Synopsis: A woman fights to protect her family during a home invasion.
Stars: Gabrielle Union, Billy Burke, Seth Carr, Ajiona Alexus, Richard Cabral, Levi Meaden, Christa Miller
Director: James McTeigue
Running Length: 88 minutes
TMMM Score: (2/10)
Review: There was a time in the early ‘90s when a movie like Breaking In would have gotten a pass as a mediocre mid-level film that might not be fully filling but was a harmless way to spend 88 minutes. Times have changed. Though it arrives with a striking marketing campaign promising “Payback is a Mother” and wants to position itself as a worthy alternative to blockbuster fare like Avengers: Infinity War, Breaking In is a bewildering exercise in all-around clueless filmmaking.
Things start rough as the filmmakers resort to one of the oldest gotcha moments in moviemaking for a brief prologue that introduces and dispatches of a character we never learn much about. Flash forward to Shaun (Gabrielle Union) and her two children Jazz (Ajiona Alexus) and Glover (Seth Carr) traveling to Shaun’s childhood estate to prepare it for sale. With the recent passing of her father, it’s hinted early on there were unresolved issues Shaun is attempting to put to bed once and for all. Arriving at a house equipped with a state of the art security system, the family isn’t there long before the kids are locked inside with a trio of burglars hunting for a money-stocked safe and Shaun has to, you guessed it, break in. What follows is an absurd game of cat-and-mouse that finds Shaun alternately trying to get into the house and then (spoiler alert) trying to get back out.
Working from a flimsy story idea from Jamie Primak Sullivan, screenwriter Ryan Engle (Rampage, The Commuter, Non-Stop) doesn’t have many creative places to go and the result is an exceedingly dull thriller. Though some rules about the security system are established early on, they seem to fly out the door as fast as the toy drone Glover brought along which figures into a few key jump scares. It’s also never clear what the thugs (including Richard Cabral and Levi Meaden, led by the charmless Billy Burke, Lights Out) are doing there in the first place or how much they were involved with the death of Shaun’s father. Attentive listeners might catch a hackneyed roundabout explanation that hints Shaun’s father was a criminal but without any more material to fill these gaps the whole plot stands on incredibly shaky ground.
Director James McTeigue (The Raven) first came to Hollywood with the stylish V for Vendetta but this is grab the money and run filmmaking at its worst. Dimly lit scenes, indistinguishable action sequences, and a general feeling of not knowing where anyone is speaks to the quality of the work with the whole thing feeling like a made-for-Netflix film that lucked out with a theatrical release. Clearly edited down to a PG-13 from an R (how many hardened criminals routinely use ‘frickin’ in their vocabulary?) even the dénouement of some characters are hard to decipher because the camera doesn’t provide any establishing shots or connectivity.
I was honestly looking forward to this mainly because I’m a fan of Union, very much finding her an underrated talent that has yet to latch on to a golden opportunity. While Union tries her best, she’s fighting against a movie that doesn’t have any stamina or guts – so her performance often comes off as out of tune with the rest of the actors and situations. Alexus has an uncanny resemblance to Union and a similar commitment to this dreck, their mother-daughter relationship was the only thing believable in the whole film.
Intentional or not, Cabral (Paranormal Activity: The Marked Ones) and Meaden drew major laughs from the audience with their overly earnest performances as polar opposites on the threat scale. With his intense stare and crooked nose, Cabral is intimidating without even speaking while Meaden’s platinum blonde burnout has a doofus quality that humanized him more than Engle’s eye-rolling dialogue ever could. Burke never seems to decide on how to play his big baddie role – one moment he’s the epitome of calm cool sophistication and then next he’s a low-rent gun for hire.
Maybe the worst thing about the movie is how out of touch it feels in this era of #MeToo and similar social causes. There’s two seriously off-color homophobic jokes and a gross misogyny toward Union, Alexus, and poor Christa Miller who turns up halfway through the movie for a sorrowful (and totally unnecessary) cameo. Even more, Union’s character never truly feels like she’s granted the opportunity to take control of the situation. She’s easily caught whenever she tries to run away and always manages to take several hits to the face before escaping again. As a producer of the movie, I can’t help but wonder what Union was thinking letting some of these events play out like they did.
A poor answer to the call for more female empowerment in movies, Breaking In is one you’ll want to get out of as fast as possible.