London Has Fallen: Mini-review


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Gerard Butler

Two mediocre movies in two weeks for Gerard Butler

C-Gerard Butler‘s once-familiar face had surprisingly been absent from movie screens for three years up until the last two weeks, when first Gods of Egypt and now London Has Fallen show up in rapid succession. Judging by the thoroughly mediocre quality of both films, it may be another three years before audiences want to see Butler again. 

London Has Fallen is a sequel to the unexpectedly successful 2013 action film Olympus Has Fallen, Butler’s most recent live action film. Once again, he plays Secret Service agent Mike Banning, responsible for the safety of U.S. President Benjamin Asher (Aaron Eckhart), who is in London for the funeral of the British Prime Minister. Terrorists suddenly launch a massive attack, blowing up various London landmarks and assassinating several other world leaders. Their ultimate goal is to publicly execute Asher for “war crimes,” unless Banning can keep him safe.

As with many action sequels, London Has Fallen represents a distinct step back in terms of personnel and budget from its predecessor. Director Babak Najafi, whose previous American experience consisted of a couple of episodes of the cable TV series Banshee, steps in for Antoine Fuqua. Najafi acquits himself well in the nearly non-stop action scenes in London Has Fallen. Unfortunately, he can’t completely cover up the cheesy special effects that often rival those found in a Syfy Channel movie. Nor can he make his Eastern European location shots look like authentic London locales, no matter how many CGI-generated landmarks like Big Ben and the Tower of London get destroyed. Najafi is also saddled with a screenplay that is filled with mostly bad one-line retorts delivered by Butler and that, even by modern-day thriller standards, defies belief. The audience is asked to believe that hundreds of heavily armed Arab terrorists have infiltrated the police and army and can launch a dozen perfectly coördinated attacks. Despite its shortcomings, however, London Has Fallen can be fun to watch at times for those who don’t take it too seriously or mind considerable gore. Also, Butler is fun to watch; he doesn’t chew as much scenery here as he did in Gods of Egypt, but his character is just as gonzo, with a penchant for inflicting pain on his enemies that makes Arnold Schwarzenegger look like a pacifist. Plus, no movie with Morgan Freeman appearing (in this case, vice-) presidential can be all bad. London Has Fallen doesn’t quite rise to the level of guilty pleasure, but, unlike the film’s version of London, it’s not a total disaster either.   
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Southpaw: Mini-review


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Jake Gyllenhaal

Jake Gyllenhaal doesn’t seem too much the worse for wear here

BFew young actors immerse themselves as completely in their roles as does Jake Gyllenhaal, who lost 30 pounds for his acclaimed role in Nightcrawler. Now, he’s gone in the other direction, working out and bulking up to play a champion boxer in SouthpawAnd once again, the effort pays off in a knockout performance.

Gyllenhaal is world light heavyweight champion Billy Hope, whose world is shattered when his wife Maureen (Rachel McAdams) is killed when a hotel scuffle with another fighter gets out of control. Billy’s life soon goes out of control as well as he loses his title, his sobriety, his money, his manager (Curtis “50 Cent” Jackson), his boxing license, and custody of his daughter Leila (Oona Laurence) in short order. Having hit rock bottom, Billy goes back to the basics, working with trainer Tick Wills (Forest Whitaker), the only person willing to give him a chance.

Southpaw was written by Kurt Sutter, creative force behind Sons of Anarchybut there’s little of the TV series’ freshness here. Instead, Southpaw‘s plot pretty much recycles every boxing film ever made, down to the demanding training montages and the nail-biting, physically damaging “big fight” at the end. And, frankly, Antoine Fuqua‘s direction of the  boxing sequences is nothing more than competent. What rescues Southpaw are the performances, particularly Gyllenhaal’s and Whitaker’s. Once again, Gyllenhaal immerses himself in a role, this one requiring him to be in some sort of pain most of the time. It’s not a subtle role, but what’s most convincing about Gyllenhaal’s performance isn’t how Billy Hope takes punches; it’s the rapport with his daughter. Young Laurence is a natural screen presence, and her character is actually the best written and least clichéd in the film. Forest Whitaker has his moments as well, as a man with demons in his own past that are never fully spelled out in the script. In the long history of boxing movies, Southpaw is no champion, its storyline has been around as long as professional boxing itself. However, Gyllenhaal and Whitaker score enough points with their acting to earn Southpaw a solid decision.  
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