Michael Fassbender | Keith & the Movies

Despite the semi-misleading trailers and studio promotions, Cary Fukunaga’s new adaptation of Charlotte Bronte’s classic “Jane Eyre” isn’t a horror picture. At it’s core it’s a period love story but with just the right amount of reimagining to make it feel new and fresh. It hits all the right notes whether it be romance, humor, or mystery. And even though it’s far from being the central tone of the film, there is a bit of creepiness mainly conveyed through the dark, more Gothic setting and a couple of routine yet spooky haunted house styled scenes. The most important thing is that most of this works. It gels together to give some familiar material a slightly new and energetic appeal.

Moira Buffini’s screenplay branches out into several different directions but the centerpiece of the story is still the romance between Jane (Mia Wasikowska) and her wealthy yet mysterious employer Edward Rochester (Michael Fassbender). It doesn’t spend as much time developing the rags-to-riches component of Jane’s life as I would have liked instead jumping headfirst into the obvious attraction between the two leads. But once Fassbender and Wasikowska are together on-screen for the first time, I didn’t care. I was immediately drawn in.

The story is anchored by some wonderful performances, great costume and set design, and it’s moody yet captivating cinematography. Fassbender’s Rochester is sophisticated but abstruse. Even if you’re familiar with the source material, Fassbender will have you questioning his every intent and motivation. Wasikowska gives a very reserved and controlled performance that captures her character perfectly. She’s quiet and solemn early on but we also see an unfeigned spunkiness that shows itself in some of the film’s best scenes.

“Jane Eyre” isn’t an old English horror picture regardless of what the trailer may have you believe. But it does use some of those spooky elements to create a perfect environment for this story. The movie teems with bridled passion and haunting secrets. It’s heartfelt and emotional but not without those perfect moments of humor that gives the movie life. Even though it touches on it, the film underplays the class-based challenges that Jane faces and the pacing is a bit erratic in the third act. But it’s hard not to enjoy this film and to appreciate the craftsmanship and artistry that goes into making this type of picture. I really enjoyed it.

One the surface, a movie advertised as an action film starring a female MMA fighter and one time American Gladiator doesn’t exactly raise my anticipation level. But seeing the name Steven Soderbergh attached to the movie changed that. Many moviegoers who are unfamiliar with Soderbergh and who go see “Haywire” strictly due to the movie trailer may go away a little disappointed. I found the movie to be an entertaining and stylistic action thriller tightly wrapped in a snug 90 minute package.

Soderbergh’s fingerprints are all over “Haywire” and that’s one of the main reasons the movie works so well. Not only did he direct and shoot the picture but he also edited it and it doesn’t take long to notice his sharp visual style. While Lem Dobbs’ story is smart and concise, it’s Soderbergh who engages the audience with clever camera angles, several tension-filled long takes, and his strategic use of music and sound. He tells the story without many of the contrived devices we see in most modern action pictures. There aren’t loads of blood and constant gunfire. But there are some great hand-to-hand fight scenes where the camera pulls back, the music stops, and the audience is allowed to take it all in. It’s the perfect approach.

Another huge plus is the impressive and memorable lead acting debut of Gina Carano. Her character is pretty straightforward and doesn’t require a lot of range, but Carano holds her own with the strong supporting cast featuring Michael Fassbender, Michael Douglas, Ewan McGregor, Antonio Banderas, Channing Tatum, and Bill Paxton. She plays Mallory Kane, an ex-Marine who does contract black-ops work for Kenneth Jay (McGregor) a slimey character with government contacts. Kenneth teams her up with a suave British Agent (Fassbender) for a mission in Dublin. It would spoil things to go much more into detail but let’s just say things don’t go as planned.

The supporting cast is strong and polished, just as you would expect. But it’s Carano who gets the bulk of the screen time and she nails it. One of the best things is that she actually sells her character. Unlike many of the fashion show runway models we often see in lead roles, I had no trouble believing the more full-formed Carano was an ex-Marine or that she could kick some serious butt. And while she is larger than life in many respects, there are certain touches that made her more believable. There is one particular chase scene where she is running on the rooftops and she actually gets turn around. She doesn’t know which way to go and has to backtrack. It’s a small and subtle detail but the film is filled with them.

“Haywire” isn’t your typical January release. Often times January and February movies are those that get pushed back after awards season. But this a really fun and well crafted picture. It’s a film that causes the audience to think and stay focused from start to finish, yet it’s a thrilling and fun ride that uses style over cliche. It’s a fast moving and compact story and Soderbergh’s direction keeps everything running smooth. I enjoyed “Haywire” and it’s a really good way to start the movie year.