The Foreigner (Campbell; 2017)

To say that Jackie Chan has a specific signature style is an understatement.  At age 63 now, though, he can’t do the death defying seemingly superhuman stunts he was once capable.  He is still in remarkable shape, but a lifetime of stretching your physical capabilities to the limit, punishing your body, and just simple age mean that he has to change the way he approaches his roles.  In The Foreigner he does just that, and while there are still quite a few action scenes Chan does nearly a 180 degree turn from his usual frantic, comic, action based performance and attempts something more serious and thoughtful.

An IRA bombing of a bank kills 58 people and injures 21 in the opening scene of The Foreigner, and among the dead is Fan (Katie Leung) the daughter of Jackie Chan’s Quan Ngoc Minh.  Since she was the last family Quan had left in the world, he is struck particularly hard and also is able to leave everything else in the world behind as he seeks justice and revenge.  His search leads him to Liam Hennessey (Pierce Brosnan) a former member of the IRA who is now reformed and is a prominent Irish politician.  Quan is convinced Hennessey knows who performed the bombing and the remainder of the movie is a cat and mouse game between the two as Quan does whatever he feels is necessary to get the names from Hennessey, and Hennessey in return seeks to stop Quan in order to protect both his career and his family.

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The screenplay for The Foreigner is based on a book called “The Chinaman”.  I have never read the book, so I can’t give a comparison, but I can say the story of The Foreigner is an intelligent and intricate one, but the characters are so thin as to be more plot devices than actual people.   It makes for a somewhat irritating experience because you can truly get swept up in the story, and be honestly surprised as well as impressed by its thoughtfulness and realism, but despite that not a single character in the film has a single character trait beyond events that happen to them.  No one is funny, or gullible, or dour, instead they are a man who has lost his family, a mysterious politician, a nephew with military experience, a wife who doesn’t like her husband, and so on.  What this does is make for a film which can be appreciated, but not enjoyed as you never empathize with anyone on screen.  It’s hard to even say there are protagonists or antagonists in the film, let alone heroes and villains, just a bunch of people whose actions weave together to form a story.

That being said, it’s hard to say whether or not this turn of Jackie Chan’s is a good one.  He shows here that he is still capable of some fun action scenes, damn he is still in great shape, and that he can frown and squeeze out a tear here and there instead of constant smiling and laughter, but with no real personality traits to express we just get a Chan who is much more calm than we are used to rather than a true performance.   The same can be said of every performance in the film, though Chan’s is the only one most are paying close attention to since his is the only great departure from his usual style, there is nothing particularly wrong with the acting, it’s just that there is no character given to the actors to portray.

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The camerawork in The Foreigner never reaches artistic nor impressive levels, but is still very solidly pulled off.  The film has a lot of moving pieces which have to followed, and at no point does it ever become difficult for the audience to do so, though on a handful of occasions it does become a bit awkward to do so with some quick editing which is necessary but comes out of nowhere and could almost certainly have been handled in a better fashion.  Aside from those handful, and they really are rare which is probably why they are so jarring, we get a film that is easy enough to watch that you can forget you are watching things through someone else’s eye, and if you aren’t trying for a visual art piece, that is one of the best things to accomplish in a film’s cinematography.

The pacing of the film is on the slower side.  There is a lot of talk about the past, or about what people should do, or about plans, but there is very little direct action taken by the characters for the vast majority of the film.  This makes for a movie that seems far longer than it actually is, and while the realistic constant twisting of the story is enough to get you to stay until film’s end since you just have to know what’s really going on and you need that sense of closure, you will also find yourself wishing to yourself that they could just move things along already for quite a bit of the running time.

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Final verdict:  The Foreigner is a very mediocre film which also happens to have fantastic plotting.   If political thrillers or revenge stories are really your thing then I would say to give The Foreigner a look, thought not necessarily in the theater.  If characterization is important to you, though, expect to be disappointed, and if you are looking for an over-the-top hilarious action packed Jackie Chan flick then avoid The Foreigner at all costs, or at least seriously reconfigure your expectations to the near exact opposite.  The Foreigner had a lot of potential, but poor character writing kills it for this critic, making it difficult to sit through despite its wonderful story.

 

Stronger (Green; 2017)

The Boston Marathon bombings of April 2013 is one of those events that will long linger in the collective unconscious of the American public in a “where were you that day?” sort of remembrance.  One of the survivors of the blast named Jeff Bauman gained instant fame when he was not featured in a photograph alongside his rescuer which made its way into national television broadcasts and graced a great many printed publications as well as new websites and also was able to give authorities information which ultimately led to the discovery of the bombers’ identites.  Stronger is Jeff Bauman’s (Jake Gyllenhaal) story adapted from the book of the same name written by Bauman himself focusing less on the day of the bombing and more on his physical and mental recovery from the permanent injuries he was left with that day.

