SAFE HOUSE

Photos courtesy of Universal Pictures

Ryan Reynolds attempts to turn over Denzel Washington to the federal authorities in the action, spy thriller SAFE HOUSE.

Reynolds is Matt Weston a CIA operative who runs a safe house, an area where fugitives or fellow agents are held, a secure and safe haven for those the CIA deem dangerous and valuable. Matt’s latest inhabitant is Tobin Frost, played by Washington, a former agent gone rogue, one who is suspected of dealing nuclear secrets to nations for big bucks.

Frost isn’t your average safe house occupant, and during an infiltration of the house by a band of terrorists, Frost flees the confines. With all other CIA operatives killed during the attack, Matt is the only one able to track down Frost and deliver him to the CIA.

Spy thrillers have enjoyed a bit of a resurgence. Whether it’s the adrenaline-infused action of the latest MISSION IMPOSSIBLE or the more cerebral nature of TINKER, TAILOR, SOLDIER, SPY, the genre has experienced a rebirth of sorts.

SAFE HOUSE attempts to mix both brains and brawn, and despite some well executed action sequences and two strong lead performances it doesn’t add up to much.

The film is more or less a cat and mouse game, with Washington as a lethal mouse and Reynolds as the timid cat. Washington is fine, bringing the same dangerous and intense aura that he brought to his roles in TRAINING DAY, MAN ON FIRE and AMERICAN GANGSTER, but Reynolds is what makes SAFE HOUSE nearly work. Typically playing arrogant and pompous roles, Reynolds ditches this act as Matt, a somewhat naïve, strong-willed and anxious CIA op who’s typical day ranges from tedious to boring. It’s through Matt’s eyes, and Reynolds performance, that SAFE HOUSE has an air of originality, even if the plot feels recycled and repackaged.

Mixed motives and outlandish action sequences are laced throughout the picture, and are hit and miss, much like SAFE HOUSE itself. In a genre that is coming of age once again, SAFE HOUSE doesn’t quite make the grade.

Grade: C+

THE WOMAN IN BLACK

Photos courtesy of CBS Films

Daniel Radcliffe investigates some property in rural England that features an unwelcomed guest in the horror picture THE WOMAN IN BLACK.

Radcliffe is Arthur Kipps, a young lawyer who leaves his only son with a hired hand while he travels to the outskirts of Britain to view a prized property. He is initially warned of the house’s history by an elderly, and mentally unfit woman, but the aspiring attorney dismisses the allegations considering the source.

Most horror films are quick to instill fear and terror in its viewer. Outside of a haunting introduction, THE WOMAN IN BLACK isn’t one of these films, as it requires an unusual amount of patience, so much so, that one’s interest is challenged by first examining the history of the house and its inhabitants.

It’s a shame because once THE WOMAN IN BLACK kicks into second gear, some truly frightening and spooky moments exist. Director James Watkins is comfortable building suspense and goose bumps through dark confines, subtle scares and rocking chairs that mysteriously rock on their own. Unfortunately the three big haunted house scenes fail to overcome the film’s sluggish first half, one plagued with too much background, and its conclusion which tries to put a sentimental spin on a twisted finish.

THE WOMAN IN BLACK is the first major role for Radcliffe since his graduation from Hogwart’s, and he’s fine, but the role demands little more than what he provided in the Potter series. Again Radcliffe plays an ambitious, yet apprehensive young man who stumbles across some unearthly occurrences. To say Arthur and Harry’s experiences are within the same realm is not a stretch.

The same can be said of the film itself, an adaptation which doesn’t bring anything new to the table. It subtly spooks, but only after laying an unnecessary amount of groundwork.

Grade: C

ALBERT NOBBS

Photos courtesy of Roadside Attractions

Glen Close plays a woman, playing a man in the 19th century drama ALBERT NOBBS.

Close is Albert Nobbs, a woman who has disguised herself as a man following a devastating childhood, and a horrific personal event. In addition to these setbacks, she feels the need to continue her charade because if she is detected, her livelihood as a waiter will be destroyed.

While working at the hotel where she has been employed for years, her secret is detected by one of the hotel’s contractors.

Who is Albert Nobbs? After watching a nearly two hour film about her, I still don’t know.

This is no fault of Close who embodies Albert, revealing as much about her wounded condition as she can. I bought every moment of Close as Albert, and more importantly, bought the fact that others would be convinced of her gender.

What I’m still unsure of is the extent of the psychological and emotional damage to Albert. She seems willing to continue the charade due to her current mental and psychological make-up, willing to sacrifice her life and love, and presumably others, for a business dream. Is Albert crazy? Is she being practical considering the circumstances? Many more questions exist than answers, and this certainly isn’t the intent of Close and two other screenwriters.

In a genre typically fixated on breaking the chains of societal status for love, ALBERT NOBBS seems resigned to the fact. Not only has Albert relegated herself to second-class citizen, but she more or less is comfortable in it. A glimmer of hope exists, one which is lit towards the latter third of the picture. But as fast as the hope flickers, it dims equally as quick, but not out of circumstance, but rather choice.

ALBERT NOBBS is as thematically confused as its lead character. I can’t recommend this intriguing, yet confounding costume drama.

Grade: C

THE GREY

Photos courtesy of Open Road Films (2011)

Liam Neeson battles wolves and arctic conditions in the action film, THE GREY.

Neeson is Ottway, a sniper who protects oil drillers while they operate in desolate areas. His most recent job has him with the usual band of misfits, malcontents, ex-cons and jerks, as they head overseas for a job. In the midst of their travels, their plane hits a vicious storm that crashes the plane, killing most on board.

The few survivors are marooned in the wilderness in subzero temperatures with a den of wolves that are hungry for their next meal.

　

It isn’t often that action-adventure films offer substance, let alone suspense and intensity, but THE GREY offers all three in one lean, mean feature.

Although the plot is simplistic, a group of men stranded in the wilderness with only their wits to battle the conditions and a pack of wild of dogs, the lengths at which these characters are examined is impressive for the genre. Each individual is presented as an archetype of sorts, the grizzled leader, the loud-mouth, the thug, etc., etc. Yet writer-director Joe Carnahan employs dreamlike visuals to reveal the innermost thoughts and emotions of these rugged men, and creates well-rounded characters who we can understand, if not excuse. This may be an afterthought to most viewers, as the action and brilliantly executed moments of peril deliver the necessary excitement and drive.

Neeson is as good as advertised. The veteran actor has carved out a niche for himself, as the cinema savior for the cold winter months, a rugged cutthroat, a tormented man who deep down has a righteous soul. Neeson brings a wisdom to each of his roles, and yet he’s still young enough, and buff enough, to seem plausible as an action star.

The other stars are the wolves and the arctic landscape. With a winter release date, the arctic conditions seem even more bitter, and Carnahan’s use of the wolves brings back memories of JAWS.

THE GREY is a complete action-adventure, one where the character development and atmosphere are equally as impressive as the stunts and special effects.

Grade: B+