Tag Archives: Captain Phillips

Eye in the Sky (2016)

What is the cost of fighting terrorism? That is the broader question looming over Eye in the Sky. Directed by Gavid Hood (TsotsiEnder’s Game), the film narrows this problem down to the scale of one single drone strike in Kenya. After trailing these terrorists on the East Africa Most Wanted list for years, Colonel Katherine Powell (Helen Mirren) leads a mission to selectively bomb the house they are meeting in. Unfortunately, there are strict rules of engagement in this situation and before any strike can be launched she needs the permission of General Frank Benson (Alan Rickman, Harry Potter) and several politicians who have conflicting viewpoints.

Drone strikes and questions of their legality and morality have been highlighted in the news recently and Eye in the Sky displays the complexities and minutiae that are inherent in military missions. A major theme of the film is responsibility and blame. Who really makes a decision that, while killing terrorists, could risk harming innocents? Is it the pilot who pulls the trigger? The Colonel that gives the order to fire? The general or several politicians that defined their rules of engagement? The film implies that responsibility is held at each point in the chain of command and the aftermath of these decisions is felt by everyone. One of the most interesting points brought up in the ongoing discussion is about the larger implications of casualties. If they kill one child to save 80 people from a potential suicide bomber, will the British government become reviled? Is vilifying the terrorists in the media worth allowing a bombing to occur? Again, the movie smartly avoids providing direct answers to these questions and is impressively balanced in portraying each opinion.

Every factor, political, moral, or legal is scrutinized.
Every factor, political, moral, or legal is scrutinized.

Furthermore, the film explores how political involvement in the military matters can undermine their efficacy. Beyond morality, each politician in the film considers the political impact of the bombing. How will this affect their career? Their party? In one case a ranking politician asks to a dissenting voice, “Will you be the one who has to go on morning news shows to explain this?”. The film shows how these considerations cripple the politicians with indecision as they continually “refer up” to avoid culpability, despite the time-sensitive nature of the operation. When they begin to rely on predictive damage models to make their decisions, the question of reliability of data is also raised. How much of these models are based on fact and can they change if a ranking military official wants them to? The films shows the desperation that can be created by indecision at a critical moment.

Eye in the Sky is primarily a film about these ideas but it does however have brief action scenes in Africa. Barkhad Abdi of Captain Phillips (He is not the Captain now) plays their man on the ground. Hood deftly uses these scenes to contrast the political risks with the dangers agents in that position take trying to fight terrorism everyday. For the the most part they are well staged. The only flaw is many of the effects are obviously computer generated and can break the otherwise successful immersion.

When decisions are finally made, the film avoids simple resolution. The actions taken – and the actions not taken – play out and the consequences are felt by all. Did someone “win” the arguments? Was the mission successful? What does “success” even mean in the this scenario? As the credits roll, these are the questions that linger over the characters and the audience. Eye in the Sky, succeeds by raising these questions and enforcing the uncertainty of any possible answer.

4/5 stars.

Top 10 Films of 2013

[BS Note: This list was originally written in early 2014]

With the Golden Globes behind us and the Oscars coming up this weekend, it is a great time to celebrate some of the year’s best films. 2013 was a great year for film-making it was difficult to bring this list down to ten entries, but these are the films that resonated.

10. In a World…

Lake Bell (No Strings Attached) makes her feature writing and directing debut with In a World…, a comedy about a vocal coach, Carol (Bell), failing to find a place in the male dominated voice-over industry. Bell smartly mixes humor with the realities of attempting to break the glass ceiling, elevating the film from lighthearted comedy to sharp societal commentary.

9. Gravity

Gravity, like other films on this list, is about survival. Sandra Bullock (The Blind Side) plays a medical engineer on her first trip to space when a catastrophe occurs. Enough cannot be said about the way this film looks. The computer generated visual effects are stunning and cinematographer Emmanuel Lubezki’s (The Tree of Life) long takes with precise direction from Alfonso Cuarón (Children of Men) make the Gravity a gripping thrill ride in space.

8. 12 Years a Slave

It would be easy to look at the story of 12 Years a Slave and think that it is Oscar bait. A film based on a true story about a free man kidnapped from the North and sold into slavery in the South? The Academy should love that. But the movie is directed by Steve McQueen (Hunger, Shame) and he has no interest in the sentimental. The films depicts the horrific realities of life as a slave. What is most frightening is how common these acts were. Each brutality is accepted as a part of the natural order. The film’s traumatic imagery ensures that this period of US history and the film itself will not be forgotten.

