The first thing that really comes to mind after watching The Rock's sophomore effort is this: It's about freakin' time! What really makes that statement stand out is that not only is it about time we get an action movie NOT based off a comic, a franchise or a TV show, not only is about time we get an action star who can actually… wait for it… ACT, and not only is about it time we saw Sean William Scott begin to realize his post-American Pie potential, but it's about time we get a movie (and not just an action movie) that delivers a thrilling ride on just about every level for a slam dunk of a good time.
Let's start with the bread and butter: The Rock.
When talk of yet another wrestler being wooed into "gracing" the silver screen for the prequel to The Mummy series began buzzing a few years ago you could almost FEEL the shudders running down both critics and audiences collective spines. What with WWE producing some of the world's finer thespians in the past, you just knew we were in for a treat. But something strange and unusual (even by Hollywood standards) happened-- the movie was good. Not only that, so was its leading man. Dwayne "The Rock" Johnson actually had something-- that indefinable charisma that woos the hearts of women, makes men grunt in vicarious praise, and packs theatres to near wall-bursting levels. He had it, and the rumors of a man actually named "The Rock" being heir to the great action throne were coalescing into fact. But then there was silence. Apart from a hilarious turn hosting Saturday Night Live and his return to the wrestling world, The Rock had all but vanished for movie audiences. Where was Arnold's successor? Where was Stallone's replacement? How would we know if his first time around was just a fluke or not? Well, it wasn't. The absence just made the heart grow fonder-- and in fact, I believe he knew it. Most wannabe's listen to the ass-kissing buzz and try to churn out as many movies as they can before their fire dies out, hoping to fan those flames only they eventually fade into direct-to-video obscurity (hello, Mr. Van Damme). But what the agents and studio heads won't tell you is that waiting for the right project, the right role, the right time, is what keeps you around and makes the hordes come running when you finally appear forty-feet tall. He was back.
This time Rock gets to play in the present, a contemporary man dealing with modern issues and even breaking some new ground. When was the last time you remember an action star saying he'd rather NOT use a gun? He lays enough hand-delivered smack down on the bad guys (and the good guys) to make you wonder why he'd ever need a gun in the first place. He embodies our hero with a charm and humanity that really pulls the character into a three-dimensional person. He's a badass not to be messed with, but he's also aware that one should avoid tearing a place apart if possible, until it's time to tear the place apart. Like Arnold and Stallone before him, Rock is more than capable and believable at either throwing punches and butting heads or getting up after taking a beating that'd send most us into a fetal position for the better part of a year. And in case there was any doubt about the torch being passed, the possible Californian governor himself makes a cameo appearance to wish his protégé luck.
The rest of the cast is equally enjoyable. Sean William Scott puts Stifler aside in favor of a wise-cracking treasure seeker who delivers most of the comic relief. We all know he can be funny, but he's able to bring a sensitivity and a boldness to the part that few Gen-Y actors could.
Men In Black II's Rosario Dawson sexes things up, but more than manages to hold her own with the big boys. Her accent is surprisingly believable as is her steely gaze when humor or seduction goes out the window and it's time to kick ass. And what can you say about Christopher Walken that hasn't been said-- brilliant as always. And here's a bit of trivia kids, who else appears in this movie that has a link to the "Austrian Oak" as well? Give up? Ernie Reyes Jr., the martial arts wonder-kid who stared in Arnold's Red Sonja plays a rebel leader who lays his own well-choreographed smack down on the man.
The director knows that the action is only thrilling if you're worried about the characters, and so he gives each one those quiet little moments that open a window into their minds, their hearts, making them vulnerable, human. Of course, for that to work, the actors need to be on their game when those times come, and everyone, especially Rock, is able to convey those emotions in their eyes, their faces, elevating the movie from a simple formulaic action template. It's these scenes more often than not that decide if you're a Die Hard or a XXX. As far as visuals go, director Peter Berg has come a long way since Very Bad Things. The character-actor turned filmmaker manages to do what very few directors lately have been able to accomplish (and I DO include the Wachowski's in this), he blends special effects, fight scenes and a well drafted script into a cohesive force that compels us to actually care about these people and the burdens they share. Using quick editing and unique camera movements, the movie runs at a roller-coaster pace, grabbing us by the lapels and never letting go.
The script pays homage to the great action films of yesterday-- snappy dialogue, cool characters, clear villains, a sensible story with awesome action that makes you scream "How cool was that??" And I've just gotta say this too-- there hasn't been a better use of monkey's in a movie since Any Which Way You Can.
I think not since Jackie Chan's original Rush Hour and Shanghai Noon have we gotten a buddy/action film that makes us laugh at its antics as often as it makes us gasp at its action. But I've gotta give the Rock one up on the Chan-man here, Mr. Johnson is the better actor. It's been a long time, but I think The Rock has definitely shown us he's got the goods. The kings of old are leaving us. To our new king is say this: "Rock on!"
|
Top Stories
5 Comments
