Showing posts with label Liam Neeson. Show all posts
Showing posts with label Liam Neeson. Show all posts
Sunday, February 20, 2011
Theatrical Review: Unknown (Jaume Collet-Serra, 2011)
When I first saw the trailer for Unknown, I was left with an unyielding anticipation for the film. Not only would it star Liam Neeson, an actor whose return to prominence these last few years I have enjoyed very much, but it would sport an outstanding supporting cast, and it had a premise with which I was ready and willing to be engaged. Naturally, I rushed to the theater to catch the midnight opening this past Thursday, and while the film was not quite what I expected nor wanted, I was far from disappointed.
The film begins simply enough: Dr. Martin Harris (Neeson) and his wife, Elizabeth (January Jones) arrive in Berlin, where Martin is to give a presentation at a biotechnology conference. The couple take a taxi to their hotel, where Martin learns he has left a briefcase at the airport, and thus he leaves Elizabeth to check in while he hails another taxi to take him to retrieve the luggage. On the way to the airport, however, a freak accident leaves Martin in a coma, from which he awakens four days later with no immediate recollection of the accident, and he can only recall fragments of the events leading up to it. His doctor (Karl Markovics, whom you may recognize from The Counterfeiters) fills him on what happened. Martin, remembering the hotel he was going to stay at, promptly leaves the hospital to find his wife, who he is sure must be worried about being alone in a city she does not know as well as the fact that her husband has been missing for four days.
After an initial scuffle with the hotel staff due to Martin's lack of any identification, he spots his wife amid a throng of people and makes his way over to her. However, she does not seem to recognize him at all. Even stranger is when she calls out to "Martin," and a man quickly comes to her side. He is her husband, Dr. Martin Harris (Aidan Quinn). Baffled, Martin is escorted away from the crowd, now faced with the challenge of somehow proving that he is the real Dr. Martin Harris and that the man with his wife is an impostor. He has the hotel security attempt to contact a friend and colleague in the United States (a man named Rodney Cole, played by Frank Langella), but there is no answer. He has them check his profile on the website of the University he teaches at; the photo is not of him, but of the impostor. Obviously, someone went through a lot of trouble to take his place - but how, and why?
Several occurrences thereafter escalate the tension and assure Martin that he is not crazy - namely the fact that he is being pursued by menacing individuals intent on killing him (discreetly). He tracks down the cab driver that saved his life, Gina (Diane Kruger), in hopes that she will help him, learning in the process that she is an illegal immigrant from Bosnia who is trying to lay low. She is hesitant to get involved, naturally, but once it becomes apparent that the assassins after Martin intend to silence her as well, she has little choice. He then enlists the help of an ex-East Berlin Secret Police officer named Jürgen (portrayed by legendary actor Bruno Ganz, notable for his starring roles as Damiel in Wings of Desire and Adolf Hitler in Downfall). Jürgen begins a bit of investigating while Martin and Gina continue to elude their assassins and attempt to reach Elizabeth, whom Martin is convinced must surely be acting against her will.
Throughout the remainder of the film, most of the mystery unravels, but whether or not the secrets revealed are satisfactory depends entirely on the mindset of the viewer. Does it all really make any sense by the time the credits role? Not really. The answers the viewer receives are often preposterous, but that does not stop the film from being engaging. There are two exciting car chases and a few scenes of action that are generally edited efficiently, though there are moments of cutting between rapid close-ups framed at canted angles that, while I can acknowledged their effect of inviting the viewer into the disorientation of the moment, I do not particularly care for. Still, Unknown is ripe with outstanding performances (particularly from Neeson, Kruger, and Ganz) as well as enough exciting moments to make it a worthwhile thriller, so long as one does not expect the mystery to be laden with explanations grounded in conventional logic.
B+
Wednesday, December 16, 2009
The Other Man (Richard Eyre, 2008)
One fine day, while browsing through an issue of Film Comment (as I am wont to do), I had my interest piqued by a film on the back cover titled Five Minutes of Heaven. I was intrigued for two reasons, one being that it was a new film from the director (Oliver Hirschbiegel) of Downfall (2004; starring Bruno Ganz as Adolf Hitler in one of the most incredible performances I have ever had the pleasure of witnessing). The other reason was that it starred Liam Neeson, whom I had just recently seen in Taken (Pierre Morel, 2008). Due to my admiration of Taken and the exhilarating trailer for Five Minutes of Heaven, I decided to see what else Neeson had been up to lately. That is how I learned of The Other Man. Upon discovering that Laura Linney was also starring in the film, I was sold. The trailer was mighty promising, too.
