It’s exciting to see Shyamalan on such confident footing once more, all these years later.
In British spy thriller "The Take," Idris Elba stars as a CIA agent who runs roughshod across Paris in order to stop a group of French criminals. Agent Briar (Elba) is more Dirty Harry than James Bond though: a CIA psychological profile aptly sums up his bed-side manner as "lacking interpersonal empathy." He's not just a tough guy: he's a bull in a China shop, and he makes no apologies for his dickish behavior. Briar would be detestable if he were played by almost any other actor. The scene where he clotheslines American pickpocket Michael Mason (Richard Madden), draws a gun on him, and boasts "Yeah, muthafucka, now what!" perfectly exemplifies his nastiness. But because the line is spoken by Elba, I almost stood up and did a touchdown dance. And I didn't want to take my shirt off and cheer because of the preceding rooftop foot chase, nor the slipshod action choreography: Elba is just really charming.
This presents a problem since "The Take" is just really lousy. Co-writer/director James Watkins ("The Woman in Black," "Eden Lake") and Andrew Baldwin make Briar an indestructible jerk who answers to no one, and is generally as cuddly as a cactus. This isn't just a matter of haphazard characterization and dialogue: the whole film is designed to make you see Briar as a messianically impervious ugly American, the only person who can stop a group of dissembling criminals from unleashing chaos on an unsuspecting Paris.
Briar teams up with Michael and Zoe Naville (Charlotte Le Bon), an Occupy-style protester who becomes a reluctant terrorist, to stop a shadowy group that manipulates working-class protesters in order to create a diversion for their covert crimes. Briar's enemies do everything to rouse a mob, from filming fake footage of a policeman beating a foreign suspect to actively inciting protests using Anonymous-style viral videos. Michael and Zoe are both hapless victims of circumstance and therefore innocent. Briar is therefore the only one smart and capable enough to stop the baddies, as he explains to Michael when he complains, "I thought we were a team," and Briar sneers, "Sorry, you're not Ivy League."
It gets worse: Briar is needlessly brutal, like when he snaps one crook's arm and tosses him aside in order to dispatch the next blackhat-wearing thug. He tells Zoe, "I don't wanna hurt you," but only after he punches her in the gut after disarming her. I repeat: he disarms a knife-wielding suspect, and then punches her in the gut a second later. You might want to excuse Briar by claiming that he's just reacting in the heat of the moment. Well, how about the critical confrontation where he shoots one of his allies, who at the time is being held captive by a baddie, in order to pre-emptively take away his adversary's bargaining chip? "Now what," Briar growls. Again, I almost ran into the street and high-fived the nearby hookah bar's patrons.
This message came to me from a reader named Peter Svensland. He and a fr...
Chaz Ebert highlights films with the potential to get us through the confusing political times of the Trump presidenc...
A review of Netflix's new series, Lemony Snicket's "A Series of Unfortunate Events," which premieres January 13.
One of the most audacious American films from the 1960s is now available via the Criterion Collection.