Month: June 2023

Today’s quick review: 21 Grams. Jack Jordan (Benicio del Toro), an ex-convict and family man, tries to piece his life back together with the help of his wife Marianne (Melissa Leo) and his church. Paul Rivers (Sean Penn) clings to his fraying marriage to Mary (Charlotte Gainsbourg) as he awaits a heart transplant that could save his life. Cristina Peck (Naomi Watts) turns to drugs to help her cope with a crippling loss.

21 Grams is a crime drama about an accident that ties together the lives of three struggling families. 21 Grams is a mystery that unfolds in non-chronological order. The film drip-feeds the audience scenes from before and after the accident, slowly laying out the pieces of a compelling and deeply personal puzzle. The result is a polished and well-scoped story about grief, love, forgiveness, and the consequences of even minor choices.

21 Grams draws its strength from the depth of its characters and the way its scenes interconnect. The film has a way of making even ordinary events engaging. Even its most mundane scenes pull triple duty, developing the characters, seeding questions for later, and drawing the audience deeper into the film. Deft writing and thematic connections tie the film together even more, and the whole thing is grounded in a spate of strong performances.

21 Grams tells a complex story in a fascinating way. Viewers who are looking for something more upbeat, less challenging, or simply more grandiose may find that the film does not suit their tastes. But viewers who are open to something mature, introspective, and dramatically weighty will find 21 Grams to be well worth puzzling over. How much you get out of its story will come down to taste, but it is well worth a watch for those interested.

For a moving romantic drama drama that explores similar themes, try 7 Pounds. For another experiment in nonlinear storytelling, try Cloud Atlas or Memento. For a similar drama about intertwining personal stories, try Crash.

[7.6 out of 10 on IMDB](https://www.imdb.com/title/tt0315733/). I give it a 7.0 to 7.5 for potent drama.

“Grow up, Ben. You don’t change the world. It changes you.” —Chon

Today’s quick review: Savages. Chon (Taylor Kitsch) and Ben (Aaron Johnson) are the young owners of an independent marijuana empire based out of Laguna Beach, California. When Elena (Salma Hayek), the head of the Baja cartel, makes a move to take over their business, Chon and Ben attempt to flee the country. But their plans are cut short when Elena’s enforcer Lado (Benicio del Toro) kidnaps their girlfriend Ophelia (Blake Lively).

Savages is a crime drama directed by Oliver Stone. The movie follows a pair of drug entrepreneurs as they try to survive their encounter with a vicious Mexican cartel. Savages features a multifaceted plot that’s full of scheming, risky choices, and betrayal. Interesting twists, bursts of brutal violence, and a few stylistic flourishes give the movie an identity of its own, but it lacks the enduring quality of some of its competition.

Savages has a couple of minor issues that keep it from reaching its full potential. Chon, Ben, and Ophelia work well enough as main characters, but they are not deep enough characters to earn the audience’s sympathy. Although less violent than Elena, they have few positive qualities of their own. Meanwhile, the plot balances a large cast with conflicting motives, but it builds to a mediocre finale that doesn’t leave a lasting impression.

Savages fits in comfortably with other mature crime dramas that deal with cartel violence. Its plot and craftsmanship are enough to make it a fine pick for fans of the genre, but it’s missing the superlative quality needed to stand out. The result is an interesting movie with plenty of tension, chaos, and violence, but one that’s easy to miss. Sensitive viewers should steer clear.

For a more sadistic, stylized crime drama from the same director, try Natural Born Killers. For a more dramatically potent crime drama about a drug cartel starring Benicio del Toro, try Sicario. For another brutally violent drama about the drug trade, try The Counselor. For a biographical crime drama about a drug entrepreneur, try Blow. For a more dynamic crime drama starring Benicio del Toro, try The Way of the Gun.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt1615065/). I give it the same for a solid plot with shaky payoff.

