How to resolve AdBlock issue? Arts & Life
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‘A WORKING MAN’: RATED R
Unless someone has been in a coma for the last twenty or so years, it’s unlikely that even the most casual fan of action films would be surprised that Jason Statham has forged his career on the strength of his physical prowess evident in almost all his films.
The British actor, who does a lot of his own stunts, has apparently been quoted as saying something to the effect he wouldn’t get an Academy Award for his role in 2006’s “Crank” or any of his other movies.
To get a sense of Statham’s talent for action, the “Expendables” franchise is a reliable source, as well as any of the “Transporter” series or his turn as an elite assassin in “The Mechanic.” Classic films worth watching include “Snatch” and “The Bank Job.”
Now along comes “A Working Man,” yet again another target for critics who may take issue with a storyline and an excess of violence that would have been a perfect vehicle for Liam Neeson if only he wasn’t now past the age when you must take Social Security.
Speaking of Liam Neeson, the Irish actor will show up in late summer for a reboot of “The Naked Gun,” an action comedy in which he stars as Lt. Frank Drebin, Jr., the son of the inept police detective played by Leslie Nielsen in the TV series “Police Squad!” and the original “Naked Gun” film franchise.
One of Statham’s trademarks is a sarcastic sense of humor. Unfortunately, in his new role of Levon Cade he’s mostly a stoic avenger, consumed with exacting revenge against a multitude of vicious Russian thugs and drug dealers. There is no time for levity once he’s forced into action.
Levon, once in the British Royal Marines where he developed a lethal skill set, is now a construction foreman trying to leave behind the violent life of his military career. His job entails leading a crew on a major project in Chicago for the Garcia family.
Wanting only to be a working man while overcoming traumas of his past, Levon is like family to his boss, Joe Garcia (Michael Pena), along with Joe’s wife Carla (Noemi Gonzalez) and college-aged daughter Jenny (Arianna Rivas), who work in the office trailer at the construction site.
Adding to his own woes is that Levon is a widower who fights for custody of his young daughter, Merry (Isla Gie), battling in court with his ex-father-in-law, Dr. Jordan Roth (Richard Heap), who sees Levon as a PTSD-riddled former soldier unfit to raise a child.
Wanting to move on from his tormented past, Levon is put to the test on the job when a bunch of thugs show up to attack one of the workers, and they quickly regret doing so, as he delivers a severe beatdown to these aggressors to the astonishment of his crew.
To celebrate her graduation, Jenny goes out on the town with a bunch of girlfriends to dance at various sleazy clubs. This routine outing is nothing out of the ordinary until Jenny is abducted into a sordid underworld of the Russian mafia and human trafficking.
The grief-stricken Garcias, knowing of Levon’s military heroics, plead with him to undertake a rescue mission, but he initially claims he’s no longer that person. Not surprisingly, it doesn’t take long for him to reconsider, given he told Jenny he’d always have her back.
Enlisting the help of his blind Army buddy Gunny (David Harbour), Levon stocks up on an essential supply of weapons that brings an excess of firepower. Waterboarding a bartender results in Levon identifying Russian mob boss Wolo (Jason Flemyng) who suffers an unusual fate in a swimming pool.
Levon taps into the gritty Chicago underworld by impersonating a drug dealer with the aim of finding Jenny before she disappears forever in the sleazy network of sex traffickers ready to sell her to a wealthy deviant.
Our hero works his way through a parade of bad guys, including Wolo’s scoundrel son Dimi (Maximilian Osinski); the vicious tandem of Viper and Artemis (Emmett J. Scanlan and Eve Mauro); and biker bar proprietor Dutch (Chidi Ajufo). There’s no shortage of interesting characters to deal with.
Chicago is an iconic city with great architecture and incredible landmarks. Regrettably, none of that is shown here as the filming was done in England. The occasional shot of an Illinois license plate or an elevated train is not enough to create a sense of realism.
The die-hard Jason Statham fans will overlook locational flaws or the absence of a coherent plot or storyline. “A Working Man” fits perfectly into the pantheon of the British strongman’s string of exciting action thrillers.
This action genre is geared to being a crowd-pleaser and Jason Statham’s latest opus is no exception. While in the middle of the film there is a bit of a lull in the action, the climactic action really delivers fatal blows to the despicable villains.
Tim Riley writes film and television reviews for Lake County News.
