I join CP24 to talk about the big movies hitting theatres and streaming this week, including “Young Werther’s” study of complicated friendships, the end of life drama “The Room Next Door,” the audacious “Nickel Boys” and the diamond heist movie “Den of Thieve 2: Pantera.”
Watch the whole thing HERE!
I joined CP24 Breakfast to have a look at new movies coming to theatres, including the audacious “Nickel Boys” and the diamond heist movie “Den of Thieve 2: Pantera.”
Watch the whole thing HERE!
I join the CTV NewsChannel to talk about “Young Werther’s” study of complicated friendships, the end of life drama “The Room Next Door,” the audacious “Nickel Boys” and the diamond heist movie “Den of Thieve 2: Pantera.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including “Young Werther’s” study of complicated friendships, the end of life drama “The Room Next Door,” the audacious “Nickel Boys” and the diamond heist movie “Den of Thieve 2: Pantera.”
Listen to the whole thing HERE!
I join the Bell Media Radio Network national night time show “Shane Hewitt and the Night Shift” to talk about the latest entertainment headlines and to tell you about what cocktail to enjoy while watching the diamond heist movie “Den of Thieve 2: Pantera.”
Listen to the entertainment news, including some celebrity real estate listings HERE!
Listen to Booze & Reviews, “Den of Thieves 2: Pantera” edition HERE!
SYNOPSIS: In “Den of Thieves 2: Pantera,” a new action movie starring Gerard Butler and O’Shea Jackson Jr., and now playing in theatres, Los Angeles County Sheriff’s Department Detective Nick “Big Nick” O’Brien’s search for bartender-turned-criminal Donnie Wilson leads him to the dangerous world of diamond thieves and the infamous Panther mafia, as they partner to plot a massive heist of the world’s largest diamond exchange. “I’m broke,” says O’Brien, “and I want in on the action.”
CAST: Gerard Butler, O’Shea Jackson Jr., Evin Ahmad, Salvatore Esposito, Meadow Williams, Swen Temmel. Directed by Christian Gudegast.
REVIEW: Seven years after the first “Den of Thieves” movie debuted comes the sequel, a hard-boiled heist movie that spends most of its time on simmer.
When we first see “Big Nick” O’Brien (Gerard Butkler), he’s a little worse for wear. He tosses his divorce papers, along with his wedding ring, into a bathroom bin, before crawling into the bottom of a bottle. When he learns of a heist in Antwerp (based on the real life 2003 Antwerp diamond heist) he instinctively knows it bears the fingerprints of his old adversary Donnie Wilson (O’Shea Jackson Jr.).
Working with the police in Europe, he tracks down Wilson, who is planning an 850 million Euro heist at the World Diamond Center, one of the most secure facilities in the world. Catching a glimpse of the kind of cash involved the broke cop tells Wilson, “You’re gonna rob that place and I’m going to work with you.” But there’s a catch. “I can haul you in anytime I want,” he says. “Depends on my mood. Right now, I’m in a good mood.”
The bad-guy buddy movie—“Cop goes gangsta,” says Wilson—spends the rest of its runtime (a tad over two hours) in twisty-turny-more-is-less-mode. Elaborate plans are made, flirtations are had, alliances are tested, and diamonds prove to be harder to hang on to than originally thought. It feels cluttered, even when there isn’t much actually happening, which is a lot of the time.
“Den of Thieves 2: Pantera” has all the ingredients of a fun thriller. There’s exotic locations—and the prerequisite drone shots to announce each of them—some fancy cars and stern-faced baddies. What it doesn’t have is the excitement to tie it all together.
Gerard Butler is no stranger to action. On film he’s battled more terrorists than you can shake a stick at, and he once even took on a network of powerful of satellites gone amok.
His latest, “Mission Kandahar” (titled simply “Kandahar” in the United States), now playing in theatres, brings the action earthbound in a story based on the true experiences of screenwriter and former military intelligence officer, Mitchell LaFortune in Afghanistan in the aftermath of the Snowden leaks.
Butler is Tom Harris, a divorced MI5 military intelligence officer working undercover in Afghanistan circa 2021. He is a “total chameleon,” a man who disappears into the job as he poses as technician hired by their government to lay internet cable in the desert, all the while while gathering intelligence on the Taliban.
Just as he is about to end his mission, and head home to England to visit his daughter, an intelligence leak reveals his identity, location and mission goals. “Our cover is blown,” he says. “We leave in fifteen minutes.”
Exposed and in danger, he and his loyal Afghan interpreter and fixer (Navid Negahban) are trapped in hostile territory.
“No one is coming to rescue us,” Harris says, as he takes matters into his own hands to get the two of them across the 640 kilometers to an extraction point at an old CIA base in Kandahar Province before elite enemy forces can stop them. “The distance is not the main issue. It’s what’s in between.”