Today’s quick review: Sentinelle. After a traumatic tour of duty in the Middle East, Klara (Olga Kurylenko) transfers home to Nice, where she joins the soldiers patrolling the city to keep the peace. Still working through the lingering issues from her deployment, Klara is pushed to the brink when her sister Tania (Marilyn Lima) is raped and beaten into a coma by Leonid Kadnikov (Michel Nabokoff), a Russian tech magnate whom the police cannot touch.

Sentinelle is a French action movie about a traumatized soldier who breaks the law to avenge her sister. Sentinelle takes a more realistic approach than other action movies, showing how Klara’s experiences changed the way she looks at civilian life and the drug addiction she develops trying to cope. However, in spite of a promising setup, Sentinelle lacks the vision and craftsmanship needed to tell its story the way it wants to be told.

Sentinelle suffers from a few key issues. Klara has the makings of a sympathetic protagonist, but she rarely interacts with other characters, giving her no real opportunity to grow. The movie also skips key parts of her character arc, leaving her drug addiction and her few relationships unresolved. The action scenes are passable, but Sentinelle does a poor job motivating them, having Klara dive straight in without going through the proper setup.

The result is a movie that feels half-baked. As a personal drama about trauma and addiction, Sentinelle only scratches the surface, with none of the subtle character work needed to make its premise stick. As an action movie about justice and revenge, Sentinelle goes through the motions but never figures out how to leave its own mark on the revenge genre. Action fans may get some modest value out of the movie, but most should skip it.

For a more powerful look at the psychological scars left by war, try The Hurt Locker. For a more compelling action thriller in the same vein, try Taken or Death Wish.

[4.7 out of 10 on IMDB](https://www.imdb.com/title/tt11734264/). I give it a 5.5 for a decent setup hampered by weak storytelling.

Today’s quick review: Ava. After a botched job, Ava Faulkner (Jessica Chastain), a contract assassin with a lot of emotional baggage, returns home to Boston to patch things up with her family (Geena Davis, Jess Weixler, and Common). Ava’s mentor Duke (John Malkovich) tries to convince his superiors that her erratic behavior is nothing to worry about. But Ava’s life is jeopardized when Simon (Colin Farrell) decides to eliminate her on his own.

Ava is an action movie about an assassin wrestling with alcoholism, the morality of her job, and her dysfunctional relationship with her family. The movie balances between Ava trying to pick up the pieces of her old life and her dealing with the fallout of her latest failed assignment. Ava delivers some decent action and dabbles in some interesting themes. However, it misplays its characters and its story, leaving it a mediocre pick.

Ava has two main shortcomings. The first is the personal side of its story. The movie has the right ingredients for drama—family drama, Ava’s troubled past, and linger doubts about her career—but it fails to use them the right way. Ava makes for an indifferent protagonist, saddled with flaws but not given a clear way to overcome them. Her family are abrasive and judgmental, and the script never sets up a good opportunity for reconciliation.

The other shortcoming of the movie is its plot logic. The rough sketch of the plot works well, pitting Ava against the organization she once served blindly, but none of the details line up correctly. Supposedly savvy characters make inexcusable tactical decisions, conflicts arise with no clear motivation, and the exact nature of Ava’s employer is never made clear. The result is a plot with a poor sense of progression and a weak payoff.

Ava works well enough as an action movie. Its stunts are not outstanding, but they serve their purpose. The main characters’ flaws are not handled as deftly as they could have been, but they give the movie a personal side. And while the overall plot has some holes, it’s enough to hold the movie together. Action fans interested in a story about a troubled assassin will get something out of Ava. Exacting viewers should look elsewhere.

For a better-constructed action movie with a similar premise, try Haywire or Anna. For a more personal story about a female assassin, try La Femme Nikita or Red Sparrow. For a more iconic action movie about a killer trying to leave the life behind him, try John Wick or The Bourne Identity. For a better use of Jessica Chastain, check out Molly’s Game or Zero Dark Thirty.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt8784956/). I give it a 6.0 to 6.5 for serviceable action and a story that doesn’t quite work.

