Posts Tagged ‘Zoë Kravitz’

GOOD KILL: 3 ½ STARS. “a complex look at a complex subject.”

I blew away six Taliban in Pakistan just today,” says Tom Egan (Ethan Hawke) in the war film “Good Kill,” “and now I’m going home to BBQ.” Welcome to the world of drone warfare, the latest, deadliest weapon in the war on terror.

Air Force pilot Egan is a six-tour vet with 3000 hours logged in F-16s, now stationed in Las Vegas behind a drone control console. He’s a world away from the action, commandeering drones hovering 10,000 feet above their victims. “It’s like going from a Ferrari to a Ford Fiesta,” says his commanding office (Bruce Greenwood). Egan wants out of the comfortable air-conditioned A/V cubicle and back into the cockpit. “I am a pilot,” he says, “and I am not flying.” As his frustrations grow, his marriage crumbles and the psychological effects of the job wear on Egan who doubts the morality of long distance death.

Director Andrew Niccol keeps a steady hand as he unfurls the dehumanizing effects of “first-person shooter” war. Egan and crew take their orders from a cool-and-calm disembodied voice from CIA headquarters in Langley who issues “permission to prosecute” in ever increasing doses. As the drone strikes increase in number—“Out of necessity this war on terror has become borderless,” says the voice.—Niccol keeps the deliberate pace, like a well trained pilot who never loses his cool in battle.

Instead the verbal action heats up. This isn’t a war film in the traditional sense, just as drone warfare isn’t traditional battle. Despite the tense drone attack sequences—seen through a computer monitor—“Good Kill” is a war of words. Niccol began as a writer and uses his command of words to raise questions regarding the consequences of remote control death—“We are the best recruitment tool Al-Qaeda ever had,” says Vera Suarez (Zoë Kravitz)—to the moral implications of their actions—“Was that a war crime, sir?”

Hawke simmers, a slow boil of emotions as his standards, both personal and professional are slowly eroded. It’s an intense performance that grounds some of the melodrama—i.e.: Greenwood solemnly intoning, “A lot of love went into that hate.”—that occasionally seeps into the script.

“Good Kill” is a complex look at a complex subject that doesn’t offer answers as much as it does inspire questions.

PRETEND WE’RE KISSING: 3 ½ STARS. “breaks the mould of what a rom com can be.”

A few years ago the romantic comedy was flat lining, suffering from a seemingly incurable case of the Katherine Heigls. The once proud genre—think “When Harry Met Sally”—had surrendered to predictability with witless stories and characters who took the bus straight from Central Casting.

The term rom com became an anti-selling point to audiences tired of the same old Barrymore Method© rom com design— meet cute, fall in love, then fall out of love before walking off into the sunset and… well, I’m not going to give away the ending but if you don’t know it already then either you don’t have a romantic bone in your body or you’ve never seen a Drew Barrymore (or Kristen Bell or Kate Hudson or Jennifer Aniston) movie.

Director Matt Sadowski skirts around this by calling his new movie “Pretend We’re Kissing,” a non com, but make no mistake, this is a rom com, but the kind of romantic comedy that won’t make you run from the theatre suffering from saccharine overload.

Dov Tiefenbach is Benny, a pensive twenty-something who pays the rent by covering downtown Toronto with band posters. His flatmate is a nudist (Zoë Kravitz) with a worldview somewhere between Shirley MacLaine and Gloria Steinem who has crashed there for a year while looking for work.

Despite living with a beautiful, often naked woman Benny is a lonely heart. Single, until he meets Jordan (Tommie-Amber Pirie) and is instantly smitten but too insecure to do anything about his feelings. Soon a courtship begins—this is a rom com after all—but it’s not all smooth sailing because this isn’t a Drew Barrymore rom com.

“Pretend We’re Kissing” is tribute to Toronto—the Toronto Islands and the Cameron House are almost characters in the film—and a funny, occasionally sweet, occasionally cringe-worthy look at ups and downs of millennial love. More importantly it breaks the mould as to what a romantic comedy can be.