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.

 

War for the Planet of the Apes (Reeves; 2017)

In 2011 Rise of the Planet of the Apes rebooted yet another beloved franchise in the attempt to show us the story of what happened to Earth while the astronauts who feature in the now classic 1968 movie were away on their ill-fated mission.  Most were surprised at just how gripping and intelligent this new take was with a story with themes warning us of the dark road hubris could one day lead the human race down, completely sympathetic and gripping characters despite their hubris, and just the right amount of action to make the film more a blockbuster and less a think piece so it can appeal to a broader audience.  Dawn of the Planet of the Apes continued the story of Caesar (Andy Serkis), the leader of the new intelligent species of apes, and once again ended up being an intelligent action film giving us both spectacle and commentary on xenophobia and its insidious and far reaching consequences.  Now we have the trilogy’s conclusion, and with Rise, Dawn, and now War for the Planet of the Apes we get to see the truly rare trilogy in which every part  is masterfully crafted both as an individual work and as one third of a larger epic story.

War for the Planet of the Apes picks up two years after the conclusion of Dawn with Caesar and his clan still hiding in the forests outside San Francisco, but now they are being actively hunted by the remnants of the United States Army who were called in to exterminate the apes by the human colony in San Francisco in Dawn‘s finale.  Caesar has had a new child in the intervening years and his older son has been acting as a scout trying to find a place the apes can relocate to so they can get away from the army without violence.   The news of a new living space reaches Caesar too late, however, as just as the apes are preparing to leave San Francisco they are discovered by the Colonel (Woody Harrelson), leader of the army stationed in the area who is bent on wiping out the apes.  A skirmish between apes and man ends with the humans being chased off, but the apes’ losses prompt Caesar to decide the Colonel must be killed at all cost and so he leaves his tribe on a suicide mission to confront the Colonel and end his life.

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War for the Planet of the Apes has all the intelligence and empathy of the two films which preceded it.   This time, the major themes on display are ones of survival, revenge, and fear, though not the xenophobia which was the focus of Dawn of the Planet of the Apes.  This time the fears are very well known, not unfounded, and inescapable.  It’s less about fear of the unknown, and more about how we act when our fears are justified and right in our face.  Caesar and the Colonel are both charismatic leaders and idolized by those who follow them, and Andy Serkis and Woody Harrelson bring both of these magnetic personalities to life brilliantly.  As is the case in the best fiction, but particularly in the best action adventure fiction, we are given two characters working against each other who are nearly mirror images and the only reason one is considered a hero and the other villain is due to the lengths the Colonel is willing to go to ensure the survival of the human race and the men in his unit.

As has been the case in the first two films in the trilogy, the special effects on display in War for the Planet of the Apes are remarkable.  There are more animated via motion capture actors than live action in the film, but this does not create any lack of empathy in he audience.  The apes are still quite silent, preferring to rely more on sign language than actual speech, so their communication is done with facial expressions and body language and nothing is lost in translation despite the fact that what we are seeing isn’t real.   The environments also change this time, as we leave San Francisco and its forests behind for more northern climes, and again the shots involving the snow covered mountains are gorgeous.  Also deserving special mention is the lighting in the film.  Much of the action takes place at night, but Reeves and his crew never allow that to interfere with our vision either as mistake nor crutch.  We see everything we need to see while still understanding when the action is taking place, and in a Hollywood in which action scenes are literally getting darker and darker this was a pleasant choice.

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This trilogy does have its problems, and one that seems to be consistent across all three films, and that is that since the characterizations and plotting are so intelligent that when a specific bit of action has to be rushed through due to pacing issues that bit really stands out.  For instance, in Rise of the Planet of the Apes what takes years and years to change Caesar’s brain so he has human level intelligence happens overnight with a little gas for the rest of the apes.  In Dawn of the Planet of the Apes Caesar is brutally fighting for his life with great strength and agility mere days after being shot with a high powered automatic weapon.  Without spoiling anything, War for the Planet of the Apes also has to fall into similar traps to keep the story moving, and that little bit of dumb shoved inside what is otherwise genius really sticks out.

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Final verdict:  War for the Planet of the Apes ends its trilogy wonderfully, putting this apes trilogy up there with The Lord of the Rings, the original Star Wars trilogy, and the Nolan Batman films as one of the truly great action trilogies in all of filmdom.  Each part can be enjoyed on its own as a complete work and will still be satisfying, but the experience is amplified by enjoying all three as a continuous work.  Caesar will go down as a legendary Hollywood character, and his story as one of the greats.  I hope Hollywood ends it here and does not give in to the temptation to create more films as a cash grab as this really was the finale the story of Caesar deserves.  None of the films are perfect, War for the Planet of the Apes being no exception, but they are gripping and intelligent action films which deserve your attention.  If you’ve seen the first two, War is a must, but you probably already knew that.  If you haven’t seen the first two, you can still enjoy War for the Planet of the Apes, and I recommend you do, but I recommend even more seeing Rise and Dawn before moving onto this one for a far richer experience.