Today’s quick review: Peppermint. Five years ago, Riley North (Jennifer Garner) lost everything when Diego Garcia (Juan Pablo Raba), the leader of a Los Angeles gang, had her husband (Jeff Hephner) and daughter (Cailey Fleming) gunned down. After years spent training around the world, Riley returns to Los Angeles seeking revenge. As Riley kills her way to Garcia, Detective Stan Carmichael (John Gallagher, Jr.) races to track her down.

Peppermint is an action movie about a woman out for revenge on the criminals that killed her family. Peppermint fits comfortably in with other revenge flicks. Using ruthless tactics and heavy weaponry, Riley hunts her targets and tries to stay one step ahead of the police. The movie has satisfying action that combines sharp gunplay with desperate hand-to-hand combat. The result is a straightforward but enjoyable pick for fans of the genre.

Peppermint has one quirk that distinguishes it from other revenge movies. Instead of following Riley as she meticulously works her way to Garcia, the movie only shows key parts of her rampage and has the police discuss the rest. The upshot of this approach is that the movie is able to focus on the most impactful scenes and let the audience fill in the gaps. The downside is that there’s less opportunity for the audience to invest in Riley’s plan.

Give Peppermint a shot when you’re in the mood for an action movie with clear motivations and clean execution. Riley’s skill at hunting Garcia’s men gives the movie a solid base to work with, and the movie’s plot progression keeps it interesting from beginning to end. Peppermint does not have quite the same polish as some of its competition in terms of its character work and story, but it is a robust movie that gets the job done.

For a more personal tale of grief and vigilante justice, try The Brave One. For a less compelling action movie about a mother’s revenge, try Maria. For another action movie about an ordinary person taking the law into his own hand, try Death Wish, The Punisher, or Acts of Vengeance. For a quirkier take on vigilantism, try The Boondock Saints. For an even darker action movie about cartel violence, try Rambo: Lost Blood or Sicario.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt6850820/). I give it a 6.5 to 7.0 for crisp action and a capable plot.

Today’s quick review: Marauders. Jeffrey Hubert (Bruce Willis), the president of a national chain of banks, comes under fire when a violent crew of robbers begins targeting his banks. Special Agent Montgomery (Christopher Meloni) of the FBI takes over the investigation from Sergeant Mims (Johnathon Schaech), a crooked Cincinnati cop. But as he digs deeper into the case, Montgomery learns that Hubert is involved in a much larger conspiracy.

Marauders is an action thriller about a series of bank robberies with an ulterior motive. Marauders places emphasis on its plot. The investigation takes Montgomery and his team (Adrian Grenier, Dave Bautista, and Lydia Hull) through the remains of a years-old conspiracy, uncovering puzzle after puzzle as they dig for the truth. The movie’s expansive mystery, moment-to-moment thrills, and solid pacing make it fine choice for the right viewer.

However, Marauders’ main shortcoming is that it is too complicated for the type of story it is trying to tell. Instead of a streamlined investigation with one or two red herrings and a carefully prepared twist, Marauders tries to manage a sprawling conspiracy that involves numerous characters, hidden motives, and coincidences. As a result, the pieces never combine into a compelling whole, and the movie’s best ideas have no room to breathe.

Marauders is a serviceable pick for fans of the action genre. The action scenes are adequate, the mystery is interesting enough to drive the plot, and the cast does a fine job with the material they are given. Still, Marauders has a lot of missed potential when it comes to streamlinging its plot, and it faces stiff competition from other movies in the genre, making it a hard sell for more exacting viewers.

For a bank robbery action thriller in a similar vein, try Den of Thieves, Triple 9, or Takers. For a more personal crime drama about a bank robbery, try The Town. For a bank job with a smarter plot, try Inside Man. For an action thriller with a better conspiracy, try Shooter. For a more powerful cat-and-mouse game, try Law Abiding Citizen.

[5.5 out of 10 on IMDB](https://www.imdb.com/title/tt3963816/). I give it a 6.0 to 6.5 for a decent plot that doesn’t quite come together.

