“Zero Dark Thirty” – 4.5 STARS

January 12, 2013 by Keith Garlington

Kathryn Bigelow may be the boldest and gutsiest director in the business. One things for certain, she’s not scared to jump head first into a part of the film industry sandbox normally dominated by male directors. I think that’s the main reason I like her so much. Bigelow doesn’t allow others to define what type of director she is or what type of movies she’s going to make. She makes the movies she wants to make and lately they just happen to be gritty and realistic military pictures. But what’s really cool is that she does it better than almost anyone else. She doesn’t bow to gender trends, political positions, or industry traditions. She tells powerful and mesmerizing stories and does it her own way.

Bigelow’s latest film is “Zero Dark Thirty” and it didn’t take long for the cries of controversy to begin. This is also a movie that’s received a lot of praise even garnering several Oscar nominations including Best Picture. But Bigelow herself received what I think is the biggest snub of the Oscars when she was passed over for a best director nomination. This has brought speculations of gender bias from some while others believe it’s Academy backlash for what they perceive as bad politics from Bigelow. I don’t know about any of that but it’s an inexplicable snub. Bigelow has crafted a dense and thrilling film that surpasses her previous movie, the Oscar-winning “The Hurt Locker”.

“Zero Dark Thirty” is an edge-of-your-seat procedural that follows the decade-long manhunt for Osama bin Laden. This isn’t a paper-thin conventional Hollywood action picture. This movie follows the CIA’s taxing search through evidence, information, and leads in order to find the terrorist mastermind. It’s an arduous and toll-taking mission that weeds through enhanced interrogations, misdirections, and loss of life. Bigelow manages to condense this decade’s worth of investigation into a gripping and concise 2 1/2 hours. She stops at critical points during the manhunt, some where we made important progress and others that were disastrous.

Bigelow once again teams up with writer Mark Boal and, as with “The Hurt Locker”, they aren’t out to make political points or deliver a heavy-handed statement. Regardless of the “pro-torture” accusations from the left and the “inaccuracy” claims from the right, Bigelow and Boal throw out a lot of information and allow the audience to sort through it, process it, and come up with our own conclusions. I like that. Unlike so many Hollywood productions of this kind, I wasn’t beaten over the head with a political slant. Instead I was allowed to view the events through my eyes and interpret them accordingly. That’s one of the reasons there has been such a range of reactions and I think it’s a sign of brilliant filmmaking.

Before I move on let me address the “pro-torture” debate that surrounds this film. I think “pro-torture” is a self-serving term that doesn’t do the film justice. Yes the movie shows several scenes of enhanced interrogations and it does say bits of important information were gathered through them. But it also shows the heavy personal and emotional toll it takes and it asks the question ‘Was it worth it?’ Bigelow doesn’t gloss over the harsh and disturbing nature of the torture and it’s impossible to view those scenes in a “pro-torture” light. On the flipside, just when you’re questioning the at-all-cost approach to the search for Bin Laden, Bigelow injects a scene of savage terrorist violence that reminds you of the barbarism at the heart of the enemy. These scenes, along with the brief but sobering opening featuring 911 calls from the 9/11 attacks, really hit home with me and reminded me of the ruthless reality of terrorism. But I had to decide if the ends justified the means and the film makes that decision a challenge.

2012 has been the year of ensemble casts and “Zero Dark Thirty” may have the best of them. It’s a veritable ‘Who’s Who’ of actors that I love. It all starts with Jessica Chastain. She plays Maya, a brash and determined CIA operative whose entire career has been devoted to finding Osama bin Laden. Early on she is assigned to the U.S. Embassy in Pakistan where she grows tired of the political wrangling and red tape. She may at times look like a supermodel but she’s really a firebrand who will stir things up to get results. Maya is devoted to her mission and at times she seems like the only one interested in succeeding. But as the movie progresses we see the physical and emotional toll the manhunt is taking on her. Chastain is simply phenomenal. There’s not one disingenuous moment in her entire performance and while 2011 was a great year for her, this was superstar making work.

