Short & Sweet
This has not been a good summer for blockbusters but unlike endless nonsense like The Lone Ranger, noisy mayhem like Pacific Rim, or painfully overextended finales like Man of Steel, White House Down doesn’t take forever to tell a reasonably simple story. And even when it throws in a ludicrous but logical twist at the end it sorts everything out in one stupidly simple scene rather than dragging us thru another 20 exhausting minutes of CGI chaos.
Everything Pays Off…
There’s a reason Keith Thompson and I chose Roland Emmerich when parodying well-made scripts. Everything pays off – nothing is too stupid to be forgotten, the President’s Lincoln fandom saves his life. Everything Roland sets up will pay off later, even down to Channing Tatum missing his daughter’s talent show. She practised for six weeks honing a skill that, like everything else, will come in extremely handy later on; so better make a mental note of it now.
Roland Emmerich gave you a Dick Cheney lookalike climate change sceptic VP in The Day After Tomorrow being humiliated when climate change forced his people into refugee camps in Mexico. Here he has a black academic President with a liking for Lincoln teaching John Cale what the military-industrial complex is and being prevented from withdrawing from the Middle East by those entrenched interests. And that’s before we get to the aggressive right-wing news anchor who won’t stop crying…
Actually a Good Day to Die Hard
So, there’s a villain discovering a connection between the hero and his prominent annoying female hostage. And, also, misguided good guys roaring in on helicopters to kill everyone with a ill-judged rescue attempt, who end up in flames because they won’t listen to our hero or his conduit; and then start machine-gunning our hero on the roof of the building as he tries to help. Hmm… Wait, and he’s wearing a white vest!
Maggie Gyllenhaal is basically playing Al to Channing Tatum’s John McClane. That makes no sort of sense at all. She’s all wrong for the part in the Die Hard analogical sense in every way imaginable but her answer to that problem is to give it EVERYTHING she’s got. She’s so ferociously committed, especially in scenes revolving around betrayal and possible redemption, that she provides some kind of perverse dignity that makes all the nonsense around her cinematically plausible.