays attention. We expect Sissy to help Brandon reach redemption and realize that he is leading a hollow existence but this is not that type of film where there is a happy ending. The final third of the film has brother and sister sitting a little too closely and having a tense argument until Brandon gets up to leave and delivers an ultimatum: Sissy has to be out of his apartment by the time he comes back. This is when McQueen delves into darker territory as we find Brandon wandering the streets looking for relief. He is refused entry into a nightclub and walks into a dingy gar bar where a man performs fellatio on him. His face is one of anguish and self-loathing at his addiction. Later, Brandon finds himself in a threesome with two women but as he reaches orgasm, the release gives him no satisfaction and it is apparent that he has become a shell of a man. The final scenes show Brandon displaying at least some measure of care for a human being but it ends where it began at a fork in the road: on the subway staring into the eyes of the same attractive woman. 

What really makes “Shame” such a compelling watch are the powerhouse performances from Michael Fassbender and Carey Mulligan. The two bare not just their bodies but also their souls. Fassbender succeeds in the incredible feat of making you sympathize with what is essentially a selfish character and the audience is made to wallow in his self-hate and loathing with him. The dialogue appears to be improvised but the most effective scenes are the ones in which he says nothing and this actually wrings quite a lot of suspense as it feels as if an explosion is about to take place. Much of the emotion is below the surface; the only time in which Brandon’s armor cracks is in this powerful moment where he finds himself at a New York pier and screams in anguish at his suffering. Fassbender has given an Academy Awards-worthy performance in every sense of the world and I would be really glad if he took home the golden statuette as no one deserves it more. Carey Mulligan has a less substantial role as the film is filtered through Brandon’s eyes but she also gives an amazing performance. Mulligan has this one scene that encapsulates everything this film is about where she sings Frank Sinatra’s New York, New York and transforms it from a song about celebrating your dreams into longing and regret. McQueen’s camera focuses on her throughout the four minutes with occasional cuts to Brandon, who is deeply affected and even sheds a tear because he knows what she is going through. The two appear fully nude in several instances although it is mainly Fassbender. While it is rated NC-17, the nudity is no more substantial than what you would see in an R-rated film such as David Fincher’s “The Girl with the Dragon Tattoo” but what did you expect from the MPAA with its puritanical view of sex? It almost feels as if the consumer/ratings organization is ashamed, which I find humorously ironic considering the subject of this review. The sex scenes form an organic part of the story, functioning as a way to delve into Brandon’s mindset and are not meant to arouse. I admire the fact that Fox Searchlight Pictures did not appeal the rating and wore it as a badge of honor. 

In limited release since December 2, 2011, “Shame” has received largely positive reviews with a solid 79% on Rotten Tomatoes. I must admit I was expecting higher considering the glowing praise the film has received and continues to receive. Critics hailed it as ‘a powerful plunge into the mania of addiction affliction.’ The widest release has been 55 theaters so do not expect an expansion. The film has grossed $4.4 million worldwide against an estimated $6.5 million production budget but I doubt a director like McQueen cares about such things. I viewed the film in the morning and audience attendance was middling at best since this will only appeal to a very niche group. “Shame” is not a film one enjoys as it’ll leave you feeling cold and hollow as you leave the theater but it is a powerful piece of cinema with performances that has rivaled everything I have seen so far. I have found my best film of 2011.

Final Rating: 5 out of 5

“We're not bad people. We just come from a bad place.”

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Tinker Tailor Soldier Spy Review

Rated R (Violence, some Sexuality/Nudity and Language)

Running Time: 2 Hours & 7 Minutes

Cast-

Gary Oldman-George Smiley

Benedict Cumberbatch-Peter Guillam

Colin Firth-Bill Haydon

Ciarán Hinds-Roy Bland

Toby Jones-Percy Alleline

David Dencik-Toby Esterhase

Mark Strong-Jim Prideaux

Tom Hardy-Ricki Tarr

John Hurt-Control

Simon McBurney-Oliver Lacon

Kathy Burke-Connie Sachs

Konstantin Khabenskiy-Polyakov

Svetlana Khodchenkova-Irina

Katrina Vasilieva-Ann Smiley

Directed by Tomas Alfredson

Gary Oldman's George Smiley meets his match when British Secret Intelligence is invaded by a Soviet spy.

For the past five decades, the modern spy genre has been dominated by one name: James Bond and despite the changing times, the long-running franchise (its twenty-third entry, titled “007 Skyfall,” is currently filming as I type this review) continues to be surprisingly relevant among film audiences as each director is unafraid to mold or even outright reinvent the character to reflect the era that he is currently in. However, the series’ formula for high-octane chases, explosive action scenes, beautiful women, and use of exotic locales has remained unchanged even as Bond was rebooted in 2006 with “007 Casino Royale” in an attempt to strip away its sillier aspects and bring the character back to its roots. This move was partially inspired by the successes of both the “Bourne” films and 2005’s “Batman Begins” but despite the genre’s renewed focus on realism, the action-oriented approach has continued to keep Bond and the peers he inspired in the world of pure fantasy and serve as merely entertainment experiences. Think about it: why would a government-sponsored secret agent do such a terrible job of keeping to him or herself by engaging in massive gun battles in full-view of the public while causing millions of dollars of property damage? No, the reality is far more different and would resemble John le Carré’s 1974 novel Tinker, Tailor, Soldier, Spy. Carré was a French pseudonym (translated: John the Square) used by David Cornwell who served in British Secret Intelligence Services MI5 and MI6 until 1964 when he was betrayed by Kim Philby, a double agent working for the Soviet Union and part of the infamous Cambridge Five. The first in the so-called Karla Trilogy, the novel was previously adapted for television as a seven-part series for the BBC in 1979 and featured Sir Alec Guinness (Obi-Wan Kenobi from the original “Star Wars” trilogy) as the titular British agent George Smiley. “Tinker Tailor Soldier Spy” the film marks the English-language debut of Swedish director Tomas Alfredson and despite the difficulty in adapting such a densely plotted narrative, he and his writers prove more than up to the task as the result is a richly-layered, suspenseful, and even though-provoking espionage thriller that is bolstered by one of the best ensemble casts ever assembled with each giving a nuanced performance but the most memorable of them all is certainly Gary Oldman. 