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“SUITS LA” ON NBC
Not quite a half-dozen years after the successful run of the legal drama “Suits” on the USA Network, NBC had the notion to capitalize with a spinoff taking corporate law firm intrigue from the heart of Manhattan to the sunny climes of Los Angeles.
It is instructive to look back at the nine-season run of “Suits,” if not for nostalgic reasons, but to frame a thematic transfer of a cutthroat legal world from frenzied New York to the laid-back Southern California lifestyle.
The East Coast version developed a successful formula of a new twist on legal drama by bringing a college dropout who never went to law school to a position as associate in a firm where legal sharks jockeyed for getting their names on the lobby wall.
Patrick J. Adams’ Mike Ross, using guile and a photographic memory, teamed up with senior partner Harvey Specter (Gabriel Macht) to close out practically unwinnable cases, while hiding the fact that he never graduated from Harvard Law.
Through most of the long run, Gina Torres’ Jessica Pearson was the cunning managing partner who had to handle the hard-charging lawyers, with Rick Hoffman’s neurotic Louis Litt proving to be the leading candidate as the most devious.
There could be a contest for the most odious lawyer to grace the inside of the firm, but the prize might go to David Costabile’s Daniel Hardman, the disgraced co-founding partner who returned from exile to attempt to take control of the firm, burning bridges left and right.
Given the intrigue inside and out of the firm that captivated audiences with “Suits,” what is going to make the West Coast version in “Suits LA” garner the same acclaim and following of its progenitor?
The first question about “Suits LA” is why have a spinoff of a beloved series that is devoid of connection to its origin, even when the series opens with a flashback to 2010 in New York City with the new series’ main character.
At the time, Ted Black (Stephen Amell), a federal prosecutor undeterred from convincing a reluctant witness to testify against a mob boss, narrowly dodges an explosion that claims the life of the man who could put a crime lord behind bars.
Fifteen years later in current time, Ted has relocated to Los Angeles to form the Black Lane law firm where he’s partnered with old friend Stuart Lane (Josh McDermitt), a top-notch criminal defense attorney.
A forthcoming merger has created turmoil for other Black Lane lawyers, including Erica Rollins (Lex Scott Davis), who is angling to head up the entertainment law division, a position that the more seasoned Rick Dodsen (Bryan Greenberg) feels belongs to him.
Right off the start in the first episode, the merger plans go awry, and suddenly a chunk of Ted’s employees depart with Stuart Lane, which plunges the legal landscape at the now Black & Associates firm into a chaotic state.
Those who remain with Ted, in addition to Erica investing her ambition into running the entertainment wing, include Ted’s loyal, efficient gal Friday, Roslyn (Azita Ghanizada), who appears to barely tolerate anyone else trying to ingratiate themselves with the boss.
Barely a half-hour into the start of the series, a cloud of doom hovers over Ted that is surprising he’s not even seeing a shrink with the same frequency that Louis Litt had in “Suits” with his incurable neuroses.
Within a short period, that also includes many flashbacks, Ted’s marriage to Samantha (Rachelle Goulding) falls apart and he grapples with his estrangement from his father and the loss of his younger brother Eddie (Carson A. Egan), who has Down’s Syndrome, that he has cared for since they were kids.
All professional challenges and personal setbacks naturally weigh heavily on Ted, but we are still left hanging as to the reasons his marital union disintegrated and his passion to prosecute criminals suddenly vanished.
Undoubtedly, a move to Los Angeles was tempting, and being an entertainment lawyer would certainly have a glamorous appeal in a town where film and television production is considered the dominant industry.
Yet, Ted faces something of a crisis of conscience when one of top clients, film producer Lester Thompson (Kevin Weisman), charged with murder, now insists that Ted act as his defense attorney. Put in a bind, Ted had vowed never to take on that role.
Like its predecessor, “Suits LA” revolves around the personalities in the office, with several of the attorneys on the distaff side looking glamorous enough to be entertainment clients instead of representing them.
For all its plot twists and backstabbing, “Suits LA” is too convoluted and confusing instead of delivering the magic of its forerunner. There is little here to suggest the DNA of “Suits” is in evidence.
Other than the cameo appearance of Gabriel Macht, there is no connection to the original series other than the use of the theme music of Ima Robot’s “Greenback Boogie.” The unique chemistry of “Suits” is nowhere to be found.
Tim Riley writes film and television reviews for Lake County News.