Unfortunately, Richard Eyre's effort is a tragic case of a good premise gone horribly wrong. The plot is intriguing enough: a seemingly happy couple living in England is introduced; the wife (oddly) asks her husband if he has ever thought of sleeping with another woman; fast-forward to the future where the wife is gone; husband learns that she had been having an affair; husband tracks down his wife's other lover and confronts him, desiring revenge. The husband, Peter (Neeson), is a jealous individual who seems to be easily angered (and who would not be in such a situation?). His wife, Lisa (Linney), is a bit of a mystery. Her conversation early in the film with her husband is incredibly awkward, albeit as a result of poorly written dialogue that serves little purpose other than as an allusion to what revelation is forthcoming - as if the title of the film did not make it obvious enough.
The film revolves around a rather profound twist - at least one that is profound in nature. The actual revelation in the film is forced and rather dull. This was primarily due to the fact that what little interest I had in discovering this ultimate truth was constantly being placed behind my desire to know why the characters were acting the way they were. After the aforementioned conversation between Lisa and Peter, the film, as I said, leaps into the future - though it does not say how far. Peter is giving some of his wife's belongings to his daughter, attempting to clean out the house. Okay, so she is gone. That is all the viewer knows: she is gone. During the exchange with his daughter, Peter is given a note that his wife left for him and from there he begins digging into her apparent secret life, discovering much to his dismay that she had been having an affair with a man named Ralph (Antonio Banderas). Obsessed and angry, he tracks Ralph down in Italy and befriends him. While getting to know Ralph (who constantly talks about Lisa, not knowing that Peter is actually her husband), Peter pretends to be Lisa and starts contacting Ralph through e-mail. For whatever bizarre reason, Peter's daughter decides to make the trip out to Italy to find her father, nearly having an emotional breakdown when she learns that Peter has been posing as Lisa and stringing Ralph along. But why? And why is everyone around Peter so concerned about him, always teary-eyed?
There are a lot of peculiar moments such as these in The Other Man that are given proper explanation by the time the credits role, but the manner in which the climactic events are executed is poorly conceived and wholly unremarkable, especially given the distracting nature of the awkwardness surrounding the actions of practically every character in the film. It is a shame, considering the talented cast (all giving rather good performances) and solid foundation. I went with it at first, hoping that my endurance would pay off, but by the end, I was only left thinking of ways that the film could have been better - incredible, even - and thus utterly distraught that it was not so.
Unfortunately, Richard Eyre's effort is a tragic case of a good premise gone horribly wrong. The plot is intriguing enough: a seemingly happy couple living in England is introduced; the wife (oddly) asks her husband if he has ever thought of sleeping with another woman; fast-forward to the future where the wife is gone; husband learns that she had been having an affair; husband tracks down his wife's other lover and confronts him, desiring revenge. The husband, Peter (Neeson), is a jealous individual who seems to be easily angered (and who would not be in such a situation?). His wife, Lisa (Linney), is a bit of a mystery. Her conversation early in the film with her husband is incredibly awkward, albeit as a result of poorly written dialogue that serves little purpose other than as an allusion to what revelation is forthcoming - as if the title of the film did not make it obvious enough.
The film revolves around a rather profound twist - at least one that is profound in nature. The actual revelation in the film is forced and rather dull. This was primarily due to the fact that what little interest I had in discovering this ultimate truth was constantly being placed behind my desire to know why the characters were acting the way they were. After the aforementioned conversation between Lisa and Peter, the film, as I said, leaps into the future - though it does not say how far. Peter is giving some of his wife's belongings to his daughter, attempting to clean out the house. Okay, so she is gone. That is all the viewer knows: she is gone. During the exchange with his daughter, Peter is given a note that his wife left for him and from there he begins digging into her apparent secret life, discovering much to his dismay that she had been having an affair with a man named Ralph (Antonio Banderas). Obsessed and angry, he tracks Ralph down in Italy and befriends him. While getting to know Ralph (who constantly talks about Lisa, not knowing that Peter is actually her husband), Peter pretends to be Lisa and starts contacting Ralph through e-mail. For whatever bizarre reason, Peter's daughter decides to make the trip out to Italy to find her father, nearly having an emotional breakdown when she learns that Peter has been posing as Lisa and stringing Ralph along. But why? And why is everyone around Peter so concerned about him, always teary-eyed?
There are a lot of peculiar moments such as these in The Other Man that are given proper explanation by the time the credits role, but the manner in which the climactic events are executed is poorly conceived and wholly unremarkable, especially given the distracting nature of the awkwardness surrounding the actions of practically every character in the film. It is a shame, considering the talented cast (all giving rather good performances) and solid foundation. I went with it at first, hoping that my endurance would pay off, but by the end, I was only left thinking of ways that the film could have been better - incredible, even - and thus utterly distraught that it was not so.
Labels:
Laura Linney,
Liam Neeson,
Richard Eyre,
The Other Man
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