Today’s quick review: Mile 22. James Silva (Mark Wahlberg) leads a CIA black ops team that handles the jobs the government cannot officially touch. While stationed in Southeast Asia, Silva and his team (Lauren Cohan, Ronda Rousey, and Carlo Alban) scramble to recover a shipment of stolen cesium that could be used to bomb several major cities. Their only lead is Li Noor (Iko Uwais), a cop that the corrupt local government wants dead.

Mile 22 is an action thriller about a CIA black ops team trying to extract an invaluable informant from hostile territory. The movie has a knack for tense action, with an emphasis on quick thinking under pressure and using advanced technology in creative ways. The highlights include fast-paced urban firefights, brutal martial arts scenes involving Iko Uwais, and a plot that, while typical for the genre, manages to pack one or two nice twists.

Mile 22’s main weakness is that it overdoes things. Silva and the other characters occasionally cross the line from high-strung professionals to simply abrasive. The fast-paced camerawork can be a lot to take in, particularly when the movie is cutting back and forth between scenes. The violent action will be a draw for some viewers and a turn-off for others. Finally, the movie tries a little too hard to make Silva and his team look good.

The end result is a tightly packed action thriller that will please fans of the genre, but which holds few surprises for more critical viewers. Mile 22 is a competent execution of a reliable formula. It adds its own touches to the formula in a few minor ways, including the tense character interactions and the focus on technology. But ultimately, how much you get out of Mile 22 will depend on how much you like the violent, tactical side of the genre.

For a deeper dive on an action hero with an unconventional mind, try The Accountant. For a more moving story about escaping from hostile territory, try Black Hawk Down. For another action thriller in the same vein, try Extraction or American Assassin. For a better use of Iko Uwais’ martial arts talents, check out The Raid: Redemption or The Raid 2.

[6.1 out of 10 on IMDB](https://www.imdb.com/title/tt4560436/). I give it a 6.5 to 7.0 for solid action and tense plot.

Today’s quick review: The Take. Michael Mason (Richard Madden), an American pickpocket living in Paris, becomes the lead suspect in a terrorist attack when he steals a bag with a bomb in it from Zoe Naville (Charlotte Le Bon). Special Agent Briar (Idris Elba) of the CIA tracks down Michael before the French police can, and together they search for Zoe and the real terrorists. Meanwhile, mounting tensions push the city to the brink of violence.

The Take is an action thriller about a pickpocket falsely accused of terrorism. Left with nowhere else to run, Michael has to put his faith in Briar, a proactive CIA agent, to clear his name. The Take falls into the same rhythm as other action thrillers, a race against time before the real culprits can enact their full plan. The movie features a decently constructed plot with a couple of nice twists, but its characters and action hold it back.

The Take misses a few important opportunities. The action scenes are unreliable, with one or two good shootouts mixed with some lackluster chases. Briar and Michael have no real chemistry together, making their scenes less dynamic than they should be. Michael has very little to contribute to the plot, and his skills as a pickpocket are barely put to use. And while the movie tries to portray a city on the edge, its efforts are cursory at best.

None of these issues stop The Take from being a serviceable action thriller that fans of the genre will enjoy. Although it falls short in a few ways, it does not make any major mistakes, and it implements a tried-and-true formula. Action fans who aren’t feeling too particular may want to give it a chance. Those looking for something more groundbreaking or memorable will want to give it a pass.

For a more dynamic pairing of a CIA agent and a criminal, try Safe House. For an action thriller with similar appeal, try Unlocked, Survivor, or Erased. For a similar thriller about a terrorist attack, try Final Score. For an action movie with a more comprehensive treatment of a city on the brink of disastr, try Siege. For a smarter crime thriller, try Inside Man.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt2368619/). I give it a 6.0 for passable action with some notable weaknesses.

Today’s quick review: Gangster Land. In 1922, Chicago gangster Al Capone (Milo Gibson) recruits Jack McGurn (Sean Faris), an up-and-coming boxer, to join Johnny Torrio’s (Al Sapienza) operation as muscle. What begins as a part-time job turns into a way of life when gang warfare claims the life of Jack’s father. Over the course of over a decade in organized crime, Jack makes a name for himself as one of Capone’s most reliable lieutenants.