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‘NOVOCAINE’ Rated R
On occasion, you may learn something at the movies that you did not know existed in real life, only because it sounds too fantastical to believe. That happens to be a rare genetic disorder in the comedic action film “Novocaine.”
There won’t be a need for anesthesia in this movie because the titular character (given his nickname) has a condition called congenital insensitivity to pain with anhidrosis (CIPA), which means a person has the inability to feel pain. A trip to the dentist for a root canal won’t induce anxiety.
Jack Quaid’s Nathan Caine, a mild-mannered assistant manager at a San Diego credit union bank suffering from CIPA, does his best to live a risk-free life. That means all sharp corners of furniture at work and in his apartment are covered with tennis balls.
A liquid diet is required because eating solid food might cause him to bite off his tongue. The alarm on his watch goes off every three hours as a reminder to not let his bladder explode. When not at work, he spends all his time playing video games with a friend he’s never met in person.
At work, he rarely socializes until he takes notice of new teller Sherry (Amber Midthunder), when she accidentally scalds his hand with a cup of hot water. Sherry takes a liking to him such that he starts to come out of his shell. They even go out on a date, which seems like a first for Nate.
That Nate becomes infatuated with Sherry, not least for the reason that she’s pretty with a vivacious personality, but as well for her persistence by prodding him to take a bite of her delicious cherry pie at lunchtime.
When they go out that evening to a bar, Nate encounters an arrogant bully from his high school days who gave him the nickname of Novocaine because of his condition. When the tormentor fails at hitting upon Sherry, Nate starts falling hard for her.
Getting close to Christmas, Nate demonstrates his good-guy qualities by helping an elderly widower and small business owner defer on making payments until after the holidays. He’s a candidate for good karma, and he’s really gone to need it.
The day after the date with Sherry, three robbers dressed as Santas and toting automatic weapons storm the bank, demanding the safe to be opened. As the leader of the group, Simon (Ray Nicholson) is a certified trigger-happy psycho who kills the bank manager (Craig Jackson).
After forcing Nate to open the vault, the robbers take Sherry hostage once the police arrive. A shootout ensues with several police officers gunned down. With the cops out of commission, Nate steals a squad car to pursue the bad guys.
The consequence of this act causes the sardonic police detective Coltraine (Matt Walsh), along with his partner Mincy (Betty Gabriel), to assume that Nate is part of the robbery gang.
With the help of his video game buddy Roscoe (Jacob Batalon), Nate tracks down one of the robbers named Ben (Evan Hengst), who had escaped separately from Simon and his brother Andre (Conrad Kemp) when they abducted Sherry to their hiding place.
As part of his sleuthing, Nate ends up in a brutal encounter with tattoo artist Zeno (Garth Collins), a physical behemoth who could break him in half. Genuity on the part of Nate using his bloody fists embedded with shards of glass gets the better of his adversary.
One of the best scenes is when Nate ends up in a booby-trapped house and gets ensnared in a bear trap that has him hanging from the ceiling like a side of beef at the butcher shop, only to get saved by Roscoe.
With Nate impervious to pain, “Novocaine” leans heavily into bloody violence with a protagonist willing to go to the ends of the earth to save his damsel in distress. In doing so, Nate suffers beatings so severe that even John Wick wouldn’t bounce back.
Nate doesn’t react when his leg is impaled by an arrow or a spiked medieval ball slams into his back. Sticking his hand into boiling oil to retrieve a handgun is no biggie. He laughs when he’s tortured by pliers pulling out fingernails, but that’s just a bit too much for a squeamish audience to witness.
The choreography of fight scenes, from fists and kicks to throwing knives and frying pans, is thrilling in a cartoonish manner, but it does go unnecessarily over the top. Still, it is fun if you are willing to go with the premise.
“Novocaine” thrives on its ingenuity of brutal damage and mayhem. Nate keeps it all going with the occasional use of an EpiPen as his lovesick devotion to Sherry is his motivation to keep recharging his energy.
You may grimace at all the pain inflicted on the titular hero, but “Novocaine” is oddly enjoyable as a quirky, offbeat comedic thriller with a nice turn by Jack Quaid in the lead.
Tim Riley writes film and television reviews for Lake County News.
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‘BLACK BAG’ Rated R
In the popular culture, the espionage genre is likely no better personified than by the exploits of a suave, debonair British intelligence officer in the Secret Intelligence Service, commonly known to all as the United Kingdom’s fabled MI6.