Butler, like Liam Neeson, makes very specific kinds of action films. With “Mission Kandahar” he filters the very real issue of securing safety for the Afghan citizens who worked alongside U.S. and NATO personnel for twenty years, through the lens of a Butler Action Flick. That means some defying-all-odds action, a loved one waiting at home for him to return, stereotypical baddies and lots of things that go boom. And, of course, there’s The Presence, the bulky Butler leading the action.
Often entertaining—see “Plane”—Butler’s movies exist in a world mostly untouched by reality, as though the golden era of direct-to-DVD action flicks never went away.
For better and for worse, “Mission Kandahar” fits that mold. The story’s real-life backdrop provides a canvas, but melodrama and action are the movie’s reality.
As if flying in real life wasn’t bad enough these days, along comes “Plane,” a new Gerard Butler resourceful hero movie, that brings the experience of a terrible flight to your local theatre.
The story begins on New Year’s Eve aboard the half empty Trailblazer flight 119. Butler is Brodie Torrance, a widowed pilot with a far-a-way look in his eye and a daughter in Hawaii he doesn’t see often enough.
In the cabin are the usual assortment of b-movie types, the hot-headed American, giggling teens posting on social media, the brash Brit, and, of course, Louis Gaspare (Mike Colter), an accused murderer being extradited to face trial.
When a lightning strike forces a crash landing on Jolo, a remote Philippine island run by heavily armed anti-government militias, Torrance must pull out all the stops to save his passengers.Meanwhile, at Trailblazer’s New York headquarters, a crisis management team lead by the tough-as-nails David Scarsdale (Tony Goldwyn), manages the situation from afar.
As action movies go, even with the relatively low expectations that come from an action film with Butler’s name above the title, “Plane” is about as bland as airline food. From its blunt, one word title and one dimensional characters, to its clumsy action scenes and Ed Wood style “toy airplane in flight” sequences, the Jean-François Richet-directed, so-called thriller fails to take flight.
Butler does what he can, grimacing and, occasionally flashing the charisma that made him a star in the first place, while spitting out trademarked action movie dialogue.
“That’s your plan?” asks one of the passengers after Torrance details a risky move. “Do you have a better one?” he replies, echoing a thousand action stars that came before him.
Worse than that, Richet and screenwriters Charles Cumming and J. P. Davis, don’t trust the audience. It’s not enough to show the lightning strike and the havoc it creates. We must also be told that the plane was hit with “enough juice to light a city.” We know. We just saw it. How about giving us new information, or, failing that, interesting dialogue?
If there were still DVD delete bins at the local video store, “Plane” would be gathering dust at the bottom of the barrel.
“Plane” feels like being stuck in the middle seat on a long flight.
Director Joe Carnahan’s films are usually high octane, ultraviolent affairs that don’t spare the blood or the bullets. His latest, “Copshop,” now playing in theatres, walks a similar path but doesn’t forget to bring the fun along for the journey.
Set in Nevada, much of the action takes place at the sleepy Gun Creek Police Department. Earlier in the evening con artist Teddy Murretto (Frank Grillo) was arrested after he sucker punched Officer Valerie Young (Alexis Louder) outside a casino. He’s a bad guy who should be avoiding the police but circumstances forced his hand because an even worse guy, hitman Bob Viddick (Gerard Butler), had tracked him down.
The quick-thinking con man figures Viddick won’t go near him if he’s in jail.
He figured wrong.
Turning the tables on Murretto, Viddick manages to get himself brought in on a bogus drunk driving charge. The hunter and the hunter are now just one cell apart. Young knows something nefarious is going on, and is determined to get to the bottom of it, even if Murretto warns her to keep her nose of his business.
“This is way beyond anything you want to get involved in lady,” he says. “You don’t understand.”
“No,” she replies, “you don’t understand how incredibly bored I am.”
“Copshop” has echoes of “Assault on Precinct 13.” Like the 1976 drama, most of the action happens inside the station and the cops and baddies must work together to find safety. The barebones storytelling builds quiet tension before Toby Huss shows up as sadistic killer Anthony Lamb. He’s quick with a bullet and a one-liner. Eyeing Teddy’s tight manbun he jokes, “You look just like Tom Cruise in that samurai movie nobody watched.”
Huss chews the scenery, breathing life into a man who brings death. He’s a hoot, simultaneously menacing and just a bit ridiculous.
Grillo and Butler are perfectly matched adversaries. They are the source of the cat-and-mouse plot; character actors laying the groundwork for the events that are the movie’s engine. Just as impressive is Louder as the no-nonsense Young. She’s at the center of the movie, the one character everyone will root for.
“Copshop” is a simple b-action movie that feels like a holdover from the 1970s. There are some generic elements, like side characters who seem to have walked straight out of Central Casting, but Carnahan makes up for that with energy, suspense and a dark sense of humour.
