[NoHo Arts District, CA] – This month’s movie and TV reviews of Operation Fortune: Ruse de Guerre, Cocaine Bear,Triangle of Sadness, Women Talking.
Finally! A film I’ve been looking forward to and one that delivers the goods. No, I’m not talking about Cocaine Bear (discussed a little later). It’s Guy Ritchie’s latest action caper/lighthearted opus Operation Fortune: Ruse de Guerre. There are various reasons as to why the movie didn’t come out when it was supposed to (this time last year), but these can’t have anything to do with the film’s quality. The film stars Jason Statham in top form (both with the action scenes and with his comic timing) as super-spy Jason Fortune, with his own elite unit operating under the auspices of the British government. As it turns out, some of the elite don’t meet with him anymore and have formed their own rival unit (also under the aegis of the Brits). In any case, there’s a valuable and dangerous package that everyone wants (a high-tech version of the McGuffin), with a billionaire arms dealer/charity maven (Hugh Grant in top charmy/smarmy/form—heck, he steals the show) at the center and an action movie star (Josh Hartnett) dragooned into playing the biggest role of his career.
There’s so much to enjoy about Operation Fortune: Ruse de Guerre. There is a great cast: In addition to the aforementioned Statham and Grant, Hartnett does fine work as the movie star who finds a new lease on life playing himself as movie star; Aubrey Plaza as Statham’s new quippy right-hand is as facile with the high-tech dialogue as she is with the action. It’s also great to see Cary Elwes play a (slightly more) serious version of the “Basil Exposition” character played by Michael York in the Austin Powers version. There are also a few offbeat situations that lead themselves both to suspense and humor (as in the attempt to connect with a certain character’s cell phone onboard a yacht—and the discussion of art that ensues). The dialogue is snappy, the action scenes are effective and (fairly) believable, as these things go, and the movie is fast-paced and entirely satisfying as entertainment. Plus, there’s a great coda part-way through the final credits. It’s worth waiting for.
No new movie I’ve seen recently is as enjoyable as this one. Certainly not Cocaine Bear, which lured in with its premise (a bear devours some dumped satchels of cocaine and goes on a rampage) and its cast (Keri Russell, Ray Liotta, among others) and director Elizabeth Banks. And while there is a lot of movement going on, namely on the part of the bear and its various victims, it all becomes a tad repetitive. Plus the fact that there is virtually no one to root for (aside from dogged cop Isiah Whitlock Jr., maybe mom Keri Russell and her annoying daughter) leaves the viewer to enjoy (if that’s the word for it) the various ways the bear can extract both life and limb from a number of well-paid guest stars. There is an exceptional sequence involving an ambulance and a chase, some clever lines…and that’s about it. Oh yes…there may even be a sequel. (From what I hear, it’s doing well at the box office, but do me a favor and show some love for Operation Fortune instead.
And while we’re on the topic of letdowns, I can’t fail to include Triangle of Sadness and Women Talking. They’re both nominated for Best Picture, and if folks can wonder about the inclusion of Top Gun: Maverick, surely I can wonder about these two. Triangle’s main flaw is there is too much of everything…and it’s all too obvious. Two models dine, wonder about their financial equality (or lack of it), go on a pleasure cruise with plenty of beautiful, privileged, and obnoxious people. All are at the mercy of the fastidious, officious crew, which is presided over by a wobbly captain (Woody Harrelson) who is in his quarters most of the time—till dinner time. The sequence with the unappetizing banquet accompanied by a storm that wreaks havoc with both the intestines and the internal workings of the ship is the best part of the film—but even that overstays its welcome (though it is buoyed somewhat by the lengthy exchange between Communist Captain Harrelson and capitalist Russian passenger Zlatko Buric. The last section, with the survivors (of both a shipwreck and an attack by sea pirates) enmeshed in an updated, sexually more explicit version of The Admirable Crichton is also too obvious and protracted—and if I may add, quite unsatisfying. (I will give no spoilers.) And as for Women Talking, Sarah Polley’s film is based on Miriam Toews’ novel which was, in turn, inspire by real-life events that happened to the women of Mennonite community in Bolivia. These women were sexually abused at night while they were unconscious (after having been drugged by the men), which resulted in a trial and some courageous testimony by the victims. The film (and novel) use this as the basis for a parable, in which the attacks have happened, the men have been arrested—and the women victims (among them Claire Foy and Jessie Buckley) have to decide to stay and forgive, stay and fight, or leave. There is a LOT of conversation, some of it interesting, most of it repetitive and insistent. You’ll guess the ending before the film gets there. It’s up to you if you want to spend the time.