Movie Review ~ Zack Snyder’s Justice League

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The Facts
:

Synopsis: Determined to ensure Superman’s ultimate sacrifice was not in vain, Bruce Wayne aligns forces with Diana Prince with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions.

Stars: Ben Affleck, Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Jeremy Irons, Connie Nielsen, Diane Lane, J.K. Simmons, Ciarán Hinds, Amber Heard, Joe Morton, Ray Porter, Jesse Eisenberg

Director: Zack Snyder

Rated: R

Running Length: 242 minutes

TMMM Score: (9/10)

Review:  Has there ever been a more bizarre and divisive situation of nerdom than the one surrounding the twisted tale of Zack Snyder’s Justice League?  By his own request, the director was replaced during the final weeks of production on the 2017 release (including editing and reshoots) so he could deal with the emotional recovery of the death of his daughter.  It was the right choice for Snyder but it left the film in the hands of Joss Whedon, the Marvel marvel who couldn’t find the same tone Snyder was going for and leaned into a more studio and populous theater friendly piece that didn’t serve the darker storyline that was imagined.  Not unexpectedly, though the film was ultimately credited to Snyder it bore little resemblance to his original vision and was hampered by many of Whedon’s trademarks, down to cringy bits of humor that didn’t work and a stupefying amount of bad special effects.

With Warner Brothers and the DC Universe riding high off the phenomenal success of Wonder Woman released earlier that year, the dismal failure (and tepid reception) of Justice League put a nail in the coffin for Henry Cavill’s Superman and encouraged Ben Affleck to exit a solo Batman project that was in the works.  It also derailed a planned film for The Flash and bumped the Wonder Woman sequel out, not to mention leading to some troubling accusations from co-star Ray Fisher on how the studio treated him after voicing concerns about unprofessionalism on set.  All in all…a big mess.  While a subsequent Aquaman film performed well and looked encouraging for Jason Momoa’s future as a box office star, Wonder Woman 1984s bow in late 2020 was met with true vitriol (all very unfair in my eyes) so the shaky ground remained.

While all of this was going on, though, a strange groundswell was starting that began almost as a joke but started to catch on before turning into a full-blown movement by comic book and franchise fans.  This was of course the birth of the # phenomenon and it was hard to avoid the #ReleaseTheSnyderCut pandemonium that took over Twitter.  Everyone knew that Snyder had expressed some displeasure that his vision wasn’t seen through to the end and that so much of what he shot wasn’t included or scenes he had wanted to shoot weren’t shot at all.  What people were clamoring for was to see Warner Brothers to hand the movie back to Snyder and let him re-edit the movie into the “Snyder Cut”… which is not exactly unheard of.  They’ve done it before with 1980’s Superman II, replacing director Richard Donner before filming was over but releasing his (not as good) version decades later.  Director’s cuts are fairly standard for releases now but there was something about this particular movie that kept both sides tight-lipped, with Warner Brothers even claiming at one point that there would definitely be no Zack Snyder’s Justice League.

Here we are, though, and HBOMax is releasing a four-hour cut of Snyder’s reassembled film that aligns with his original plan.  Running a full two hours longer than the 2017 release, Snyder used material that Whedon chose not to go with and also shot quite a lot (a lot!) of new footage – so much so that this feels almost like a remake of the film everyone thumbs down-ed four years ago.  We all know that longer doesn’t equal better but in the case of Zack Snyder’s Justice League, it most certainly does.  My original review of Justice League pointed out that the film’s introductions to the new characters felt rushed and not a lot of the movie felt cohesive due to the streamlined runtime.  With four hours to work with, Snyder is able to give each character their due and then some, providing more than enough character building to have the head spinning finale actually mean something this time around.