During the height of the Cold War in 1973, Jim Prideaux (Mark Strong) meets with the head of British Secret Intelligence, Control (John Hurt), to receive his latest mission: travel to Budapest and meet with an unnamed Hungarian General who is selling information. When Prideaux asks what kind, Control answers that it contains ‘the name of the mole the Russians have implanted in British Intelligence, right at the top.’ However, the mission ends in failure when Prideaux’s cover is blown and is shot dead by Soviet agents. Control and his trusted right-hand man George Smiley (Gary Oldman) are forced into early retirement amidst the international crisis that follows. Already terminally ill, Control soon dies alone in a hospital. The new Chief of British Secret Intelligence (colloquially called the Circus) is Percy Alleline (Toby Jones) with Bill Hayden (Colin Firth) serving as his right-hand man.  Roy Bland (Ciarán Hinds) and Toby Esterhase (David Dencik) form the rest of Percy’s inner circle. Forgoing the usual channels to protect their source within the Soviet Union, Alleline and Bland meet face-to-face with Civil Servant Oliver Lacon (Simon McBurney) to request funding for a top-secret operation dubbed Witchcraft in order to receive highly sensitive Soviet intelligence from his contact within a privately rented townhouse. Given the ‘disaster’ at Budapest, Lacon is reluctant to provide additional funding since in the eyes of the United States, British Secret Intelligence remains a ‘leaky ship.’ After the meeting, Lacon receives a phone call from Ricki Tarr (Tom Hardy), an agent falsely accused of defecting to the Soviet Union, and learns that there is a mole in deep cover hidden within the upper echelons of British Secret Intelligence. He brings Smiley out of forced retirement and asks him to uncover the mole since he is ‘outside the family’ now. Aided by a scalp-hunter named Peter Guillam (Benedict Cumberbatch), Smiley sets to work in finding the mole and discovers that he is matching wits with a secretive, highly intelligent Soviet agent codenamed Karla. 

Both its main strength and its weakness, “Tinker Tailor Soldier Spy” is a very difficult film to follow and requires the utmost attention from its audience which will limit its appeal among the masses. This difficulty arises not because the film is abstract in any way but the fact that there is a large amount of information presented and each line of dialogue represents a key piece of the puzzle that will unravel the central mystery. Now I admit that I have not read Carré’s novel nor seen the 1979 original BBC television series but this fresh perspective actually makes the film more engaging, allowing me to become an active participant in Smiley’s investigation as he analyzed every clue. Writers Bridget O'Connor and Peter Straughan have done an excellent job in compressing and streamlining the novel into a compact two hours but there is one glaring issue: the use of flashbacks is sometimes not all that apparent and I feel that an audio cue would’ve helped. These scenes contain a large amount of background exposition but it all comes off as organic rather than forced in order to pander to audiences. The music from Spanish composer Alberto Iglesias lends a noir-like vibe to the proceedings with its use of a jazz motif and it fits as all of these British agents are weary and tired of the cat-and-mouse game they must play and the violence that inevitably follows. Much effort has gone into accurately recreating Cold War-era Britain during the 1970’s and the cinematography from Hoyte van Hoytema is often bathed in a gray/brown hue indoors and foggy clouds in establishing shots to mirror the murky world these characters live in. 

The sense of paranoia exudes in every scene but the film is as much a character drama as it is an espionage thriller. Several innocuous scenes of children at play are shown and the most common trait of all children is that they are curious and like to observe. The adults observe as well but it represents a loss of innocence and idealism as their loyalty to their country forces them to betray even their closest friends at the drop of a hat if it is discovered that they work for the enemy. The moral boundaries that initially led them to this profession are not as clear cut as it was and it raises not just the political but also the personal stakes as well since the other side will have no qualms in exploiting any weakness. Smiley gives a brilliant speech on this in the middle of the film when he recalls a meeting in Delhi in 1955 where he attempted to convince Karla to defect to their side. Tired and worn down, he cannot even remember Karla’s face. The dense narrative is certainly not easy to digest immediately upon a first viewing but all the information is there and it is up to you to connect the dots. I enjoy when a film like “Tinker Tailor Soldier Spy” challenges its audience but this can be a barrier for some people who are simply looking for disposable entertainment so if you are of that crowd, I would not recommend seeing this. There is little in the way of action in the traditional sense and I fear that viewers will complain that nothing ‘happens’ when this is not true. Granted, the revelation of the mole’s identity is understated and presented in a matter-of-fact manner but there is this suspenseful scene in which Guillam is sent in by Smiley to retrieve the duty officer’s log-book back at headquarters and that he will disavow him if he is captured. Violence is sparse as well but there are several shocking scenes in which we witness the aftermath of a disembowelment and a young woman suddenly shot in cold blood. 

Alfredson has assembled an impressive ensemble cast of largely British actors, led by Gary Oldman. As George Smiley, he has a taciturn demeanor and never betrays his emotions except in a rare moment but his cunning and intelligence are never doubted. Despite his quiet and reserved performance, we remain entranced by his investigation and it’s because Oldman has such a silently commanding presence. Benedict Cumberbatch (some will recognize him from the BBC’s television series “Sherlock,” a contemporary reimagining of the famous literary detective) lends a solid performance as the rookie-like Peter Guillam. David Dencik, Colin Firth, Ciarán Hinds, and Toby Jones have supporting roles and while they do not share as much dialogue or screen-time compared to Oldman, their characters are very much central to the story as their veiled smiles and lingering glances throw off alarms, keeping audiences guessing as to who the mole really is. Mark Strong and Tom Hardy (whose career has skyrocketed since appearing in 2010’s “Inception”) are sympathetic soldiers worn down by the sacrifices they make for queen and country. Finally, there’s John Hurt, displaying a stubbornly grizzled weariness as he leads the British Secret Intelligence. As much of the film takes place in backroom conversations and whispers, the presence of such a distinguished cast make something as simple as two men sitting in a room exciting as there is a palpable sense of tension. 

In limited release since December 9, 2011, “Tinker Tailor Soldier Spy” has received largely positive reviews with 85% on Rotten Tomatoes. Critics hailed it as ‘a dense puzzle of anxiety, paranoia, and espionage that director Tomas Alfredson pieces together with utmost skill.’ Audience reaction has been mixed as the common complaint is that the film is convoluted and hard to follow. Yes, the narrative is dense and you have to digest a large amount of information in a short amount of time but it is not too much for a film to ask you to think and challenge ourselves. I admit that I did not immediately grasp all the intricacies of its plot but the pieces are all there and it does make sense after sitting down to put it all together. The production budget is an estimated $30 million and the film has managed to earn that back with $36 million worldwide but its niche appeal will keep it from reaching a wider audience as the masses will find it to be an impenetrable experience despite its recent expanded release. Backed up by a number of brilliant performances, “Tinker Tailor Soldier Spy” is a finely-crafted espionage thriller that can best be compared to an onion whose secrets are waiting to be revealed as each layer is methodically peeled back. Such a film of intelligence is a rare thing indeed.

