Sabotage

For F*** Magazine

SABOTAGE

Director: David Ayer
Cast:         Arnold Schwarzenegger, Sam Worthington, Mireille Enos, Olivia Williams, Joe Manganiello, Terrence Howard, Josh Holloway, Harold Perrineau, Max Martini, Gary Grubbs
Genre: Action, Thriller
Run Time: 109 mins
Opens: 10 April 2014
Rating: TBA

As per his oft-quoted promise, the Governator is back from politics and on the silver screen, in a film that promises to be tougher and grimier than either The Last Stand or Escape Plan. In this film based very loosely on Agatha Christie’s novel And Then There Were None, Schwarzenegger plays John “Breacher” Wharton, the grizzled leader of an elite DEA squad. The motley crew includes Monster (Worthington), Grinder (Manganiello), Sugar (Howard), Neck (Holloway) and Pyro (Martini) – nobody has an un-silly nickname, except perhaps Lizzy (Enos), who’s also Monster’s wife. After a bust goes awry, the team members are picked off one by one in gruesome fashion. FBI agents Caroline Brentwood (Williams) and Darius Jackson (Perrineau) are sent in to investigate, all signs pointing to the mastermind being someone in Breacher’s circle.

Action movie junkies have bemoaned the lack of truly great American action movies as of late, citing the homogenisation that results from every film having to be rated PG-13 to pull in the crowds, having less bite to them because of it. Sabotage pulls no punches when it comes to the violence – it seems like somebody was having a 2-for-1 sale on blood packs. The action is visceral and bereft of noticeable digital enhancement. But make no mistake: Sabotage is far from a “great American action movie”. Chaotic, mean-spirited, dumb and deafening, it pummels the audience into submission. Director David Ayer, who has carved a niche making gritty cop thrillers, gives Sabotage some of the documentary-like style he’s become known for, but the script that he co-wrote with Skip Woods is heavy on the insipid tough guy dialogue and light on wit and invention. This should be no surprise, seeing as Woods had a hand in penning the likes of X-Men Origins: Wolverine, A Good Day to Die Hard and Swordfish.



Watching the team in this film at work just really made this reviewer miss the guys who followed Dutch into the jungle in Predator. Practically everyone in Breacher’s squad is a jerk, chugging beers, hanging out at strip clubs - they’re just not really interesting, let alone endearing. It’s impossible to buy the group as a well-oiled machine who have been operating as a unit for some time, since they’re always at each other’s throats, and not in an amusingly dysfunctional way either. Now, of course it would be boring if everyone just got along, but if it seems like nobody has anyone else’s back, the audience is hard-pressed to give a damn when each team member starts biting it. As a result, this whodunit soon gets increasingly tiresome, instead of increasingly absorbing.

Schwarzenegger does make for a convincing team leader, worn, grizzled and serious. Thankfully, he doesn’t do a whole lot of referencing his status as a pop culture icon. It seems contemporary moviegoers regard Schwarzenegger as not much more than a punch-line, a fount of cheesy one-liners and a relic of the over-the-top 80s. It’s a bit of pity as his acting is not bad at all here.

The supporting cast isn’t remarkable but for what it’s worth, it’s cool that there are two Terminators on the same team (the other being Sam Worthington). Worthington has a reputation as a wooden, cookie-cutter action hero, but he’s competent as the only guy in the team with his head screwed on right. The distracting “ponytail beard” hanging from his chin does snatch a good deal of the credibility away, though. Mireille Enos spends most of the film being quite annoying, though it’s probably more the script’s fault than it is hers. She’s the lone girl on the crew has to constantly prove she can stand among the boys. How original and empowering. Olivia Williams fares only slightly better, her no-nonsense investigator being a character we’ve also seen a million times.

The film’s attempts at humour are cringe-worthy and oddly scatological. The team squirms as they wade through a sewer, and there are two random agents tasked with monitoring Breacher who have an extended conversation about peeing into a bottle. Yes, of course there are shootouts and car chases, and while the action scenes don’t feel overly staged, they also lack creativity and style, little more than flurries of bullet hits and gratuitous blood spatter (that poor cyclist on the windscreen). Pointlessly cruel instead of shocking or impactful, Sabotage has even less substance than your average spectacle-filled summer blockbuster, Schwarzenegger’s stoic turn its sole saving grace.

SUMMARY: We used to have at least a few brain cells. We watched Sabotage, and then there were none.

