The biggest problem with this film is that it doesn't have a point. The only proper reaction to the finale of this movie is to shrug and grumble "Whatever."

An American couple, portrayed by Woody Harrelson and Emily Mortimer, get on a train crossing Siberia. On the train they meet up with a clearly troubled mixed nationality couple (Kate Mara and Eduardo Noriega) and a Russian narcotics officer (Ben Kingsley). Five people and there's not a likable one in the group. Harrelson's Roy is a affable guy but he's portrayed to be so clueless that he seems mildly retarded in some moments. Kingsley overplays his role, his performance bringing so much gravity to the film that he feels like a transplant from a better movie. Mara, in another film where she is brutalized, and Noriega are a comely couple but have very little to do other than read their lines. At the center of the film is Emily Mortimer who, along with her unstable American accent, offers an uneven performance drifting between scared damsel in distress and jaded slut.

Writer/Director Brad Anderson (The Machinist) has submitted a hollow production that doesn't live up to his resume. Unless you get it for free and have a spot of time you need to waste, there is not reason to watch this film.




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Labels: Ben Kingsley, Emily Mortimer, film, Kate Mara, movie review, Woody Harrelson

Screenwriters: Scott Neustadter, Michael H. Weber and Steve Martin (The Jerk)
Director: Harald Zwart (Agent Cody Banks)
Actors: Steve Martin (Cheaper by the Dozen), Jean Reno (La Femme Nikita), Emily Mortimer (Redbelt), Andy Garcia (The Untouchables), Alfred Molina (Prick Up Your Ears), Aishwarya Rai (The Last Legion) and John Cleese (Monty Python and the Holy Grail)

Labels: Aishwarya Rai, Alfred Molina, Andy Garcia, Emily Mortimer, film, Jean Reno, John Cleese, movie trailer, sequel, Steve Martin

My long-suffering wife had it right when she tagged all David Mamet as being “guy stuff”. Women can certainly enjoy David Mamet’s writing but his plays and scripts have a definite masculine core to them. His men are purely American, aggressive and smart but foiled by powers seemingly beyond their control. Their frustrations erupt in snaps of invective-laced dialog and unstable logic.

Mamet’s films have been a gallery of uneven results. On one hand, he’s produced the enjoyable, comfortable Things Change, complex and ultimately wandering films like House of Games and Homicide while also making incoherent messes like Spartan and Heist. It seems as though half the time his productions get out of his hands. This outing is probably his best directorial work on film.

Chiwetel Ejiofor (American Gangster) gives a notable performance as Mike Terry, a committed mixed-martial arts instructor who is forced to battle his ideals when financial ruin pushes him towards selling himself out to prize fighting. Ejiofor is very impressive in this role. Not only is the role obviously very physical, he sells the idea that he’s a top competitor quite easily, but he is also asked to present a man who is very controlled yet approachable. Terry is a good man who seems liberated by the inner control he finds in jujitsu. His small school is a labor of love not profit. When things turn sour for him and the pressures build, Terry’s ideals are challenged. Ejiofor masterfully presents this internal conflict with a leveled performance. Chiwetel Ejiofor isn’t well known, but his face may be familiar to the twelve people who made it through Children of Men. This performance is an absolute career maker. Every once in a while an actor who’s been languishing in supporting roles will get an opportunity, either with a rich support role (Vincent D'Onofrio as Private Pile in Full Metal Jacket) or a more prominent role in a smaller film such as this. When they get that good role, they knock it out of the park and the audience is left sitting thinking “where did this guy come from?” The problem here? No one is going to see this performance because this film has been overlooked.

This is a guy movie with brains. Despite it being penned by one of the great living American writers and befitting his impressive resume, this is a movie that can be enjoyed by most guys. Terry’s struggle to keep his dignity and this livelihood is something most people should be able to identify with. The fact that he gets to do so by beating the tar out of other men is just icing on the dramatic cake. Mamet writes some fantastic scenes and drafts some interesting characters, as one would expect; thankfully he also doesn’t skimp on the fighting.

This is a film that is worth searching out. It is a shame it was in and out of release so quickly because more people should have had the chance to see it. Put this in your Netflix queue or remember it the next time what you want is out down at Blockbuster.


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Labels: Alice Braga, Chiwetel Ejiofor, David Mamet, Emily Mortimer, film, movie review, Tim Allen

I like how this looks and the setting, a trans-Siberian train ride, is refreshing. The casting of Woody Harrelson in the lead is a huge red flag that bad filmmaking awaits. On top of this, Ben Kingsley's inclusion doesn't help matters. Sure Kingsley has made some great films (Schindler's List, Gandhi) but is also known for making films so bad its shocking he didn't sue to have his name removed from the credits (BloodRayne, The Assignment, The Last Legion, Species)

Time will tell, but I'd approach this one with some caution.




Screenwriters: Brad Anderson (Session 9), and Will Conroy
Director: Brad Anderson
Actors: Woody Harrelson (White Men Can't Jump). Sir Ben Kingsley (Suspect Zero), Emily Mortimer (Lars and the Real Girl), Kate Mara (Shooter), Eduardo Noriega (El Espinazo del Diablo (The Devil's Backbone)) and Thomas Kretschmann (King Kong)

Labels: Ben Kingsley, Emily Mortimer, film, movie trailer, Woody Harrelson

Labels: Emily Mortimer, film, movie review, Ryan Reynolds