And speaking more of that ensemble cast, there are several other standout supporting performances. Jason Clarke is fantastic as a tough and slightly unhinged CIA interrogator. Kyle Chandler is wonderful as Maya’s CIA boss in Pakistan. Joel Edgerton and Chris Pratt are perfect as members of the Navy SEAL team tasked with pulling off the final mission. I loved Edgar Ramirez as a skilled CIA ground operative. The great Mark Strong plays a CIA head caught in the middle of Washington politics and the mission at hand. James Gandolfini is a lot of fun as a heftier Leon Panetta. I also enjoyed Jennifer Ehle as Maya’s co-worker who starts as a rival but ends up a good friend. This is just an enormously strong cast from top to bottom.

Everyone knows how “Zero Dark Thirty” ends but that doesn’t keep it from being an intense edge-of-your-seat thriller. The story starts with the frustration of bad leads and dead ends but the intensity is ratcheted up to crazy levels once the first big break comes through. I was absorbed in what I was seeing. And then there is the finale, possibly the best 20 minutes of military action ever put on screen. Bigelow never Hollywoodizes the sequence. She makes it as grounded in reality as possible. But when it comes down to it Kathryn Bigelow likes to make movies about people. This is a movie about women and men who sacrificed their skills, their lives, and some may argue their humanity to accomplish a greater good. It’s a movie that’s not afraid of asking tough questions or of challenging popular sentiments. It’s also a movie made with impeccable filmmaking style and skill which all comes back to Bigelow. So Academy, you’ve got explaining to do!

“Les Miserables” – 4 STARS

January 11, 2013 by Keith Garlington

I’m not a fan of musicals. Never have been, never will be. Now there are one or two that I guess I could say I like, but as a whole it is one of my least favorite genres. So why would I think for a minute that I would like Tom Hooper’s “Les Miserables”? Well as suprising as it may sound, I liked “Les Miserables” a lot and if not for its mildly sluggish pacing leading up to the final act I would have gone as far as to call it a great film. Releasing a movie like this today would seem like a risk. Modern movie fans pour money into lame raunchy comedies and brainless rom-coms so it was refreshing to see “Les Miserables” reach a wide audience. The film has a lot to offer. Just as long as you prepare yourself and know what you’re going to get.

For the few that don’t know, “Les Miserables” is French writer Victor Hugo’s classic novel from 1862. In the 1980s a musical theater version of the novel opened and became a worldwide success and remains so to this day. Now Hooper, the Oscar winning director of “The King’s Speech”, tackles the ambitious task of bringing the stage version to the big screen. Now when I call this a musical I mean it in the fullest. There may be five or six short spoken lines in the entire film. The bulk of the story is told through song and the emotional performances from the cast. It concerned me going in but after a brief mental adjustment I was connected to the flow of the narrative.

The story begins in 1815 and follows Jean Valijean (Hugh Jackman) who we see released from prison after serving a 19 year sentence for stealing a loaf of bread. After being moved by the compassion of a priest, Valijean breaks parole and heads off to start an honest life serving God under a new identity. This infuriates Officer Javert (Russell Crowe) who becomes obsessed with tracking him down. The movie jumps ahead, making stops at different time periods in early 19th century France. Valijean becomes a mayor and businessman, Javert a promoted inspector, and we are introduced to several other people who cross their paths.

There’s no need in going further into the story. I’ll save that for the movie but I will say that its an interesting look at everything from poverty to patriotism, from redemption to devastation. It takes place during a tumultuous time in French history and it translates very well on screen. The story navigates through the many hardships, tragedies, and inequalities of that era with an amazing sense of authenticity. Much of that is thanks to the sharp collaborative screenplay but a lot is due to the incredible period detail that we see throughout the entire film. There’s a real sense of place throughout the movie which was essential to my experience.

But enough of that right? This is after all a musical so I’ve got to get into the singing. Hugh Jackman was quite good in my eyes. I know some have felt that the part overpowered him but I didn’t see it. I thought some songs were better than others but his physical performance complemented his voice perfectly and I loved what he was doing on screen. Russell Crowe has received the brunt of the criticism when it comes to the singing but I’m going to defend him…well, kinda. I don’t think he’s as bad as many are saying. In fact, some of the songs nicely fit both him and his character. But I have to say there are moments where his voice clashes with the scene. For example, a few of the one-on-one singing conversations between him and Jackman just sound odd. A lot has to do with the songs themselves but some of it is that Crowe simply sounds off. But Crowe does have some good moments and his physical performance is fantastic.