Final Rating: 4.5 out of 5

“We are not so very different, you and I. We've both spent our lives looking for the weaknesses in one another.”

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Underworld: Rise of the Lycans Blu-Ray Review

Rated R (Bloody Violence and some Sexuality)

Running Time: 1 Hour & 32 Minutes

Cast-

Michael Sheen-Lucian

Rhona Mitra-Sonja

Bill Nighy-Viktor

Steven Mackintosh-Andreas Tannis

Kevin Grevioux-Raze

David Aston-Coloman

Elizabeth Hawthorne-Orsova

Tania Nolan-Luka

Shane Brolly (voice)-Kraven

Kate Beckinsale (voice/archive footage only)-Selene

Directed by Patrick Tatopoulos

Bill Nighy's Viktor prepares for war in "Underword: Rise of the Lycans."

Note: Part of the "Underworld Trilogy: The Essential Collection" Blu-Ray set.

As far as genre films go, 2003’s “Underworld” proved to be an entertaining action-horror affair and while it suffered from a lack of originality, the intriguing mythology made up for it even if it was at times too convoluted for its own good. Having the sexy Kate Beckinsale battling werewolves and other nasty monsters in a skintight leather outfit was a plus as well but color me surprised when the film led to the formation of a new franchise. The relatively low production budgets allowed the films to make enough profit from both worldwide box office receipts and DVD sales to warrant new installments despite the harsh drubbing it receives from film critics. After the disappointing “Underworld Evolution,” it seemed as though director Len Wiseman had taken the vampires vs. werewolves concept as far as it could go but lo and behold, a third film was announced back in October 2007 and would serve as a prequel to the previous two entries. The project held promise but having the designer of the creature effects direct the film did not exactly inspire confidence. Thankfully Patrick Tatopoulos does an adequate job emulating Wiseman’s style and while “Underworld Rise of the Lycans” has its fair share of overacting (especially from Bill Nighy) and hammy dialogue, it nonetheless proves to be an entertaining film and accomplishes what a prequel should by illuminating what was only hinted at in the previous installments. 

Taking place hundreds of years before the events of “Underworld” and its sequel in what is assumed to be the Medieval Era, Vampire Elder Viktor (Bill Nighy) discovers a human child born of a feral werewolf. He contemplates killing the baby but hesitates and decides not to. Given the name Lucien (Michael Sheen), this child is the first of a new race of werewolves called Lycans, who can freely transform back-and-forth between their beast and human forms without the aid of the full moon. Viktor uses the Lycans to his advantage to create a new slave race to toil for the vampires, forcing them to wear a special collar with protruding spikes to prevent them from transforming at will. As Lucien grows into an adult, he becomes attracted to Viktor’s only daughter Sonja (Rhona Mitra) and the two eventually fall deeply in love, keeping their relationship a secret for fear of persecution and death. Viktor has a deal with the humans living in the area as he and his Death Dealers protect them from the werewolves roaming the countryside in exchange for slaves (which he uses to create more Lycans) and a tithe. While guarding a group of human nobles on their way to meet with the vampire council, Sonja and the Death Dealers following her are attacked by an unusually large wave of werewolves. Hearing their howls and knowing that Sonja cannot fight them all off, Lucien risks punishment and leaves the confines of the castle to rescue his beloved. He removes his collar using the crude key he made and transforms into his werewolf form with a deafening roar. The feral werewolves immediately stop attacking and retreat back into the forest. Viktor is furious at what has happened and feeling betrayed, punishes Lucien by having him whipped thirty times but this instead unites the enslaved Lycans and inspires them to fight back against their masters. Freeing his brothers, Lucien leads a rebellion against Viktor and escapes the castle but is forced to return upon learning that Sonja has been imprisoned for carrying on a secret affair with him. This sparks the Vampire-Lycan War that lasts the better part of six centuries. 

No one will mistake “Underworld Rise of the Lycans” as Academy Awards material but the film is one of the better prequels I have seen as it fleshes out the back-stories of several supporting characters and avoids the drawn-out scenes of exposition that plagued the previous entries. Its tale of doomed star-crossed lovers and a lowly slave inspiring his brethren to fight for freedom recalls William Shakespeare’s famous play Romeo & Juliet and Stanley Kubrick’s 1960 historical epic-drama “Spartacus”. There’s even a bit of a religious subtext as Lucien is made to resemble Jesus and suffers through several bloody whippings. The fact that he is the first Lycan to be born lends him a sort of messiah-like status. The themes of forbidden love and racial/social segregation are also revisited and while the film does not exactly do anything new with them per se, it still makes for a reasonably compelling watch by putting a new spin on what was a second-rate villain in the first film and turning him into something of a tragic figure. “Underworld” did little to explain why Lucien was so obsessed with mixing the Corvinus bloodlines but the prequel sheds light on his true motivations and that his intent was never as malevolent as audiences were led to believe. “Rise of the Lycans” is by and large still a derivative film but it contains a competent enough script to put it a step above other genre flicks that could care less about its story and characters. 

Unlike the more action-oriented “Underworld Evolution,” the prequel follows in the footsteps of the original and is more dialogue-driven but that does not mean there is no action. Cinematographer Ross Emery retains the stylistic black-and-blue monochromatic look that has come to define the series but newbie director Patrick Tatopoulos seems to have trouble shooting the action scenes as it ends up being a victim of fast blurs and quick edits. The CG is a mixed bag as it does not hold up to close scrutiny and while it is certainly no “Lord of the Rings,” I was impressed at the scale of the final battle considering the crew was working with a low $35 million production budget. Several nicely choreographed sword fights occur but they happen too infrequently to make much of an impression. 

The acting ranges from two extremes with Michael Sheen taking his role as Lucien seriously while Bill Nighy reaches new heights of overacting as the tyrannical Vampire Elder Viktor. Sheen’s sympathetic and tragic portrayal of Lucien is admirable because it shows that even if the film ends up flopping critically, he still puts in his best work possible. However, he is overshadowed by Nighy with his exaggerated mannerisms and dialogue delivery. He knows what type of film he’s in and has fun with the role. Rhona Mitra is attractive but she’s definitely no replacement for Kate Beckinsale. Still, the chemistry she has with Sheen is miles better compared to Selene and Michael. Steven Mackintosh reprises his role as Andreas Tanis who once again does little besides show that he is nothing but a conniving bastard. 

