Tag: espionage

Salt


Salt (2010)
★★★ / ★★★★

A Russian defective (Daniel Olbrychski) arrived at a CIA facility accusing of Evelyn Salt (Angelina Jolie) of being a Russian sleeper agent whose role was to assassinate key political figures in order to spark a war between the United States and Russia. CIA officers (Liev Schreiber, Chiwetel Ejiofor) wanted to take precautions by detaining Salt but she attempted to break out of the facility to try to get to her husband (August Diehl) and prove her innocence. I liked that this movie actually went beyond the trailer’s question about whether or not Salt really was a mole. At times even I was unsure whether we were observing a good guy or a bad guy but I couldn’t take my eyes off the screen because Jolie played her character with such gravity and conviction. Although the film did not have anything particularly new to offer the action-thriller genre involving spies and mistaken identities, its willingness to entertain by delivering high adrenaline, often nail-biting, fast-paced action sequences was enough to take the material to an above average action flick. However, its technique of constantly throwing plot points and twists was ultimately its downfall. In the middle of the picture, I wanted it to take a couple of minutes and just breathe. In the end, I was not quite sure who Salt really was other than she was really good at jumping on and off trucks and essentially an effective killer. A little bit of character development and exploring her relationship with her superiors and husband would have gone a long way. Another problem I had was its weak ending. I’m not sure if its aim was to leave the door open in hopes of starting a franchise–a femme version of the “Bourne” saga considering both are about finding out about the main character’s true identity. It did not quite work because it left me wanting more in a negative way. When the screen cut to black, I felt like I was still in the middle of an action sequence and I felt a bit cheated for its lack of falling action and resolution. Even if the filmmakers were trying to make a franchise, like “The Bourne Identity,” it should have been able to stand on its own by having a completely satisfying story arc. Written by Kurt Wimmer and directed by Phillip Noyce, “Salt” was at its best when building tension and releasing it by having Jolie’s character construct her own way out of very tricky situations. Watching it was not brain surgery but I wished it had more complexity in terms of the relationships between the characters and what it felt like to have your country turn on you when you’ve dedicated your life trying to protect it.

Inception


Inception (2010)
★★★★ / ★★★★

The film started off like a spy film: the glamorous and exotic locale, fashionable suits, femme fatales. But unlike typical espionage pictures, the first half of the characters’ goal was not to steal a valuable object but an idea located deep inside a target’s dreams. The second (and more difficult) half was to get away with it by allowing the target to wake and continue living his life as if nothing had been taken away from him. This simplified two-step process was known as “extraction,” in which Cobb (Leonardo DiCaprio) was a leading expert. Cobb was not allowed to return to the United States to see his children so Kaito (Ken Watanabe) made an offer that Cobb simply could not refuse: to plant an idea in a future corporate leader’s mind (Cillian Murphy), known as “inception,” which had rarely been done before. If this last massion was successful, it would lead to Cobb’s freedom. In order to accomplish the mission, Cobb had to assemble a team (Joseph Gordon-Levitt, Ellen Page, Tom Hardy, Dileep Rao) with very special talents and they had to dive in the target’s subconscious while navigating their way through defenses set up by the mind and the secrets Cobb kept from his unsuspecting team.

When the movie started, I barely had any idea what was happening. I knew something exciting was happening on screen because of the intricate action sequences and splendid visuals but as far as the story went, it was still nondescript. However, that was not at all a problem because the film eventually established the elementary elements required so that we could have an understanding of what was about to happen. Despite its two-and-a-half-hour running time, I was impressed with its pacing. There was an assigned time for getting to know the lead character in terms of his career, his past, and his inner demons. Once I had a somewhat clear idea of his motivations, I immediately felt that there was something wrong with the way he saw the world and the specifics were eventually revealed in an elegant, sometimes emotional, and often mind-bending manner. Their missions were often sabotaged by Mal (Marion Cotillard), Cobb’s projection of his wife who had passed away, due to an unsolved guilt that he constantly pushed away. Throughout the course of the film, that guilt, like Mal, became more powerful and became a hindrance that the main character and his team could no longer set aside. Anyone with a background in Psychology will truly appreciate the film’s level of intelligence in terms of Sigmund Freud’s revolutionary idea involving the subconscious manifesting in our every day lives and maintaining our mental homeostasis. But what impressed me even more was the minute details in the script such as the characters mentioning topics such as positive and negative emotions interacting and which side had more power over the other, one’s sense of reality while being in a dream… within a dream, and even questions like “If we die in our dreams, do we die in real life?” were acknowledged. That’s one of the things I loved about the film: it was able to present ideas we are aware of but it just had enough dark twist to create something original.