I also have to mention Ann Hathaway as a poor unemployed mother who has to resort to prostitution in order to send money back to care for her sick young daughter. Hathaway is brilliant and no doubt she was the star of the show for me. While she doesn’t have a big role, every scene she’s in is emotionally charged and heartbreaking. And her voice is simply beautiful. The best scene in the entire movie is her singing of “I Dreamed a Dream”. I usually get tired of Hooper’s insistence on putting the camera right in the face of his actors. But in this scene he knows he’s capturing something special. Hathaway’s brokenness, her tears, her anguish are all vividly captured as she sings this heart-wrenching song. This is an Oscar worthy performance.

There are also fun performances from Sacha Baron Cohen and Helena Bonham Carter as a crooked, pick pocketing husband and wife. And I was surprised at the singing chops of Eddie Redmayne. He has a pretty meaty role and never flinches. I was also very impressed with Samantha Barks and Amanda Seyfried. Both young ladies have lovely voices and I appreciated the way they poured everything into their characters. There were several other small but great cast members particularly some really strong child performances. It’s hard not to like this ensemble Hooper was able to put together.

“Les Miserables” does bog down during the buildup to its finale. For most of the film I was completely involved and for the movie to do that to a non-musical kind of guy like me is quite an accomplishment. But as Redmayne and company prepare their rebellion I felt myself drifting. Things start to feel repetitious and monotonous. But then in a snap of a finger the movie picks back up and rolls right through to its powerful and completely satisfying finale. In fact, I think “powerful” and “completely satisfying” are good descriptions of this movie as a whole. Sure it’s Oscar bait and I know it has disappointed some people, but I was surprised at how much I enjoyed this picture. This isn’t normally my cup of tea, but when a film is well made, well acted, and tells a good story I’m all in whether they’re singing the lines or not.

REVIEW: “The Impossible”

January 10, 2013 by Keith Garlington

Most of us remember the horrific 2004 Indian Ocean tsunami and the catastrophic devastation left in its wake. It was a tragedy on an epic scale and lives around the world were altered forever. “The Impossible” tells the incredible true story of a family who survived this terrible event against truly impossible odds. Going in I was expecting a potentially good disaster flick. But to categorize “The Impossible” as just a disaster movie would be to criminally throw aside the qualities that make this one of the best movies of 2012. You can dismiss it if you like, but I found it to be a devastating yet moving experience unlike anything I’ve ever had with a simple “disaster movie”.

“The Impossible” isn’t a film you enjoy. You endure it while at the same time realizing that you’re seeing something special – an example of skilled filmmaking from a confident and savvy director. You endure it while at the same time soaking up its powerful and committed performances. You endure it while at the same time realizing you’re not being insulted by dumbed down, clichéd material. This is an emotionally heavy movie and I did leave the theater drained. But I was also deeply moved and reminded of that great human spirit found both in the will to live and in the willingness to help others. I love it when a movie does that to me.

But perhaps where this movie resonated with me the most was in its depiction of a parent’s self-sacrificial love for their children. We see motherly and fatherly instincts to protect their children in the face of danger, instincts that many of us can relate to. But hey, we’ve seen this before in the movies, right? Yes we have but rarely is it depicted with such realistic emotion. Everything coming out of Ewan McGregor and Naomi Watts is authentic and completely believable. There isn’t an ounce of artificiality to these characters or how they react to their situations. It’s that genuineness that grabs us and latches us on to both of them.

For those that don’t know, McGregor and Watts play Henry and Maria Belon. They’ve brought their three sons Lucas, Thomas, and Simon along for a Christmas vacation at an beachfront resort in Thailand. Everything is great until, on a warm sunny day as the family plays by the pool, the tsunami hits. The family is splintered by the force of the waves and the rest of the movie documents their quest for survival and to be reunited. I talked about how good McGregor and Watts are but let me also share a little love for the children. The three child actors are fantastic especially newcomer Tom Holland as the oldest son Lucas. He gets the majority of the work between the three and he’s very good. He brings out a toughness and tenacity from his character while also having plenty of those moments that remind us that he’s just a child. It’s an attention-getting performance.