“Underworld Rise of the Lycans” was released as a stand-alone Blu-Ray and as part of a trilogy box set in May 2009. This box set has been re-released with an ornate slipcover under the label “The Essential Collection” as a way to promote the upcoming fourth installment, “Underworld Awakening.” Unless you own none of these films, there is no sense in double-dipping as the set includes the same video/audio transfers as the previous release with the only addition being a series of throwaway anime shorts titled “Underworld Endless War” and the removal of the prequel’s digital copy. Thankfully, “Rise of the Lycans” requires no new encode because it still looks astonishing despite its use of heavy shadows and minimal lighting. Blacks once again have a solid inky depth and textures such as the vampire’s armor look intricate but the heavily-processed image does obscure fine detail in the background. This is a minor gripe and does not keep the video from reaching near-reference quality heights. Things are more subdued on the audio front given the film’s dialogue-heavy nature but the final battle is an aural treat as Lycans roar so loud, your hairs will stand on end. There’s also some nice ambiance with the clinking of armor and sharpening of swords. Special features are presented in high-definition this time and include a picture-in-picture commentary in addition to a traditional audio commentary with director Patrick Tatopoulos, series creator Len Wiseman, executive producer James McQuaide, and producers Richard Wright and Gary Lucchesi. Various featurettes detailing the production design and characters are also included. 

Released on January 23, 2009, “Underworld Rise of the Lycans” unsurprisingly received largely negative reviews with 30% on Rotten Tomatoes. Critics found it to be ‘an indistinguishable and unnecessary prequel…despite the best efforts of its competent cast.’ I am in the minority as I highly disagree and honestly feel it is a well-made prequel that finally structures the convoluted mythology into a coherent manner. Box office wise, the film failed to make much of an impression domestically and was surpassed by Kevin James’ comedy “Paul Blart: Mall Cop” during opening weekend. The worldwide total stands at $91 million, which is solid considering the cheap $35 million production budget. “Underworld Rise of the Lycans” is strictly for the fans only as it assumes viewers will have some rudimentary knowledge of the previous films but it is certainly a step-up from its mediocre predecessor. The story and themes may not be original but the world remains as fascinating as ever and I look forward to seeing what happens in the soon-to-be released fourth film.

Final Rating: 3.5 out of 5

Raze: Lucian, it is finished!

Lucian: No, this is just the beginning.

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Underworld: Evolution Blu-Ray Review

Rated R (Pervasive Strong Violence and Gore, some Sexuality/Nudity and Language)

Running Time: 1 Hour & 46 Minutes

Cast-

Kate Beckinsale-Selene

Scott Speedman-Michael Corvin

Tony Curran-Markus Corvinus

Derek Jacobi-Lorenz Macaro

Steven Mackintosh-Andreas Tanis

Shane Brolly-Kraven

Bill Nighy-Viktor

Zita Görög-Amelia

Michael Sheen-Lucian

Brian Steele-William Corvinus

Directed by Len Wiseman

Kate Beckinsale with a gun--every man's fantasy.

Note: Part of the "Underworld Trilogy: The Essential Collection" Blu-Ray set.

After working as a property assistant (someone who acquires and manufactures props in addition to maintaining the physical appearance of a set as reflected by the director’s aesthetic vision) on a number of films from Roland Emmerich during the 1990’s, Len Wiseman made his directorial debut in 2003 with “Underworld,” an action/horror flick starring his future wife Kate Beckinsale. Unfortunately, critical reception was largely negative and many wrote it off as all style and no substance. However, I quite enjoyed the film despite its numerous flaws such as its flat characterization and a story that leaned too heavily on exposition but it introduced audiences to a sexy kick-ass action heroine in a compelling world where unbeknownst to humans, vampires have been raging a secret war with werewolves (called lycans in the film) for centuries. Shot under a modest budget of approximately $22 million, “Underworld” went on to become a mild box office success, earning $96 million worldwide but although a sequel was always intended, it was the strong DVD sales that finally spurred Wiseman to direct a follow-up three years later. “Underworld Evolution” certainly benefits from its increased budget with bigger and bolder action set-pieces but the paper-thin story jettisons much of what made the original so good in favor of characters running from one location to another and pausing only occasionally to sprout even more exposition. Kate Beckinsale remains a credible female action star but not even her presence can save this film from mediocrity. 

During a prologue set in 1202 AD, Vampire Elders Viktor (Bill Nighy), Amelia (Zita Görög), and Markus Corvinus (Tony Curran) arrive at a Lycan-ravaged village in an attempt to capture William (Brian Steele), the first and most powerful werewolf who also happens to be the twin brother of Markus. Although their troops sustain heavy losses, the Elders manage to subdue the now-mindless William but despite Markus’ protests that he was not to be harmed, Viktor decrees that his brother be imprisoned in a secret location for all eternity. Fast forward to the present and picking up immediately after the chaotic events of the first film, former Death Dealer Selene (Kate Beckinsale) takes her hybrid lover Michael Corvin (Scott Speedman) to a safe house before returning to the vampire coven’s mansion to confront the traitorous Kraven (Shane Brolly), who intends to kill the still-hibernating Markus. However, Singe’s blood had unknowingly seeped into his coffin, awakening and transforming him into a monstrous Vampire-dominant hybrid. Markus brutally wipes out Kraven and his men before destroying the mansion to hunt for Selene. Meanwhile, an elderly man named Lorenz Macaro (Derek Jacobi) arrives with a contingent of soldiers to recover the bodies left behind in the aftermath of the battle at the Lycans’ underground lair. He examines Viktor’s beheaded corpse and finds a metal disk attached to his rib-cage. Back at the safe house, Michael struggles to suppress his urge to feed by consuming human food at a nearby restaurant but this fails and he ends up drawing attention to himself from a number of local police officers. Selene manages to rescue him but the two are immediately attacked by Markus, who attempts to steal the gold pendant that was found on Lucien’s (Michael Sheen) body. This pendant is revealed to be the key to William’s prison but Markus is unable to locate it until he feeds on Selene’s blood as the secret is hidden within her memories. He intends to free his twin brother and create a new race of hybrids in a bid for world domination. 