Gangster Land is a historical crime drama directed by Timothy Woodward, Jr. The movie follows Jack McGurn as he transforms from an honest young man to a cold-blooded killer. Gangster Land does a fair job of capturing this progression, along with the highlights of the Chicago gang wars of the 1920s and 1930s. But in spite of its best efforts, the movie’s mediocre acting and low production values keep it from matching its competition.

Gangster Land makes an honest attempt to convey its subject matter in a compelling way. In theory, it goes through all the steps it needs to: Jack is a sympathetic figure, even at his most ruthless, and the story builds reasonably well to its climax. But in practice, the movie’s efforts fall flat. It avoids any major mistakes, but the scenes feel cheap, none of the dialogue sparkles, and there’s never a compelling sense of drama.

As a budget crime movie, Gangster Land works well enough. It tells the story it sets out to, and it avoids the pitfalls seen in some of its director’s other work. But there is very little to recommend Gangster Land over the competition. There is very little that’s unique about it, and even its strong points are outclassed by many other Prohibition-era crime movies. Most viewers should give it a pass.

For a more action-packed take on the same era, try Gangster Squad. For a more compelling take on Al Capone’s gang, try The Untouchables, The St. Valentine’s Day Massacre, or Nitti: The Enforcer. For a more impactful story about a young man drawn into the world of organized crime, try The Godfather, Once Upon a Time in America, Gangs of New York, or Chasing the Dragon.

[4.4 out of 10 on IMDB](https://www.imdb.com/title/tt7241654/). I give it a 5.0 for an adequate story told without much polish.

Today’s quick review: Nitti: The Enforcer. As Al Capone (Vincent Guastaferro) rises to the top of Chicago’s underworld, Frank Nitto (Anthony LaPaglia) becomes his right-hand man, handling the administration and enforcement for Capone’s criminal empire. After Capone is arrested for tax evasion, Nitto takes his place at the head of the outfit. But to hold onto his power, Nitto must outwit federal prosecutor Hugh Kelly (Michael Moriarty).

Nitti: The Enforcer is a crime drama based on a true story. The movie follows Frank Nitto from his early days as an immigrant in Chicago to his tenure as one of the most powerful gangsters in the country. Nitti: The Enforcer takes a methodical look at one of the early 20th century’s most successful criminal operations through the eyes of the man keeping it together. Decent storytelling and a wide range of conflicts make the movie a modest success.

Nitti: The Enforcer does a good job of balancing Nitto’s personal and professional lives. As Nitto takes violent action to ensure Capone’s dominance, he also tries to build a family with his eventual wife Anna (Trini Alvarado). Nitto is not as complicated a figure as other crime bosses, but his intelligence on the job makes him fairly interesting to follow, while his guarded compassion at home gives him a touch of depth.

Unfortunately, Nitti: The Enforcer does not tread any new ground. Nitto does not have the larger-than-life stature of other crime bosses, including Capone, and the movie constantly has to justify its focus on him. Nitti: The Enforcer does a fine job of setting up the conflicts of Nitto’s reign and how they play out, but none of them are especially gripping. The result is a biographical drama the covers the facts but adds no particular flourish.

Give Nitti: The Enforcer a shot if you’re a fan of Prohibition-era crime movies. Although it is outclassed by a number of other movies in the same vein, its grounded story and focus on Frank Nitto give it a small niche to call its own. Fans of the genre will mostly enjoy it for its subject matter. Broader audiences will find it a little too generic to be worth the effort.

For a more impassioned biographical crime drama, check out Bugsy. For a more iconic take on the arrest of Capone, try The Untouchables. For a similar portrait of Capone’s operation, try The St. Valentine’s Day Massacre. For a more artistic and nuanced portrait of a crime boss, try The Godfather or The Godfather: Part II.

[6.0 out of 10 on IMDB](https://www.imdb.com/title/tt0095746/). I give it a 6.0 to 6.5 for good basics without much to set it apart.