But again. a lot of credit has to go to director J.A. Bayona. It’s amazing that he has only a handful of credits under his belt. The way he lays out the story both narratively and visually shows a skill and technique usually reserved for more seasoned directors. I’ve talked enough about the story but I have to speak about the presentation. I loved the way Bayona uses sound in the first half of the movie. He has a very specific and strategic way of engaging your sense of hearing. He preps your ears in the pre-tsunami scenes by accentuating the sounds of the beautiful environment. Those sounds dramatically change in the post-tsunami scenes where we hear things like raging waters and far away screams. There is also the tension of every distant sound that may resemble the roar of another wave.

The special effects are also intricate in drawing us into this disaster along with this family. The tsunami and the furious waters are shown just enough to shake us and then ground us in the situation. It’s never overused in an attempt to get more reaction from the audience. It steers clear of that which is one reason why I feel the scrutiny it’s received is misguided. Some have taken issue with the movie for depicting the catastrophe. But I think this is one of the most thoughtful and respectful treatments of a sensitive subject like this that I’ve seen. There have been movies that have exploited traumatic events but this isn’t one of them.

I loved “The Impossible” for a variety of reasons. It avoids soaking us in conventional sentimentality. Instead it tells an intensely affecting story and allows our senses to take it all in and react in our own way. And trust me, I reacted. I teared up more in this movie than in any other I’ve watched and I never once felt manipulated. This is a movie that will wear you out but then pick you back up. It shows us the resolve that lies in the heart of people and reflects how the best comes out of us during the worst of circumstances. This movie will stick with you and even though its a tough watch its a rewarding one and shouldn’t be missed.

VERDICT – 4 STARS

THE TOP 10 FILMS OF 2012

January 9, 2013 by Keith Garlington

Folks, its time for the big one! The 2012 movie year is over and done so that means its Top 10 time. This is my favorite part of the movie season – a chance to reflect back on the past year in movies and heap praise on the films that I think are the 10 best. 2012 started off a little slow but ended up being a pretty strong year for both the big blockbusters and for small independent cinema. But enough with the buildup. (Imagine a small but steady drumroll) May I introduce The Keith & the Movies Top 10 Movies of 2012…

Before I get to the 10 best, I do want to mention three films that I desperately wanted to see before making this list. Unfortunately it’s not going to happen for another week or so. They are “Zero Dark Thirty”, “Rust and Bone”, and “Amour”. I would also like to throw out a few honorable mentions. These were fantastic movies that I loved and that just missed the cut (click their names for full reviews)…. “Damsels in Distress’, “The Hobbit“, “The Kid with a Bike“, “Bernie“, “Looper“, “Delicacy“, “Les Miserables”

#10 – “FRANKENWEENIE” – I’m as shocked as you. The idea that a Tim Burton picture would be on my Top 10 list amazes me. I’m not a Burton fan but “Frankenweenie” is an animated delight. It’s one part tender tale about a boy and his dog and another part the Frankenstein story and it works beautifully as a collective whole. It’s also an old school horror movie homage with tons of fun references to everything from the monster pictures of the 1950s to the classic Universal horror films. But the key reason it works is that Burton wisely focuses more on telling a good story than promoting his unique style. The result is a fabulous animated treat that I adored.

#9 – “PROMETHEUS” – I know this will be a controversial pick just judging by the variety of differing opinions about this film. But I gotta say that I loved “Prometheus”. I loved the universe. I loved the special effects. I loved most of the cast. I loved its open-endedness. Are there holes in the logic here and there? Sure. But for me Ridley Scott supplied me with another exciting sci-fi experience that may not answer all the questions as it advertises, but it still reminds me of what an intelligent and visionary filmmaker he is. I stand firmly beside “Prometheus” and sincerely hope that the $400 million box office was enough to ensure us a follow-up.

#8 – “LINCOLN” – Steven Spielberg’s “Lincoln” is a movie that may surprise a lot of people. While there are a few Speilberg overindulgences, as a whole he really dials it back and it works beautifully. This isn’t a film steeped in huge set pieces and heavy melodrama. This is a performance driven drama with possibly the best ensemble casts of the year. Daniel Day-Lewis reaffirms his status as the greatest working actor with a fine performance. Critic Leonard Maltin called the performance miraculous and I have to agree. He loses himself in this towering historical character and I was hooked on every line and every mannerism. That’s the biggest reason the film worked so incredibly well.