“Underworld Evolution” logically continues from the first film and is best viewed back-to-back as both form one contiguous storyline. However, many of the problems have not been rectified and are carried over in a magnified state as Wiseman tries too hard to top the original with its bigger, louder action set-pieces. The extensive mythos mapped out by the writers was one of the elements that set “Underworld” apart from other genre films, which usually featured throwaway plots, but this ultimately proves to be a detriment in “Evolution” as every character is reduced to being nothing more than mouth-pieces to convey all the details of its overly convoluted backstory. Andreas Tanis (Steven Mackintosh) and Derek Jacobi’s Lorenz Macaro are particularly guilty of this as they are quickly killed off after serving their purposes in the film. Audiences will find it difficult to form any emotional connection as the Shakespearean romance that was so central in the original comes dangerously close to being forgotten in the midst of all the loud action scenes. If one were to take away all the time-inflating exposition, what is left can barely support its one hour-and-forty six minute running time as it is essentially one nonstop chase between various non-descript locations. 

Despite the sequel clearly being inferior and leaving an unsatisfying aftertaste, I admit that I was never actually bored by what was happening on-screen because the action feels less derivative of “The Matrix” this time around. Wiseman utilizes copious amounts of blood and gore from the get-go as the now-transformed Markus makes a splashy entrance, brutally impaling Kraven and his men using the sharp tips of his wings. In fact, the violence makes the first film seem almost tame by comparison. There’s an excellent highway chase scene as Selene and Michael try to escape from a flying Markus before sunrise and the climactic battle is certainly an exciting (and loud) one but disappointingly, its central villains end up being defeated a little too easily even as “Evolution” goes to great lengths to build up the threat they pose. I also preferred the original’s extensive use of practical effects as some of the CG work is sometimes too obvious but the full-body make-up applied on Tony Curran is exceptional given the film’s visually-intensive focus. Cinematographer Simon Duggan maintains the monochromatic black-and-blue palette but the shade is noticeably brighter compared to the previous film. 

Of course, the primary draw of the sequel is the return of Kate Beckinsale and seeing her mow down a Lycan twice her size with an assault rifle or fighting off Markus with just her fists proves to be the highlights of the film, in addition to her perfectly shaped derriere. As such, people viewing this film will not be focusing on her performance but she exhibits more life this time around with a bit of a dry wit to her line delivery. Late in the film, Selene has an emotional breakdown and Beckinsale handles it with aplomb as it is the only time where audiences might come close to feeling something. Scott Speedman fulfills his purpose of looking good while shirtless. He and Beckinsale share a nude sex scene but it feels as if Wiseman included it only to titillate the male audience as it goes on for a little too long. Tony Curran takes a page out of Shane Brolly’s Kraven by overacting and fails to elicit much dread as the main villain whether in human or demonic form but the impressive make-up certainly helps. Derek Jacobi adds a touch of class to the proceedings with an understated performance while Bill Nighy makes the most out of his cameo with his trademark overemphasis on every other word. Finally, there’s Steven Mackintosh as Andreas Tanis but he’s one of those characters that do little besides provide exposition and gets tossed aside ten minutes later. 

“Underworld Evolution” arrived on Blu-Ray as a stand-alone release in June 2006 and as part of a trilogy box set in May 2009. This box set has been re-released to promote the upcoming fourth film “Underworld Awakening” under the label “The Essential Collection” but there’s nothing essential about it since it includes absolutely nothing new besides an extra disc with three throwaway anime shorts (collectively known as “Underworld Endless War”) and an ornate slipcover. No sense in double-dipping if you already own all the films. That being said, “Evolution” sports a stunning video transfer despite being one of the earlier Blu-Ray releases. Shadows have a solid inky depth to them but never envelop detail such as in the opening prologue where the intricate design on the armor is quite visible even when only illuminated by nothing but torches. The make-up effects on Markus shine in high definition but skin tones tend to take on an overblown paleness and exhibits a faint glow. That’s a small gripe though and overall, this is the best the film will look as a new encode will probably not result in much of an improvement seeing as the transfer is already in excellent shape. This is a loud film and the audio proves itself up to the task as your ears will be hit by a sonic barrage of effects from heavy gunfire to a helicopter crashing into the ground in a fiery explosion. Dialogue remains sharp and is never drowned out even during action-heavy scenes. The extras included are once again ported from the DVD with a technical-heavy audio commentary from Wiseman, production designer Brad Tatapolous, second unit director Brad Martin and stunt coordinator/editor Nicolas De Toth in addition to a handful of featurettes amounting to a forty-five minute look at the making of the film. 

Released on January 20, 2006, “Underworld Evolution” received even worst reviews compared to the original with a low 16% on Rotten Tomatoes as critics wrote it off as ‘a visual and aural assault on the senses [that] makes a lot of noise and features a heavy-handed, overly convoluted story.’ Made on an estimated $50 million production budget, the sequel followed in the footsteps of the original and went to become a mild box office success with $111 million worldwide, enough to warrant a prequel three years later. “Underworld Evolution” features everything a sequel should have but in this instance, it is truly all style and no substance with its non-existent story but despite being a thoroughly mediocre effort, the film is never boring thanks to the intense action scenes and Kate Beckinsale’s presence. Fans of the original will be more lenient to its flaws but it is hard not to come away ultimately disappointed.

Final Rating: 2.5 out of 5

“An unknown chapter lies ahead. The lines that had divided the clans have now been blurred. Chaos and infighting are inevitable. All that is certain is that darkness is still ahead. But for now, for the first time I look into the light with new hope...”

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Underworld Unrated Extended Edition Blu-Ray Review

Unrated (Strong Violence/Gore and Some Language)

Running Time: 2 Hours & 13 Minutes

Cast-

Kate Beckinsale-Selene

Scott Speedman-Michael Corvin

Michael Sheen-Lucian

Shane Brolly-Kraven

Bill Nighy-Viktor

Sophia Myles-Erika

Robbie Gee-Kahn

Zita Görög-Amelia

Erwin Leder-Singe

Kevin Grevioux-Raze

Wentworth Miller-Dr. Adam Lockwood

Directed by Len Wiseman

Kate Beckinsale makes vampires cool again in Len Wiseman's "Underworld."

Note: Part of the "Underworld Trilogy: The Essential Collection" Blu-Ray set. 