7. Her

Set in a slightly futuristic Los Angeles, Her follows Joaquin Phoenix (The Master) playing Theodore Twombly, a man who writes heartfelt letters on behalf of strangers unable to do so. He is separated and lonely until he falls in love with an artificial intelligence named Samantha played by Scarlett Johansson (The Avengers). Director Spike Jonze (Adaptation) uses Samantha’s lack of a body to emphasize the emotional connection craved by Theodore. He lives in a crowded city but feels isolated from the people around him. The film shows each phase of their relationship and how Theodore changes as it progresses. Her succeeds by making a romance with a disembodied voice feel remarkably human.

6. The Hunt

The Hunt is probably the most aggravating film of the year. In a good way. Mads Mikkelsen (Casino Royale) plays a kind, well-liked preschool teacher falsely accused of a terrible crime. The film follows him as he is ostracized out of every part of his small town. Because of the nature of the accusation his former friends and colleagues immediately abandon him. Innocent until proven guilty? Not for this crime. His descent continues as the film shows just how easily even the strongest relationships can shatter when someone cries wolf.

5. The Place Beyond the Pines

The Place Beyond the Pines is really a triptych: three stories linked by one key event. The first story is about a stunt motorcyclist turned bank robber played by Ryan Gosling (Drive). The second is about the cop that tries to catch him played by Bradley Cooper (Silver Linings Playbook) and the third is about the sons of the two. Directed by Derek Cianfrance (Blue Valentine), the film is at its best during small moments. The character interactions have a raw intensity that make them feel honest and real. The film shows that each action has its consequences and how each generation deals with the aftermath of the pervious.

4. The Past

The Past is a companion piece to Asghar Farhadi’s previous Oscar-winning film A Separation. Both films are about a divorce, but The Past is about characters dealing with the ramifications of their previous actions. It is a film that presents a relatively simple situation, a long separated couple finally filing the paperwork for divorce so the woman can marry her new boyfriend, and peels back layer after layer revealing the complicated, morally ambiguous chaos underneath. Farhadi manages to do this without creating “good” or “bad” characters. Everyone acts in a realistic, understandable way but also commit tragic mistakes that make the situation even thornier and his even-handed direction causes your sympathies to shift with each new revelation.

3. All is Lost

All is Lost is a demonstration of how great acting can carry a film. Robert Redford (Butch Cassidy and the Sundance Kid, All the President’s Men) plays a nameless man on a solo voyage through the Indian Ocean whose boat springs a leak. His performance, under the direction of J.C. Chandor (Margin Call), expresses feeling through subtle actions. A grimace or sigh conveys the struggles of the protagonist more than most voiceovers in other films. Despite containing no dialogue and only a few spoken words, it commands attention. The continued determination and resourcefulness of an elderly, but experienced sailor in the face of possible death make the film a tense and affecting adventure.

2. Inside Llewyn Davis

With Inside Llewyn Davis, the Coen brothers (No Country for Old Men, True Grit) have made yet another excellent film containing their signature dark humor and sardonic wit. Starring Oscar Isaac (Drive), the film has something unusual for the Coens: sincerity. The film is about a folk singer, Llewyn Davis, who wanders from gig to gig trying to find a record deal. He is mean to most of his friends and dismissive of other singers as sell-outs, but his quest for artistic purity gives the film an earnestness that elevates it above most of the Coen brothers’ works. Despite him being more or less detestable, the film creates empathy for the character because he is unwilling to compromise his beliefs even if that means he is never successful.

1. Before Midnight

The experience of watching Before Midnight is like reconnecting with two friends you have known for decades. Friends that will squabble, joke, and ramble about anything and everything. But that’s the best part: listening to them talk. Set 9 years after Before Sunset and 18 years after Before Sunrise, the Before series continues its tradition of charmingly garrulous dialogue, yet it surpasses its—already excellent—predecessors by confronting the struggles of long term relationships. The warmth of a perfect connection from the previous films is still present but so are the cracks of reality that affect even the best relationships. This allows the film to continue to feel new and fresh while retaining the affection built up in earlier installments. The series, like love at its best, has grown stronger over time. Before Sunrise is great, Before Sunset is even better, and Before Midnight is incredible. It is, in my opinion, the best example of a sequel done right and easily the best film of the year.

 

Honorable Mentions: Enough Said, Nebraska, Captain Phillips, The Wolf of Wall Street.