#7 – “THE IMPOSSIBLE” – There have been many disaster movies that have made their way onto the big screen. But none has ever gripped me and affected me the way “The Impossible” did. This is one of the most poignant and powerful pictures I watched all year. It’s also a draining and at times difficult movie to endure. But the reward is overwhelming as we watch the best of people come out in a truly devastating circumstance. This is an intelligent and respectful film about the Indian Ocean tsunami and it’s aftermath. Naomi Watts and Ewan McGregor give stunning performances and newcomer Tom Holland should garner a lot of attention. Don’t brush this movie aside as just another disaster film. It’s so much more.

#6 – “SKYFALL” – It wasn’t until Daniel Craig took the reigns of 007 that I became a huge James Bond fan. Now I’m hooked. “Skyfall” is a wonderful action thrill ride from director Sam Mendes and is arguably the best Daniel Craig Bond picture yet. It’s loaded with the expected blow-your-socks-off action shoot-outs and car chases. But it also fleshes out Bond more as a person, something I really responded to. Javier Bardem, while underused, is a blast and it was great to see Judi Dench’s role expanded. “Skyfall” has raked in over $1 billion dollars worldwide but it’s well deserved. This is just more proof that big budget films can and should knock it out of the park.

#5 – “ARGO” – For my money Ben Affleck has proven himself to be an incredibly capable director. “Argo” is a shining example of his abilities behind the camera. This sizzling picture set during the Iran hostage crisis of 1979 is an edge-of-your-seat thriller anchored by a fantastic cast, sharp direction, and Chris Terrio’s slick and intelligent screenplay. It dramatizes the absurdity of the real life hostage rescue in a way that had me glued to the screen. And the perfectly realized sense of time and location just seal the deal. It also features what may be the best opening 20 minutes I have seen in several years. I love “Argo”. It’s storytelling at its finest.

4 – “THE AVENGERS” – It has become the norm for Hollywood to release several big budget superhero movies each year. But very few are as good as “The Avengers”. This was one of the most ambitious projects and it had potential to be a disaster. It was far from that. “The Avengers” was one of the most well-conceived and well-executed movies of the year thanks to the clever and often times hilarious screenplay from Joss Whedon. Loud laughs and thunderous applause filled the theater during both of my big screen viewings and I was right there with them. In terms of sheer fun at the movies, “The Avengers” was tops and that makes up for any tiny flaw it may have otherwise.

#3 – “MOONRISE KINGDOM” – It’s safe to say that I have evolved into a full-blown Wes Anderson fan. “Moonrise Kingdom” solidified that for me. This is a film that perfectly encapsulates Anderson’s special brand of humor and style. There’s a beautiful and sensitive story of eccentric children’s puppy love and their feelings of not belonging. But there’s also the story about the adults within a small New England community and all their imperfections. And then there’s Anderson’s razor-sharp script – some of the best writing of the year. Great performances, hilarious moments, perfectly quirky music, and an artful 1960’s aesthetic are all spread across Anderson’s gorgeous canvas.

#2 – “BEASTS OF THE SOUTHERN WILD” – This is a movie that I didn’t catch up with until later in the year. Suffice to say it really blew my mind. This was clearly the biggest surprise of the year for me as well as the most moving and emotional film of 2012. A first time director and two first time performances create an experience that pulls you into the isolated and poverty-stricken world of a 6-year old girl named Hushpuppy. It’s sometimes heartwarming and sometimes deeply unsettling, but it’s riveting cinema throughout. This is small and little known film that is finally getting an audience and stands above most every film of 2012.

#1 – “THE DARK KNIGHT RISES” – No other movie of 2012 combined the thrill of adrenaline-fueled action with the art of pure cinematic storytelling. Christopher Nolan wrapped up his phenomenal Dark Knight trilogy with yet another sharp and layered movie. Tom Hardy is a brute presence and Ann Hathaway makes Selina Kyle (a.k.a. Catwoman) a much more grounded character. The entire film is laced with a tinge of realism but it’s still a rousing superhero experience. Some have had issues with this film but I found it to be brilliant and the perfect ending to one of my personal favorite trilogies. This is also Nolan’s third straight film to end up as my year-end #1. Bravo!

So there they are, my 10 Best Films from the 2012 year. What are your thoughts? Where did I go wrong? What’s your favorite film of 2012?

*After writing this I was able to catch up with “Zero Dark Thirty” and “Amour”. Let me say that both would make my Top 10 without a doubt!