RATING: 2 out of 5 Stars

Jedd Jong

World War Z

Written for F*** Magazine, Singapore

WORLD WAR Z

Director: Marc Forster
Cast: Brad Pitt, Mireille Enos, Daniella Kertesz, James Badge Dale, Fana Mokoena
Genre: Action, Horror
Run Time: 116 mins
Opens: 20 June 2013
Rating: PG13 (Violence and Some Intense Sequences)

Hollywood, and by extension the film-going public, has long been fascinated with ways the world could come to an end. A giant meteor, a nuclear winter, a simian uprising – all fair game. In World War Z, it’s a sudden outbreak of a virus that turns perfectly healthy human beings into the rabid walking – no, sprinting dead that does the world in.

Brad Pitt stars as Gerry Lane, a former U.N. investigator who has become a stay-at-home dad to his two daughters (Sterling Jerins and Abigail Hargrove). After an ordinary Philadelphia morning unspools into utter chaos, Lane has to get his wife Karen (Enos) and his daughters to safety, and is called upon by his old boss, U.N. Deputy Secretary-General Thierry Umutoni (Mokoena). Lane embarks on a globe-trotting mission to track down the origin of the zombie virus outbreak, a mission that takes him to an Air Force base in South Korea, Jerusalem and Cardiff as he must survive the ruthless onslaught of the undead hordes to eventually be reunited with his kin.



The film has been rather infamously plagued by production troubles, going over-budget and over-schedule and requiring an emergency rewrite of its ending during filming. Author Max Brooks, whose book World War Z is the movie’s basis, has said that this is just the novel in name only. Adapting the book was apparently a challenge, seeing as it is presented as a faux-official documentation of the aftermath of the zombie apocalypse, consisting of reports filed by a nameless investigator.

This has been re-jigged by screenwriters Matthew Michael Carnahan, Drew Goddard and Damon Lindelof (as well as J. Michael Straczynski, whose draft was unused) to focus on a central protagonist, Brad Pitt’s Gerry Lane. Pitt is, as usual, a confident and competent leading man who guides the audience through the mayhem, unwaveringly calm, not quite superhuman, but still possessing incredible luck. The film can be viewed as a road trip picture of sorts, with each new destination introducing new allies and new zombie-related obstacles for Gerry to overcome. For example, in Jerusalem, Gerry meets Segen (Kerstesz), a plucky female Israeli soldier who accompanies him for the next leg of his mission.



Director Marc Forster, known for helming the Bond outing Quantum of Solace, goes for a dusty, lived-in realism, such that this is closer to Contagion than, say, Resident Evil on the sliding scale of viral outbreak movies. It almost feels like a war film, with Gerry akin to the journalist who tags along for the ride into the battlefield. The first half also has shades of War of the Worlds (Spielberg’s 2005 version) with the hero having to protect his loved ones caught in the crossfire.

To Forster’s credit, he’s managed to make the threat feel relatively credible and intense. An early scene in which panicked New Jersey citizens loot a supermarket is well-staged, and scenes of mass hysteria do get across the sense of a major global crisis. The zombies are attracted to noise, so there’s the occasional moment where someone steps on broken glass or drops something, and then everyone freezes for a moment. In such moments, Forster is able to generate sufficient tension. However, he is over-reliant on jump scares – this being a PG-13 horror action film though, that’s pretty much the only way to go in lieu of copious amounts of blood and guts.



Are the zombies scary? They aren’t portrayed with missing limbs or half their entrails hanging out and are closer to feral, diseased human beings than the undead. One scene has a zombie chattering its teeth, which could come off as unintentionally comedic. Still, they seem like a legitimate threat on the whole, even if they come off as a little artificial during the big, computer-enhanced set pieces. The 3D post-conversion is mostly unnecessary and you probably won’t miss much seeing it flat.

Fans of the book may ultimately feel that it has been watered down for the masses, but for what it is and given its troubled production, World War Z is not bad at all. It’s not a particularly fresh take on the “all hell breaks loose” apocalyptic thriller, but on the whole, it doesn’t feel slipshod or hastily patched-together. The ending leaves the door open for a sequel but doesn’t leave the audience completely hanging. It’s a relatively thrilling action-horror film, with Brad Pitt doing a decent amount of globe-trotting and zombie-slaying.

SUMMARY: Director Marc Forster and star/producer Brad Pitt have prevented World War Z  from becoming an utter disaster, managing to scare and thrill with this summer flick.

RATING: 3.5 out of 5 STARS

Jedd Jong