Kate Beckinsale is an incredibly attractive lady, an opinion not many will dispute, although I do wish she wouldn’t smoke as it is a nasty, unhealthy habit but what can you do? From Sigourney Weaver’s Xenomorph-hunting Ellen Ripley to Carrie Ann-Moss’ leather-clad computer hacker Trinity, Hollywood has had its fair share of memorable female action heroines and now you can add Beckinsale to that growing list thanks to her role as corset-wearing vampire warrior Selene in the “Underworld” franchise, whose fourth installment, “Underworld Awakening,” is set to be released on January 20, 2012. Although the original 2003 film received largely negative reviews from critics upon release, it earned something of a cult following and became a mild box office success, its $96 million worldwide gross and relatively small production budget allowed for a sequel to be green-lit as was the intention anyway given the film’s ending that left much of the plot unresolved. Before Stephenie Meyer’s series of “Twilight” novels enthralled millions of teenage girls and became a box office juggernaut in 2008 with the release of the film adaptation of the first novel, “Underworld” arrived five years earlier with a similar concept in which vampires and werewolves co-existed with unsuspecting humans but that’s where the similarities end. Meyer’s tale focused on a human caught between the affections of a vampire and werewolf while the other was an action-oriented affair where a vampire has a forbidden romance with a werewolf despite the fact that the two species have been at war with each for the better part of six centuries. “Underworld” is an entertaining film thanks to its slick visuals and sexy female lead but the story leaves much to be desired due to the slow pacing and the large amount of exposition that takes place in-between action scenes. Nonetheless I applaud director Len Wiseman for making an extra effort in creating a fully-realized world. 

Despite the death of their leader Lucien six hundred years ago, Vampires are still locked in an eternal war with the remnants of the Lycan (werewolves) horde, with the former employing specially-trained warriors known as Death Dealers to hunt the latter down. In an unnamed rain-drenched European city (actually Budapest, Hungary), two Death Dealers led by a woman named Selene (Kate Beckinsale) are following a pair of Lycans in human form to an underground subway station. The Lycans fire upon the crowds of innocent bystanders, forcing Selene and her brethren to retaliate. The Death Dealers accompanying Selene are quickly killed when one of the Lycans transforms into their werewolf form but she manages to kill the other when he tries to make a break for the subway tunnels. Selene retrieves his weapon and locates a Lycan den when she hears howling deep in the tunnels but is forced to flee when the surviving Lycan chases after her. Returning to the vampire coven’s aristocratic mansion, Selene learns from Death Dealer commander Kahn (Robbie Gee) that the weapon she retrieved contains bullets that emit ultra-violet rays, which are fatal to vampires. She urges the coven’s regent, Kraven (Shane Brolly), to lead an attack on the Lycans’ den but he refuses to believe that there is any danger and demands her to drop the matter. Selene investigates further into the evening’s events and determines that the Lycans are looking for a human named Michael Corvin (Scott Speedman), an intern at a local hospital. Arriving at his apartment, Selene finds Michael under attack by a pack of Lycans led by a seemingly alive and well Lucien (Michael Sheen). Michael is bitten by Lucien but Selene rescues and brings him back to the coven’s mansion to recuperate. The attack at the apartment leads Selene to suspect a conspiracy within the coven ranks, forcing her to break tradition and revive Viktor (Bill Nighy), one of the ancient Vampire Elders, from hibernation. Complicating matters is her growing attraction to an infected Michael and soon Selene will find her loyalty tested where she will be forced to choose between him and her allegiance to the Vampires. 

A stylish action film complete with foreboding gothic visuals, “Underworld” has an intriguing and surprisingly well-developed backstory but the details are often conveyed through overlong scenes of exposition and as a whole, is sloppily paced as the opening minutes unceremoniously dumps the audience into a chaotic action scene with little to no context provided other than the fact that vampires and lycans have been at war for centuries. Vampires are depicted as wealthy aristocrats while the Lycans are a loose guerilla band of rebels living in the sewers. Although the central plot concerns Selene and her attempts to discover the Lycans’ interest in a seemingly unassuming human, the script unfortunately tries to do too much as it has to balance its themes of romance and revenge with an already-complicated backstory that it ends up floundering in both those aspects. I appreciated the Shakespearean approach to Selene and Michael’s forbidden romance but the two only share one meaningful conversation before falling in love. The many lulls in-between action scenes border dangerously close on being dull and tedious as various characters run around scheming or reiterating what the audience already knows. Wiseman and his writers went to great lengths establishing the background lore in order to create a world that felt supernatural yet grounded (vampires and lycans are actually infected with a unique virus) but the way this information is revealed makes the film seem like the middle chapter of a larger story and is one of the rare times in which a prequel is actually necessary. A multitude of themes such as love and loss, honor and betrayal, even racial segregation are touched upon but none are ever explored to its full potential because the film’s focus is too broad. Still, “Underworld” stands out in its attempts to tell a well-realized story compared to similar genre films who are just content with offering nothing more than flashy action and little else. Wiseman does not entirely succeed as the exposition often gets in the way of fully developing the characters but he made the extra effort, which is more than I can say for a number of other directors working in Hollywood. 

The action scenes certainly get the blood pumping (no pun intended) with its stylish choreography but it’s all derivative of “The Matrix” as many of the characters are dressed in shiny black leather costumes with the opening gun battle between the vampires and lycans in the underground subway station highly reminiscent of the famous lobby shootout in that film. Selene even spins around in a circle in slow-motion while shooting the floor with debris flying everywhere in order to make a quick escape from an advancing pack of Lycans. Perhaps due to the limited budget used, the Lycans do not transform into their werewolf form as much as you’d expect but the CG and make-up work is well done. However, this has the unfortunate side effect of reducing many of the battles into non-descript shootouts where it’s hard to tell who’s fighting who, especially during the climatic final minutes of the film. Tony Pierce-Roberts’ cinematography lends “Underworld” a striking look with its subtle blue tint and de-saturated color palette. The entire film takes place in a rain-drenched perpetual night where the sun makes nary an appearance. 

After starring in a number of romantic comedies such as 2001’s “Serendipity” and in Michael Bay’s absolutely horrid “Pearl Harbor” where the director made disparaging comments on her appearance (what is wrong with him?!), “Underworld” marked the first time Kate Beckinsale headlined a major action film and I came away impressed. Her performance can be somewhat flat at times due to the character's icy cool demeanor but Beckinsale is undeniably the film’s most compelling asset despite some of the hammy dialogue and looks damn sexy wearing all that tight leather with guns blazing. Her co-star Scott Speedman seems to have been cast more for his hunky looks as the chemistry between him and Beckinsale is virtually non-existent but this is largely due to the film’s poor handling of their budding romance. Shane Brolly froths at the mouth as the conniving Kraven while Michael Sheen bares a strong resemblance to Jesus as Lycan leader Lucien which I feel is not unintentional if you pay close attention to some the flashbacks. Finally, there’s veteran thespian Bill Nighy, who delivers the best performance as Vampire Elder Viktor with his sudden facial tics and aristocratic way of speaking that befits the film. 