THE 5 BIGGEST DISAPPOINTMENTS OF 2012

January 7, 2013 by Keith Garlington

Monday is the day where I do The Phenomenal 5. But honestly, it’s kinda hard to fit the word “phenomenal” in with this list. Just as every movie year has its great films, every year also has its movies that fell short, disappointed, or simply missed its mark. 2012 was certainly no different. For this list I’ve picked five movies that just didn’t work for me. Now I’m not claiming that these are the worst films on 2012 (more on those later). Nor am I including movies like “The Master” which I feel is overrated but that has some undeniable strong points. These five films are movies loaded with potential and high expectations but ended up as real letdowns. (Click on the names of each movie for a link to my full review).

#5 – “BATTLESHIP”

I almost left “Battleship”off this list entirely. It wasn’t a movie that I had huge expectations for therefore it wasn’t a major disappointment. On the other hand, I bought into the flashy, action-packed trailers that showed off the cool technical side of the film. Unfortunately that’s about all this movie had to offer – lots of explosions, cool alien technology, and nothing more. Even more, I was really surprised at just how lame the script really was. It’s completely predictable, filled with clichés, and features an absolutely absurd rise in military rank for our protagonist. Look, I get that “Battleship” was a mindless, summer popcorn flick. But even those have to execute better than this movie does.

#4 – “TAKEN 2”

I really like the first “Taken” film. It was one of the first films featuring the new tough guy Liam Neeson. I ignored all of the bad reviews and made my way to the theater to see “Taken 2”. Sigh! There were moments that I liked in the movie. But there weren’t many of them. “Taken 2” completely dropped the ball in the end. It’s a lazy, check cashing effort that seems to have worked judging by the box office numbers. But I found myself frustrated at the film due to its poor camerawork and absolutely absurd moments. Some of Neeson’s tough guy techniques are ridiculous and I’ve rarely seen a stupider bunch of the bad guys. And then there’s the climactic fights at the end where the camerawork is so bad you have no idea what has taken place. One thing I do know, “Taken 2” definitely qualifies as a disappointment.

#3 – “CLOUD ATLAS”

I was completely unfamiliar with the source material for “Cloud Atlas”. But after hearing all of the excitement from many others, I became pretty enthusiastic about the movie adaptation. I came out really disappointed but I’ve also grown more disenchanted with it as time goes by. There’s a lot of ambition tied into this film. It also takes chances and I always like that. But this is a mishmash of incomprehensible nonsense, self-indulgent style, and heavy-handed sermonizing wrapped up as a groundbreaking, science-fiction epic. Now I can see where people may buy into it but I saw it as a lot smaller than it tries to be. A couple of the storylines are interesting but as a whole it just didn’t come together and I have no interest in seeing it again.

#2 – “TO ROME WITH LOVE”

I was never a big fan of Woody Allen, at least not until I saw “Midnight in Paris”. I remain mesmerized by that movie both due to its heart and it’s incredible witt. Allen’s European cinematic tour continued with “To Rome With Love” and how could it not be good, right? Sadly the movie flies off the rails at the halfway point and never captures any of the locational magic that made “Midnight” so great. Now I will say the movie starts off promising and I was starting to think Allen had struck gold again. But things take a ridiculous turn and the second half of the movie is about as sloppy as anything I saw all year. I was really hoping Woody Allen would do for Rome what he did for Paris. Instead he left it just short of a disaster area.

#1 – “TOTAL RECALL”

Many of us have questioned the barrage of remakes coming out of Hollywood these days. But “Total Recall” was one film that seemed primed for a modern day makeover. And while I did have questions, I back-burned any skepticism. Unfortunately there were a lot of reasons to be skeptical. I watched the original “Total Recall” tons of times after its release. This flashy remake not only fails to capture the fun, sci-fi action and adventure of the original, but it leaves out much of what made the first film so good. The glaring creative changes and omissions decimate the story so much so that the fantastic visuals and great special-effects can’t cover it. This is a really good looking movie. But it’s also a complete drag and it fails to capitalize on what should have been a surefire formula.

There are my five biggest disappointments of the 2012 movie year. Agree or disagree? Please let me know. Also take time to share some of your biggest disappointments of this past year.

