Talking Movies

September 6, 2019

From the Archives: Breach

Another trawl thru the pre-Talking Movies archives uncovers another puzzler from director Billy Ray, as FBI rookie Eric O’Neal (Ryan Phillipe) is assigned to spy on his new boss, senior analyst Robert Hanssen (Chris Cooper). O’Neal is shocked to discover, after becoming friends with the older man, that Hanssen is a suspected traitor.

This is not the sort of fare one usually associates with August. The Bourne Identity star Chris Cooper returns to the espionage genre with a far more muted depiction of the world of intelligence than current nerve shredder The Bourne Ultimatum. Melancholy is the key word here. Chris Cooper from the opening credits portrays the real life FBI traitor Robert Hanssen as a man exhausted by his double lives, almost aching to be exposed just so the need for deception will finally end. The tone of the story is reflected in its setting: Washington DC in January and February with snow on the ground, a chill wind in the air, and grey and blue tints in all the Bureau’s offices.

Billy Ray as a director seems to have created his own sub-genre in which he makes intelligent fact-based films drawing out good acting performances from previously disregarded pretty boys. Breach follows his directorial debut Shattered Glass in which he drew an emotionally affecting performance from Hayden Christensen as Stephen Glass, a reporter who nearly destroyed the reputation of The New Republic by making up stories. In Breach Ray manages to drag a good performance out of Ryan Phillipe, who convincingly plays that cinematic staple, the undercover agent who starts to sympathise with his prey. As FBI operative Eric O’Neal he spends the opening act of the film being astounded at the ordinariness of a man he has been assigned to spy on for suspected sexual misconduct. Once he penetrates the initial frosty reserve of Hanssen he finds a loyal, highly intelligent and kindly FBI analyst. Hanssen and his wife even invite O’Neal and his East German wife (Caroline Dhavernas) over for Sunday dinner. Following this O’Neal demands to know from his superiors why he is investigating Hanssen and is told by Laura Linney’s senior FBI agent that Hanssen is suspected not of sexual deviancy but of selling secrets. Ray creates scenes of almost unbearable suspense as the FBI try to acquire evidence against an agent who has consistently out-thought all their investigations to find the suspected mole.

Robert Hanssen, like Stephen Glass, remains even now an enigma. The reasons he gives Special Agent Plesac (Dennis Haysbert) for a previous traitor’s actions all seem to apply equally to himself, but while all are semi-plausible none truly convince. Hanssen is brilliantly portrayed by Cooper not just as a double agent but a double personality. He is a strict Catholic who secretly distributes home-made sex tapes, a loyal FBI man who tries to draw attention to implacable threats to American security but is in fact selling secrets to the Russians. The haunting final image powerfully conveys this self-tortured quality in a succinct summary of the subtlety of this film.

3/5

April 25, 2018

From the Archives: Jumper

A dive into the pre-Talking Movies archives finds the last wide-release Hayden Christensen movie just days after the now neglected actor celebrated his 37th birthday.

Doug Liman, the director of The Bourne Identity, tries to reinvigorate the fantasy genre by bringing his trademark edgy handheld camera style to bear on new blockbuster Jumper but fails miserably. Jumper’s main problem is a wretched script that is the work of three screenwriters as well as the original novelist Stephen Gould. This film is transparently meant to establish an Origin Myth for an action franchise but it rushes through its set-up with unseemly haste. You will long for more detail on the mythic past of the teleporting Jumpers and their mortal enemies the Paladins but you will neither get that nor a good reason to care about any of these characters. This is all the odder given that the screenwriters boast Fight Club, Batman Begins and Mr & Mrs Smith on their collective resumes. Jumper thus bears the dreaded hallmarks of extensive studio meddling during its protracted post-production.