“Underworld” was released as a stand-alone Blu-Ray in September 2007 and as part of a trilogy box set in May 2009. With the impending release of the fourth film, this box set has been re-released under the label “The Essential Collection.” Unfortunately, there is absolute nothing new in this set with the exception of an ornate slipcover and the addition of “Underworld Endless War,” a collection of three anime shorts totaling a mere seventeen minutes and packaged lazily in a paper sleeve. This is the same video and audio transfer as the 2007 release and it holds exceptionally well to this day. Roberts’ cinematography work is accurately reproduced as shadows have a solid inky depth with detail abounding in every scene despite the stylistic use of minimal lighting. Skin tones do take on a pale tinge due to the black-and-blue aesthetic used and the only other color emphasized is the crimson blood splatters during the more violent scenes. This is a reference quality video transfer despite its age and the audio is just as excellent with its diverse soundscape from the heavy barrage of gunfire to the roars of the Lycans that will knock your socks off. Even minor effects like the clinking of shell casings are captured with dialogue always loud and clear. The unrated extended cut is the only version included on the Blu-Ray with approximately twelve minutes of additional scenes that are largely filler material to inflate the already-long running time. Special features are ported over from the DVD in standard definition and include an audio commentary with Wiseman, Beckinsale, and Speedman, plus a number of featurettes totaling 87 minutes that explore the making of the film starting from the script to the visual and sound effects. Finally, there’s an AMC documentary focusing on the various myths and legends surrounding vampires and werewolves over the centuries. 

Released on September 19, 2003, “Underworld” received a thrashing from critics with a low 31% on Rotten Tomatoes with the overall consensus being that it was ‘stylish to look at [but ultimately] tedious and derivative.’ The film grossed $96 million worldwide against a moderate $22 million production budget but it was strong DVD sales that eventually led to a sequel three years later. At first glance, it’s easy to write off “Underworld” as simply ‘all style, no substance’ and while there are a number of noticeable flaws, as a whole, I enjoyed the film more than I should have thanks to the intriguing lore and of course, Kate Beckinsale parading around in badass mode wearing nothing but a tight leather costume. If you still haven’t seen the film, it is worth at least a rental or even purchase if it’s relatively cheap.

Final Rating: 3.5 out of 5

“Though I cannot predict the future, the consequences of this night will reverberate through the halls of both great covens for many years to come. Two vampire elders have been slain, one by my own hand. Soon, Marcus will take the throne, and a tide of anger and retribution will spill out into the night. Differences will be set aside. Allegiances will be made. And soon, I will become the hunted.”

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Mission Impossible: Ghost Protocol Review

Rated PG-13 (Sequences of Intense Action and Violence)

Running Time: 2 Hours & 13 Minutes

Cast:

Tom Cruise-Ethan Hunt

Paula Patton-Jane Carter

Simon Pegg-Benji Dunn

Jeremy Renner-William Brandt

Michael Nyqvist-Kurt Hendricks

Léa Seydoux-Sabine Moreau

Vladimir Mashkov-Anatoly Sidorov

Anil Kapoor-Brij Nath

Josh Holloway-Trevor Hanaway

Miraj Grbic-Bogdan

Tom Wilkinson-IMF Secretary

Ving Rhames-Luther Stickell

Directed by Brad Bird

Don't look down...don't look down...don't look down...

Despite their over-reliance on established film franchises as a major source of box office revenue rather than actually taking the risk of coming up with original, creative new ideas and stories, I must grudgingly admit that I am continuously impressed with Hollywood in keeping said franchises long past their prime with fourth, fifth, and even sixth installments. If you take a look at the top-grossing films of 2011, the first seven are all sequels and this trend is unlikely to change unless audiences vote with their wallets. Now, I am not against sequels, prequels, spin-offs, or even remakes but only if there is a genuine need for one from a creative standpoint unless it was already announced by the studio that there will be a follow-up if the story is too broad to be compressed in a single film such as Peter Jackson’s adaptation of J.R.R. Tolkien’s prequel novel to “The Lord of the Rings” trilogy “The Hobbit,” to be released in December 2012. Unfortunately, this is not the case as sequels are usually green-lit based on how financially successful the original was and often times, audiences end up being fed garbage like “The Hangover Part II.” When Paramount Pictures (who is currently celebrating its 100th anniversary) announced a fourth installment in Tom Cruise’s “Mission Impossible” franchise in early 2010, I was skeptical that any good would come from it as it appeared to be a desperate attempt by the controversial actor to reclaim his box office clout, which has waned since the infamous ‘couch incident’ back in 2005 and his strong ties to pseudo-religion Scientology. Although it received positive reviews from critics, the third film, “Mission Impossible III,” failed to ignite the domestic box office with a lukewarm $134 million and it appeared the series was finished. Not anymore as Cruise is back as IMF agent Ethan Hunt in “Mission Impossible Ghost Protocol,” which has surprisingly received overwhelmingly positive reviews with 93% on Rotten Tomatoes, a franchise best. “Ghost Protocol” does not break any new ground with its largely episodic and pedestrian plot but the film more than makes up for it with several thrilling action set-pieces and suspenseful moments, representing a rare trend where each successive follow-up improves upon the previous film. 

