Sometimes we like to go to the movies for a sense of escapism so we can escape into a world of hobbits, superheroes, and monsters. Other times, however, going to the movies is not so much of an escape as it is a harsh reminder of the things that are wrong with this world. To emphasize an era affected by Vietnam, films such as Taxi Driver, Coming Home, and Apocalypse Now were there to tell the story. While the Vietnam War has ended, the "war" in general has still not come to a conclusion for USA. The last few years will surely be defined by the countless lives lost in Iraq and the war against terrorism, and Hollywood is breaking out the big guns by reflecting these troubled times. Rendition and Lions for Lambs are just a couple of social problem films slated to be released this fall. However, one recent project to tackle the angst of post-911 is Peter Berg's action/drama, The Kingdom.
The film opens in Saudi Arabia at an American compound for oil workers. An unknown terrorist group infiltrates the area and performs a skilled attack that leaves many innocents dead. This is when we meet FBI agent Ronald Fluery (Jamie Foxx). After hearing of the violent deaths, Fluery will stop at nothing to gain clearance into Saudi Arabia so he can investigate with a select team. After pulling a few strings and ignoring threats from his superiors, Fluery loads onto a jet with forensics expert Janet Mayes (Jennifer Garner), intelligence specialist Adam Leavitt (Jason Bateman), and bomb encyclopedia Grant Sykes (Chris Cooper).
After landing in Saudi Arabia, the American agents are greeted by Police Captain Al-Ghazi (Ashraf Barhom), who is assigned to protect the team at all costs. This includes prohibiting their investigative procedures for safety reasons. Fluery and his crew cover the scene of the crime where they attempt to unearth crews that will find the terrorist group responsible, while simultaneously discovering the hostility that Captain Al-Ghazi and numerous Saudis feel toward the terrorists.
When looking at The Kingdom as a whole, it is difficult to assign it a single genre. Most of the film is a crime procedural story for the thinking person. This then eventually shifts into a full-blown action movie with gunshots, explosions, and stabbings galore. The surprise venture into "let's get em" territory is a bit puzzling, but this does not stop The Kingdom from being an enjoyable movie. While most ploys tout this as a thrill ride, the majority of the story is really a complex story that delves into the lives of the characters mystified by this foreign jungle. What is even more fulfilling is the inclusion of Captain Al-Ghazi as a key main character right alongside the American famous faces. The relationship between this Saudi officer and the FBI protagonists is an intelligent means of eliminating a strong sense of xenophobia. The filmmakers tactfully portray Al-Ghazi as a man who worships Allah, just as the terrorists do, yet he expresses his desire to kill the terrorists on contact. This emphasis on the dichotomy between good and evil in the Middle East is a much needed touch to a popular culture where most Muslims are portrayed as enemies.
In addition to the performance by Ashraf Barhom as a vengeful policeman, the rest of the cast performs their roles well. Jamie Foxx pulls off another convincing role without relying on the comedic antics from his In Living Color days. Jennifer Garner is also subtle in her performance as a female agent overcoming gender treatment in a different culture. Garner is one of the few actresses today who can be whimsical and sexy one minute (13 Going on 30), yet convincingly play a role with such conviction and expertise seen here. To round things out, Chris Cooper and Jason Bateman provide the occasional bits of comic relief proving that even investigations of suicide bombings can be funny.
Actor-turned-director Peter Berg sits in the director's chair, but it is no surprise that Michael Mann served as a producer. Judging by the harsh lighting and constant handheld camera, I could almost visualize the director whispering advice into Berg's ear on the set. Whether we have Berg or Mann to thank for the wonderfully gritty direction is a moot point. The fact of the matter is that The Kingdom works. The human drama is well-constructed by screenwriter Matthew Michael Carnahan, and even the eventual stretch of over-the-top action works to a certain extent. The film culminates in an ending that stresses the true hostility between terrorists and Americans, and I could only nod my head at how much the filmmakers get it. This may not win any Oscars, but The Kingdom has intelligence and action rolled into one intense package that will surely please popcorn munchers and movie snobs alike.
Questions? Comments? Just want to talk movies? Drop me a line at dodd@movieweb.com
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