That would, of course, be Commander James Bond, the fictional character created by Ian Fleming in a series of books first adapted to film more than sixty years ago, starting with “Dr. No” and running for a total of twenty-five titles under the banner of Eon Productions.
The official James Bond franchise was launched when the little-known Scottish actor Sean Connery got his breakthrough as Agent 007 for a total of six films, ending with 1971’s “Diamonds Are Forever,” only to return a dozen years later in the unofficial Bond film release of “Never Say Never Again.”
While a total of six actors have portrayed Bond over the decades, the series can be distilled into the essence of international intrigue, inventive gadgets, thrilling action, and humor from a stylish, quick-witted spy who likes his martinis “shaken, not stirred.”
Not all spy films are steeped in explosive action and spectacular car chases that have become so familiar with Matt Damon’s Jason Bourne character or Tom Cruise’s “Mission: Impossible” franchise inspired by a long-running TV series.
Think of Alfred Hitchcock’s “North by Northwest,” a spy thriller where mistaken identity finds Cary Grant’s character pursued by foreign agents and the major action scene is when he is pursued by crop duster in the middle of a cornfield.
Steven Soderbergh’s “Black Bag” is much closer to Alfred Hitchcock’s masterful turn than any of spy thrillers that invariably have a spectacular car chase or other daring feats that defy believability.
In other words, don’t come looking to “Black Bag” for shootouts, daring stunts, and death-defying car chases. Nor is the main character a playboy in a tuxedo challenging a nemesis in a game of baccarat in Monte Carlo.
Michael Fassbender’s George Woodhouse is an elite operative at Britain’s closely guarded National Cyber Security Centre, or NCSC, who’s assigned the sensitive and urgent task of ferreting out a mole in the agency before a destructive cyber worm called Severus is activated to catastrophic effect.
One weakness for George is his unwavering devotion to his wife, Kathryn St. Jean (Cate Blanchett), one of NCSC’s most powerful and trusted agents. The problem for George is the list of five suspects to be the mole also includes his wife in the group of colleagues in the organization.
The dilemma for the unflappable George is whether he can separate his devotion to his wife and his loyalty to his country. In the early going, Kathryn’s secretive travel to Zurich is enough to raise a few eyebrows, causing her husband to feel like a voyeur while watching surveillance video.
George and Kathryn make an interesting couple. While both are cool and relatively calm, the impeccable husband seems almost devoid of emotion and the wife is a cunning operative not to be trifled with.
You would think pillow talk for a married spy couple might reveal gossip about betrayals, infidelities and deceitful dealings. But one is always quick to invoke “black bag,” spy jargon for the place where an agent stashes secrets.
Government work must pay exceedingly well for spooks. George and Kathryn, similar to the Nick and Nora Charles bantering Dashiell Hammett fictional characters who solve mysteries, live in an upscale London home fit for elegant parties.
To get to the bottom of the mole situation, they invite their four suspected colleagues to a dinner party that will test their relationships and might very well result in the unmasking of the mole.
The guests are the boozing, womanizing Freddie Smalls (Tom Burke), who resents being passed over for promotion, and his current colleague girlfriend, cyber expert Clarissa (Marisa Abela), who’s not above subtly testing George’s marital fidelity.
Dr. Zoe Vaughan (Naomie Harris) is the agency’s manipulative therapist whose sole focus is always on breaking an agent down to find their truth. That doesn’t keep Colonel James Stokes (Rege-Jean Page), who reports to George, from becoming both Zoe’s patient and her lover.
“Black Bag” may be summed up as a smart caper and a sleek, sensual thriller with plenty of twists and anxious moments of duplicity and betrayal that runs counter to the usual fare for films in the espionage genre.
There might be a James Bond connection after all. It comes in the form of former 007 Pierce Brosnan’s Arthur Stieglitz, the agency’s elder statesman, a veteran espionage expert who heads up NCSC and is as mysterious as anyone else working under him.
The complex characters portrayed by Michael Fassbender and Cate Blanchett are most endearing, and these talented actors are supported by a talented group of colleagues at the agency who add value to the deception and intrigue.
Unlike popcorn entertainment films, “Black Bag” demands an attention rooted to a thought-provoking challenge. In summary, it’s a smart, cerebral thriller.
Tim Riley writes film and television reviews for Lake County News.