During a prologue set in Budapest, IMF agent Trevor Hanaway (Josh Holloway) is darting across a rooftop while dodging two enemy gunmen. He manages to elude them but is suddenly shot dead in an alleyway by a beautiful blond woman, who takes the satchel that Hanaway was carrying before shooting him a few more times. Former IMF agent Ethan Hunt (Tom Cruise) is currently imprisoned in Moscow when he is freed thanks to the efforts of Hanaway’s team leader Jane Carter (Paula Patton) and newly-promoted field agent Benji Dunn (Simon Pegg). Before making his escape, Hunt also frees fellow prisoner Bogdan (Miraj Grbic), who served as his informant. Jane reveals that she rescued Hunt because she needs him to help recover a package containing nuclear launch codes that Hanaway was carrying before he was killed by an assassin named Sabine Moreau (Léa Seydoux), who plans to sell them to the highest bidder. Hunt accepts the mission and learns that someone codenamed ‘Cobalt’ is attempting to acquire a nuclear launch code device at the Kremlin. Under the disguise of a Russian general, Hunt infiltrates the Kremlin with Dunn to look for information on Cobalt but is forced to abort when someone hacks into their frequency and leaks their location. Hunt and his team barely escape but a large explosion suddenly engulfs and destroys the Kremlin. The attack is blamed on him and his team and as a result, the entire IMF agency has been shut down with its existence disavowed. The IMF Secretary (Tom Wilkinson), accompanied with his chief analyst William Brandt (Jeremy Renner), reveal that it was Cobalt that hacked their frequency and that his true identity is Kurt Hendricks (Michael Nyqvist), a Russian-born Swedish nuclear physicist who is looking to instigate a global nuclear war to restore what he calls ‘ecological balance’ to the Earth by culling the weak. The Secretary informs Hunt that he and his team must stop him at any cost but due to ‘Ghost Protocol’ being initiated, he will receive no backup or support and that if he is captured, he and his team will be branded as terrorists. 

“Mission Impossible,” based upon the popular 1966 television series created by Bruce Geller, is a strangely inconsistent franchise as other than the character of Ethan Hunt each installment has little to do with each other as they contain stand-alone stories featuring a different supporting cast each time. “Ghost Protocol” marks the first time where the main character acknowledges previous events and disproves the long-standing theory that each film takes place in its own separate universe or alternate reality. As with the three films before, the MacGuffin-based plot is relatively straightforward despite its attempt at appearing more complex than it really is with its twists and turns. It feels as if all the locations and action scenes were planned out beforehand with the story thrown together at the last minute, making for its episodic nature as expositional dialogue are delivered in-between set-pieces. J.J. Abrams (who serves as producer this time) tried to develop the character of Ethan Hunt in the third film in order to make him more well-rounded and sympathetic but this approach has been largely jettisoned as “Ghost Protocol” is essentially a 2 hour race-against-the-clock chase around the world. What makes this fourth installment so enjoyable and dare I say, memorable, is Brad Bird’s (making his live-action debut) confident direction in filming the larger-than-life action set-pieces, immersing the audience by playing up the fact that anything could go wrong and keeping them from noticing its by-the-numbers story. Michael Giacchino also helps with a much more heart-pounding score compared to the previous film. In fact, there is so much action and fisticuffs being thrown that the plot comes dangerously close to becoming insignificant and forgotten. 

One of the main issues with the second and third films is that it lacked any iconic/standout action scenes compared to the original where Hunt had to retrieve a computer disk by rappelling down a nigh-impenetrable room that would sound the alarm if he so much as sweats or makes physical contact with the walls and floor. Bird tops that by having Hunt crawl along the reflective windows of the Burj Khalifa, the tallest man-made structure in the world, in Dubai like Spider-Man all in the simple hope of hacking into the building’s server room. He then makes it back to the room his team is residing in by running down the building with a fire-hose tied around him and making a huge leap of faith. Not content with resting on his laurels, Bird follows this up with a visceral car chase through a blinding sandstorm. Describing it as thrilling and suspenseful does not even do it justice and it has to be seen to be believed. I anxiously wait to re-watch these scenes in glorious high definition on Blu-Ray. In a clever nod to the first film, Brandt leaps down a large cooling tunnel with no rope, the only thing keeping him from falling into a deadly turbine and making a bloody mess is a remote controlled vehicle with an oversized magnet and his magnetized chain mail suit underneath his clothes. The large amount of tech on display would certainly make James Bond green with envy, straddling the line between fiction and reality. From screens that project holographic images based on the viewer’s angle of perception to contact lenses that can take photographs and identify hostiles, the toys used add to the fun factor of the film. Let’s not also forget the brutal fight scenes with such highlights including the one between Patton’s Agent Carter and Seydoux’s Sabine and the climactic battle with Hunt and Nyqvist’s Hendricks at an automotive factory. 

The acting is adequate for a film of this type but no one will mistake it as a masterpiece with the dialogue used to keep audiences involved rather than develop the characters beyond their functions. He may be pushing fifty but Tom Cruise remains a credible action star and has always turned in a good performance, even in his less well-reviewed films. Cruise has a certain unexplainable appeal and continues to remain as one of my favorite actors. Honestly, all that attention his off-kilter public behavior received is unfair as people should judge him by his work, not his love life. Although Jeremy Renner’s character was initially believed to be replacing Ethan Hunt, this is not the case but if it does comes to pass, I cannot think of a better actor to succeed Cruise. Renner has the physicality and enough acting chops to be an action star but the final word will arrive once his spin-off “The Bourne Legacy” is released into theaters in August 2012. Paula Patton and Léa Seydoux look incredibly sexy and badass as they go at each other with nothing but their fists. There’s some drama involving Patton’s character but the film spends too little time on it for us to care. Simon Pegg is of the few cast members to return and he provides a nice dose of comic relief that keeps the film from being overly serious. They may not amount to much individually but the cast works well together and have a surprisingly natural rapport. As for the villain, Michael Nyqvist (Mikael Blomkvist from Sweden’s “Millennium” Trilogy) is not as memorable compared to Philip Seymour Hoffman but it’s due to the fact that he has relatively little screen-time compared to other cast members. 

“Mission Impossible Ghost Protocol” had a limited IMAX release on December 16, 2011 before going wide five days later on December 21. Reviews have been overwhelmingly positive with 93% on Rotten Tomatoes as critics hailed it as ‘stylish, fast-paced, and loaded with gripping set pieces, the [film] is big-budget popcorn entertainment that really works.’ Those who saw the film in IMAX will have been treated to approximately thirty minutes of footage shot with IMAX cameras and also a six-minute preview from Christopher Nolan’s highly anticipated finale to the Batman saga, “The Dark Knight Rises.” I did not see the film in IMAX mainly for cost-saving reasons but if you are able, it is the preferred format to experience all that action in its full glory. Shot on a production budget of $145 million, the film has earned $390 million worldwide and counting. It has already surpassed the domestic gross of the previous film and will most likely overtake the original soon. When it comes to plot, “Mission Impossible Ghost Protocol” does not re-invent the wheel but it surely benefits from Brad Bird’s presence with his direction of some of the best action scenes I’ve ever seen. If only every action film was this fun and enjoyable.

Final Rating: 4 out of 5

“Mission ACCOMPLISHED!”

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