Eagle Eye

This cautionary tale derives much of its influence from 2001 and 1984, both exceptional stories, yet very much unrealistic. The film begins with a special operations group targeting a terrorist Muslim group somewhere in the Middle East using the latest and greatest computer assimilating technology, dubbed Eagle Eye. From there the story flashes to Chicago where we find out unlikely protagonist, Jerry Shaw (Shia LaBeouf) leading a remarkably unremarkable life as a copy clerk. He is chosen by a mysterious voice and is paired up with Rachel Holloman (Michelle Monaghan) to complete a series of tasks that put them both in constant jeopardy. Will they escape? Who is behind this mysterious omnipotent voice? Who cares?

What begins as an intriguing story begins its inevitable demise far too early in the film to be taken seriously. There are good sequences of action (those which don't have so much shaky camera work that the screen is a blur of twisted metal and explosions) and some of the technological aspects of the story are interesting, but the characters never fully convince the viewer that they are worthy of these tasks, or that they deserve to survive.

After many red herrings and unwarranted tension-filled scenes, the elaborate puzzle pieces come together in a cacophony of absurdity. Is there anyone within the Department of Defense who knows what they are doing? Will Jerry and Rachel complete their tasks? What are their tasks? Again - who cares? The film does a terrible job compelling the viewer to invest emotion in these characters.

Billy Bob Thornton is in his element as the FBI Special Agent in Charge of Anti-Terrorism, and adds some dry humor as well as some star talent to the picture. Michael Chiklis on the other hand, is entirely out of place as the Secretary of Defense. Perhaps it's difficult to see him playing anything except for a morally corrupt cop who is out for street justice, but just about anyone would have been a better choice for this particular role.

DJ Caruso seems to have a template for his films, attempting to manipulate the viewer by giving the protagonist a tragedy that somehow affects the outcome of the story. This paradigm gets old, and the story would have been better off had this not happened (of course, the story gets so ridiculous that I'm not sure if it would have actually been better off).

Shia is a very affable actor, good screen presence and witty. He plays a good action/comedy lead, but Monaghan doesn't do anything for me. Bottom line - this film has some good action, but is ridiculous and lets the viewer down at the end. 6/10.

Seven Pounds

I had the distinguished privilege of being at a test screening of Seven Pounds over three months before its scheduled release date in late December. It has already begun generating Oscar buzz, but I will give you the straight scoop.

Seven Pounds follows an IRS agent named Ben (Will Smith) who is trying to atone for a tragic accident that he feels personally responsible for, by committing random acts of kindness to strangers who happen to be on his caseload. The story is a little more complicated than that, but without spoiling anything crucial, that is the premise.

Will Smith will be nominated for an Oscar for his performance, without a doubt. The filmmaker (Gabriele Muccino - the Pursuit of Happyness) and film are another story altogether. Granted, I viewed a rough cut, and with the audience response, I am sure that some major cuts will be made including some of the more pivotal scenes in spoiling the twist. Smith is harrowing in his performance, no humor at all - just the shell of a broken man trying to find his personal salvation through others. The dark undertones of the story take a little bit away from the performance, but despite what you think of the film itself, Smith is still a beacon of brilliance.

Rosario Dawson is the love interest, and although she holds her own, there is something that doesn't seem quite right about her playing this role. A conversation about her heart condition came up afterward and there were some lingering questions. Woody Harrelson is a bright spot among an otherwise unremarkable supporting cast (Barry Pepper was awful and should be cut altogether). He receives a minimal amount of screen time, but it is powerful, particularly the seemingly out of place phone conversation with Smith near the beginning of the film.

There are a few minor flaws, which may still be addressed before the film is rolled out for general audience. The first is that there are a couple of plot twists that the viewer suspects way too early on and are simply anti-climactic when they come to fruition. The second is the ending. Once the pivotal climax occurs, there is too much reflection and the final sequence drags out unnecessarily. On a brighter note, the choice of pet that Will Smith owns is probably the most original and interesting seen in film in recent memory. There is one image that stays in my mind even after the plot of the film and the dialogue fade.

It is not a bad movie by any stretch of the imagination, in fact, with some surgical editing, it could be a very good one. I just think that the themes and story are too dark and depressing to end up winning statues in March. Smith is exceptional (again) and I look forward to seeing the final cut on DVD next year. 8/10 (with optimism for some final editing).

Burn After Reading

The much anticipated follow up to the best film of 2007 by two of the most creatively innovative filmmakers of our time takes the form of a silly spy comedy, but it works. Star power and Coen movie regulars carry witty dialogue and character development despite the lack of a compelling story. There are clearly trademark Coen comedy staples, such as the long loud wingtip-clacking walk down a government agency hallway. There is something about the camera behind the shoes angle that never gets old to me. There is also the slightly morbid twist of gratuitous violence that shakes up the comedic vibe, something that has turned off many other critics, but which works just fine with this film.

George Clooney headlines as a sex-addicted Treasury Department agent (although the Marshals fall under the Justice Department, but that's a technicality). He finds himself involved in a tangled web of players ranging from CIA spooks to a trio of "Hardbodies" gym employees, to Russian emissaries when a classified file is discovered and used as an instrument of blackmail. The character is a bit of a schmuck, but played well by Clooney who has a wonderful comedic presence and was probably in his element filming this role.

Brad Pitt (who I honestly believe is a great actor) is the likable but not-so-bright gym employee who orchestrates the debacle with the secret disk. His performance is a far cry from the cool Tyler Durden or Detective Mills of the 90's, he exudes self-effacing confidence and is hilarious in the process.

John Malkovich (excellent performance), Frances McDormand and Tilda Swinton round out the A-list cast, but it is JK Simmons, David Rasche and Richard Jenkins that give the film its Coen brothers feel. The dialogue between Simmons and Rasche is worth the price of admission alone, and their final conversation left me laughing out loud.

Cleverly written, well acted all around, and worth checking out to any fan of the Coens, Pitt, Clooney, or Malkovich. It does not have the serious feel of Fargo or No Country, but the premise of the film is intriguing enough, and the closure is exceptional. I felt that the pace was slowing near the middle, and there were probably some unnecessary scenes, but as it comes to a close, every loose end is tied up and it is done quickly and with hilarity. JK Simmons has to be one of the funniest straight-faced actors around, and he was given some great lines.

Overall, a thoroughly entertaining movie, but perhaps a slight disappointment considering the talent involved. 7/10.