Your typical biopic is an exaggerated version of the events surrounding a person’s life.  While most writers and directors do honestly seek to honor the subject of their film as well as educate the public about someone they admire or at least find fascinating, they also realize that real life is often dull and able to be better covered in a documentary if accuracy is the goal over entertainment.  Look to my latest review of American Made as a perfect example.  While I’m sure most of the events covered in the film happened, I am just as sure that Barry Seal cannot have been the source of constant “What? Me Worry?” witticisms and unfazeable charm which Tom Cruise portrayed him as nor could the events unfolded in such a laugh riotous manner.  While I learned a lot about the contras and the drug trade during the ’80s, I also understand that American Made needs to grab my attention through entertainment because I am not going to theater to take a history course, and so the portrayal of characters and events need to be tweaked to fit the stylings of a film rather than be shown to us in stark realism.  What sets Stronger apart from the typical biopic is that it seems far more authentic than most films of its ilk for better and for worse.

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You can tell that the characters in Stronger come from a specific person’s, in this case Jeff Bauman’s, point of view.  We see the people in his life as a group of well meaning, but ultimately seriously flawed individuals.  They want to help Jeff, and a great many put their own lives on hold to do just that, but all give in to the temptations of procrastination and distraction because helping Jeff adjust to his new life and situation is really difficult on both a mental and physical level.  Some characters turn to drinking all the time, some make excuses for him and for themselves, some plant themselves in a place of denial, but nearly all show a truly authentic dichotomy in their wanting to help Jeff but then coming up with excuses not to, especially Jeff himself.  But, one character, Jeff’s on and off girlfriend Erin Hurley (Tatiana Maslany) is the long suffering character put high on a pedestal that we all recognize in our lives, that one person we know can rescue us from our travails even if in actuality they can’t and who we come to rely on and take advantage of until we are harshly reminded just how much worse our lives would be without them.

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Stronger also shows wisdom and authenticity in showing that the road to recovery isn’t really about grit and determination or that the most difficult steps take place in rehab.  It shows us people who need to learn about themselves in this new world they have entered, people who are used to things one way and who need to give up that one way no matter how difficult it is.  It’s a film that understands tragedy happens not just to one person, but to everyone around that person whether family, friend, or coworker.  Stronger also shows us that the things hardest for us to overcome are those that are not obvious even to ourselves.  Bauman learning to walk again using prosthetics is barely even an afterthought in the film, Stronger is more about his learning to be in crowds again and recognizing that he even has a problem with it, about not letting other people live his life for him now, and even about the little things we all take for granted that now became entirely different now that he’s lost his legs.  These are the things Stronger decides to show us, and this is why I call Stronger wise.

Since Bauman himself wrote the original book, we can easily understand where the wisdom and authenticity in the screenplay comes from (it comes from an incredible amount of self understanding and introspection – the easily applies to us, not Bauman).  None of that would have played on screen, though, were it not for the absolutely phenomenal performances given by Stronger’s cast.  Jake Gyllenhaal always gives us riveting characters, but here he outdoes even himself in both his physicality and in his character work.  The Jeff Bauman he gives us is a remarkably nuanced character who never falls into any sort of stereotype nor generality and always appears to be the multifacted, often even contradictory personalities we truly are.  Add to that the fact that he has to convince us he is a man who has no legs who once did, and he more than convinces, and you have a portrayal which I can nearly guarantee will be nominated for an Oscar come next year.  Walking down that red carpet with him I could also see Tatiana Maslany in her equally hyperrealistic performance of Jeff’s long suffering on-and-off girlfriend.  She gives us a rock who doesn’t even understand herself why she is making herself into one, who truly loves Jeff, but is also truly constantly disappointed in him, and this is the burden she has to come to grips with.   While Stronger obviously couldn’t have even existed were it not for Jeff Bauman, it wouldn’t have the depth and poignancy it does without Erin, and the title of the film applies just as much to her as it does to him – maybe moreso.

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As fantastic as the characters are and as amazingly insightful the screenplay is, Stronger still has one Achilles’ heel which will turn off many audience members, and that is that with its remarkable realism comes a lack of spectacle and excitement.  Stronger is a character piece and a think piece through and through.  The most exciting events in the movie ever get are the anticipation of the bombing itself toward the start of the film, and the loud arguments shouted between people here and there throughout.  This isn’t a story which features physical struggles nor acts of bravery.  It’s a movie about internal torment and relationships, and thus it’s most often a very slow burn of a film.

Final verdict:  If you are a fan of biopics, then get yourself out to see Stronger sooner rather than later.  This is a shining example of the genre which approaches its subject matter which seems both familiar and entirely new at the same time due to the fact that it tackles its story so realistically.  It’s neither a feel good story, nor is it a total downer, but rather a realistic view of a regular life turned topsy-turvy through unavoidable tragedy.  If you are not a fan of biopics in general, this one is a little tougher of a sell.  You may not want to pay full price in the theater to check it out, but there is so much to take from Stronger, I’d ask that you at least give it a look one day down the line when you can stream or rent it.  You will never be thrilled, but you’ll almost certainly find yourself with new understanding.