A brief prologue shows our hero David Rice discovering his power to teleport after a school bully’s prank leaves him fatally trapped under the ice in a fast flowing river. He then uses this new found ability to escape his abusive father and relocate to NYC where he robs a bank and lives off the proceeds for the next 8 years. In Hayden Christensen’s first scene as the grown up David he walks past a TV news report about people stuck on rooftops in a flood which asks how can these people be saved when no one can reach them? ‘Well, a Jumper could reach them…’ you mutter…but David just heads to the fridge for a beer before flitting off for a night on the town in London. David is selfish to a fault and Christensen’s utterly flat performance doesn’t make him any more sympathetic. Jumper slows to a crawl when he revisits Ann Arbor to whisk off his high-school sweetheart Millie (The OC’s Rachel Bilson) for a Roman holiday. Exactly why she agrees to go should become one of cinema’s most enduring mysteries. In Rome David meets Jamie Bell’s Griffin, a Jumper dedicated to killing the Paladins who have hunted the super-powered mutant Jumpers for centuries, and reluctantly teams up with him to defeat Roland, leader of the quasi-religious Paladins.

Jumper’s teleportation heavy action sequences involving ‘blink and you miss it’ globe-trotting underwhelm for the most part, with the exception of some extremely dangerous teleportation enhanced fast driving, and Jamie Bell’s line “God, I hate Chechnya” when the Jumpers unexpectedly land in a warzone. Samuel L Jackson as Roland, the vicious Jumper-hunter, has some fun sporting a fetching white hair-do but his role, rather like the film, is too underwritten for him to really make an impact. Ultimately (and ironically) for a film about people who never walk when they can teleport Jumper ends up a sadly pedestrian affair.

2/5

August 1, 2012

Miscellaneous Movie Musings: Part V

As the title suggests here are some short thoughts about the movies which aren’t quite substantial enough for each to merit an individual blog posting.

 

billy-ray-wga

The Enigma of Billy Ray

Some weeks back I made a cryptic reference to the enigma of Billy Ray. Who the hell is Billy Ray you might ask? Well, that’s kind of a hard question to answer actually, as he appears to be two entirely different people; hence the enigma. On the one hand you have the writer/director Billy Ray, and on the other you have the screenwriter for hire Billy Ray. Billy Ray as a screenwriter is someone who writes reasonably big movies, like The Hunger Games or State of Play. This is his stock in trade, films with big names attached or big expectations, but not necessarily huge blockbuster budgets. And quite often they’re riddled with problems, not least with multiple writers getting in each other’s way as in the case of Hart’s War or Suspect Zero. But even when left on his own in the writing room to grind out a screenplay, for something like say Flightplan, Ray is always competent, but rarely inspiring. But as writer/director Billy Ray has made two auteurishly distinctive films, Shattered Glass and Breach. Both films are based on real life events, the former his own original screenplay, and the latter a severe rewrite by him of an existing script which made it feel like his previous directorial outing. Both films are low key dramas that become quite devastating, both feature excellent performances from an impressive ensemble of actors, and both, somehow, feature wonderful lead performances from pretty boy actors that few other directors seem able to coax such subtle turns from, Hayden Christensen and Ryan Phillipe. I once suggested that Robert Rodriguez had a bubbly twin he kept locked in the basement who wrote the Spy Kids movies for him, but with Billy Ray I’m boggled. He is, simply, an enigma.

Sounds like Metric

Two years ago I was blown away by Scott Pilgrim Vs the World and wrote a blog offering 7 reasons to love Edgar Wright’s comic extravaganza. One of those reasons concerned the distinctive sound of The Clash at Demonhead, the band fronted by Scott’s ex-girlfriend Envy Adams, who so blew away all the other bands showcased that Scott’s band-mate was left muttering “That was devastating” after the gig. “I’m not suggesting it’s actually Metric but it’s pleasing that Radiohead producer Nigel Godrich in composing the music for the film gave some variety to the styles of the different bands we hear and noticeably varied their quality even down to having the only song played by Scott’s ex-girlfriend and her successful band be actually kind of awesome…” That was what I wrote then. I recently re-watched Scott Pilgrim for the first time and was overjoyed to find that it stands up as an inventive and hilarious comedy, and slightly embarrassed to find that the reason it sounded like Metric was because it is Metric! Metric with Emily Haines’ vocals replaced by Brie Larson’s to be sure but Metric performing their song ‘Black Sheep’ nonetheless. And they rock, devastatingly…

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