As with most movies with grand ambitions, I had some questions left unanswered. What about those instances when we are aware that we are dreaming and we can control what will happen in our dreams? I have experienced such a phenomenon time and again (and I’m sure others have as well) and I was curious if and how the movie could explain such a strange occurrence. And what about those moments when we sleep but we are not yet dreaming? What if our dreams are interrupted? Sure, the team injected chemicals in their bodies to stabilize the feeling of reality in dreams but, as the movie perfectly illustrated, nothing completely goes according to plan. Perhaps I’m just being more analytical than I should be thanks to the fascinating sleep studies I encountered in Neurobiology and Psychology courses. But I believe a mark of a great film is open to question, interpretation and debate. I say we question because we have embraced the material and we are hungry for more. That’s how I know I’m emotionally and intellectually invested in a film. That absolute killer final shot and the audiences’ collective sigh of anticipation for the clear-cut answer as the screen cut to black was simply icing on the cake.

“Inception,” written and directed by Christopher Nolan, was certainly worth over a year’s wait since it was still in pre-production. I remember trying look for more information about it during my midterm study breaks (and getting so caught up in it) so I am completely elated that it was finally released and it turned out to be one of the finest and most rewarding movies of 2010. It may not have been its goal but “Inception” certainly adds a much needed positive reputation to mainstream movies, especially in a season full of sequels and spoon-fed entertainment. I was optimistic early 2010 in terms of the quality of movies about to be released in theaters, especially when Martin Scorsese’s “Shutter Island” came out, but now I am more than convinced that the film industry is experiencing a drought of refreshing and daring ideas. Some critics may compare “Inception” to “The Matrix” (both great movies) but I think “Inception” functions on a higher level overall and it has an identity of its own. Perhaps an injection of new blood that is “Inception” will inspire movie studios to take more risks in terms of which movies they green light. There is no doubt that mindless, swashbuckling popcorn adventures or even extremely diluted romantic comedies have their place in the market. But with the critical and mass success of “Inception,” it shows that audiences are always ready to be inspired by new ideas and to dream a little bigger.

GoldenEye


GoldenEye (1995)
★★★★ / ★★★★

This is one of the strongest Bond entries because it hints at the beginning of a more serious Bond mixed with more intricate action sequences. There’s a certain sinister tone, especially in the first half where most of the espionage scenes can be found, which made me more interested in what was going on and what is eventually going to happen. This is Pierce Brosnan’s first outing as 007 and he is more than welcome to walk in the shoes of a beloved character because I believe he is as dangerous and charismatic Sean Connery. Even though he may appeal more to the modern fans of the Bond franchise, he has that classic fun factor that older fans can definitely appreciate. Brosnan is able to deliver the classic one-liners with a certain serious but undeniablly fun swagger. As for the supporting cast, I think the group is one of the most memorable: Sean Bean as Agent 006 proves to be 007’s match physically and mentally, Izabella Scorupco as Natalya Simonova is the smart and beautiful Bond girl, Famke Janssen as Xenia Onatopp is the femme fatale who specializes in squeezing people to death, and Judi Dench as the cold but lovable M. The story of “GoldenEye” may be a bit unbelievable at times (especially back in 1995 during the first’s release) but it’s more relevant today because of technology’s exponential advancements. All logic and credibility aside, the action sequences are mind-blowing (the tank scene alone is reason enough to watch), the style is slick, and it’s fast-paced. Directed by Martin Campbell who will direct “Casino Royale” about ten years in the future, “GoldenEye” is a must-see for all Bond fanatics and spy film enthusiasts. (And did I mention that I believe this has one of the best opening squences in Bond history? So much was accomplished during the first five minutes, followed by an astonishing opening credits with Tina Turner.)