“Jack Reacher” – 3 STARS

January 1, 2013 by Keith Garlington

You wouldn’t know it by looking at his string of recent films, but Tom cruise is still a bona-fide movie star. His newest effort is “Jack Reacher”, a crime thriller that’s based on the popular series of novels by Lee Child. Released in the shadow of the box office juggernaut “The Hobbit”, “Jack Reacher” has received little fanfare. That’s a shame because compared to much of the stuff that passed for movies this year, this is a good, solid film and a perfect vehicle for Tom Cruise. It’s a sleek and snappy movie that features a bit of everything even though it doesn’t go far enough to really state its own identity. It’s also sure to leave you scratching your head at some of the things you’re seeing. Nevertheless, I had fun with this picture.

On the surface “Jack Reacher” resembles something pulled right out of the late 1980s. Reacher is a hard-as-nails, ex-military type turned drifter and ghost. He has the deductive skills of Sherlock Holmes and the butt kicking ability of Jason Bourne. I’ve never read any of the books so I’m uncertain of who Jack Reacher is beyond that. The movie never clearly says. Instead it plays up the character shrouded in mystery. Is he a vigilante? Is he a hired gun? Is he an off the grid cop? Well, maybe a little bit of “yes” to all. Cruise does a nice job handling the character. One of the biggest concerns about this movie with some folks was his height. Fans of the books quickly noted that Cruise’s build doesn’t match with the picture that Child creates in the series. I can’t speak to that, but I had no problems with what Cruise was doing on screen.

“Jack Reacher” isn’t a title-to-credit, nonstop, action movie. That may be one reason why Cruise worked out so well. Most of the film centers around the investigation of a brutal mass sniper shooting of five random people at a Pittsburgh promenade during broad daylight. While not graphic, the opening sequence depicting the shooting was incredibly intense and even more sobering in light of current events. It’s brilliantly shot and sets the table well. Reacher pops up and enters the investigation due to a past connection with the chief suspect. He works alongside an idealistic defense attorney (Rosamund Pike) who agrees to take the case against the better judgment of her district attorney father (Richard Jenkins). As with any decent movie mystery there are several twists and turns that keep this from being the clear-cut, open and shut case that it first appears to be.

The story moves at a snappy pace and never bogs down even though it may not have needed all of its 2 hour plus running time. As mentioned above, it never develops its own real identity. At one point it feels like a crime drama with elements taken from the 1940s. But at other times it seems to want to be an action picture, a revenge movie, or even a comedy. Luckily none of these changes in tone and direction jars the movie too far off course. It kept me interested and involved even when things begin to get a little preposterous.

Christopher McQuarrie, who worked with Cruise on “Valkyrie”, wrote the screenplay and directed the film. He’s a very capable writer as evidenced by his work on “The Usual Suspects”. But even though I was never bored with his script or his pacing, there were a few things that seemed surprisingly off, specifically the characters played by the great filmmaker Werner Herzog and Robert DuVall. Herzog plays a shadowy Russian mobster who is more of a cartoon character than a real menace. Both he and his intentions and motivations feel terribly underwritten. DuVall is a lot of fun when we first see him as a blustery gun range owner. But he turns into Reacher’s gun-toting sidekick during the big bullet-ridden action finale, a move that felt about as conventional as you’ll find.

There are also several instances of cheesy dialogue that Cruise actually handles well. Whether some of them were intentionally or unintentionally cheesy I can’t answer, but it reminded me of many of the movies I grew up watching. These few scenes left one critic saying that “Jack Reacher” belongs in a bygone era of movies. I disagree. For me, the cheese worked. I also have to praise the slick and stylish action sequences. Caleb Deschanel’s camera work is often times stunning. In fact, he stages and shoots one of the best car chase sequences I have seen in a long, long time. The movie is worth seeing just for this amazing chase.

In the end, “Jack Reacher” is a tough movie to review. It’s an engaging and entertaining movie but a slightly flawed one. It’s also a film destined to be lost in the crowd of December movies and awards season entries. I liked this picture and I liked Cruise’s performance. But the movie doesn’t end up being the one it starts as. The intense opening sequence sets the movie up as a serious and gritty crime thriller. It evolves into sheer Hollywood escapism. That certainly doesn’t kill the movie, but I would be interested to see how the other “Jack Reacher” would have played out. Still, I have to commend the movie for engaging me and giving me a good time at the theater. I would have no problem seeing this again, but I still can’t help but feel that it wasted some of its potential.