By and large, the story is mostly the same.  After burying Superman at the end of Batman v Superman: Dawn of Justice, Batman/Bruce Wayne (Ben Affleck, Live by Night) begins to assemble a team of other individuals with superpowers while Wonder Woman/Diana Prince (Gal Gadot, Ralph Breaks the Internet) returns to her civilian life with the occasional crime fighting break now and again.  Batman has a sense that a darkness is coming and the need for a team of united strength is important and it’s only after Wonder Woman gets a desperate sign from her homeland with the key to a hidden message that she joins him in the recruitment process.  Together, they seek out Aquaman (Momoa, The Lego Movie 2: The Second Part) who has remained a mystery man in the waters off Iceland, The Flash (Ezra Miller, Fantastic Beasts and Where to Find Them) a kind-hearted social outcast that can run faster than the speed of light, and Cyborg (Fisher) a former high school football player saved from death by his scientist father (Joe Morton, Godzilla: King of the Monsters) now struggling to adjust to his altered appearance and overwhelming technological access.

Their combined powers will be needed to defeat Steppenwolf (voiced by Ciarán Hinds, Closed Circuit) a ghastly beast that has arrived on earth searching for three boxes that, when united, will call forth a dangerous entity that will destroy Earth.  As he travels around the globe gathering the pieces of the puzzle from clans that have an impact on Wonder Woman and Aquaman, the group realizes that the box possesses multiple powers.  (Yes, you’re correct in thinking this is all hokey pokey stuff and it’s just as absurd as it was the first time around…but with more time to add in context and backstory, it goes down just a little easier.) In addition to vanquishing all life, the “unity” can also restore it and bring the dead back to existence.  A fairly good tool to have when you’re down one superhero and know where he’s buried…

Like I said before, everything about Zack Snyder’s Justice League, is just…more.  There’s more story, more action, more blood (when people get thrown against walls, their heads tend to explode quite messily), and more gritty language than what you’ve come to expect.  It isn’t anything gratuitous and only adds to the all-encompassing feeling that Snyder has returned to the film.  I couldn’t shake off the feeling while watching it that it was the kind of event entertainment that back in the day networks would have shown once a year and the entire family would watch as a group.  Could the film have been trimmed down a bit – absolutely – but I was fairly enraptured with it all from the moment it started until it ended.  It may run 240ish minutes but it definitely doesn’t feel that long.

Not to say there weren’t some clunkier moments along the way.  At times, when the action dips you start to try to pick out which scenes were new and which ones were previously shot and it’s fairly obvious by tracking Affleck’s face which switched between expertly chiseled and comfortably fuller throughout.  Several scenes were clearly filmed on a soundstage that doesn’t match the rich detail of the other production design so one moment you’re with Diana as she’s traveling through a cave, Indiana Jones-style, and the next you’re watching a random actress silently acting out an overly cliché scene that’s there to show Cyborg’s softer side.  There’s more than a handful of effects which come off like a video game or Saturday morning animation than the polished inspired moments they could be.

Speaking of the effects and visuals, aside from the occasional sketchy etching a great effort has clearly been made to right some terrible wrongs seen in the original, namely the horrible job done on Cavill’s (Enola Holmes) face to digitally remove a mustache he had while filming reshoots.  Either those scenes were jettisoned completely, or the hundreds of digital techs credited at the end had their work cut out for them because by and large the movie looks sharp and excellent.  A number of action sequences have been restored and they haven’t been carelessly re-inserted – they’ve all been smoothly incorporated into the rest of the movie.  An early sequence of Wonder Woman stopping a bank robbery/bombing has been elongated and made it far more intense, visceral, and displays more of Wonder Woman’s abilities.  I went back and watched the same scene from the original and its so watered down and brief that it barely registers as a bout of action for the heroine.  Now it’s suspenseful and doesn’t feel like it minimizes the superhero or the plot.

Divided into six parts and an epilogue (which has about three or four endings within and several whopper surprises), Zack Snyder’s Justice League, is big big BIG and doesn’t quit until it’s good and ready to.  Its release renders the previous version totally obsolete in my book and this will be the only Justice League that I’ll recognize for future rewatches because it appears to tell a full story with a better overall picture of where these characters are headed.  Or were headed.  Last time I checked Cavill and Affleck were out and a new Batman movie is due out soon with Robert Pattinson in what looks to be the darkest take on the Caped Crusader yet.  Who knows what will come of this group for future outings but we do know that another Aquaman is swimming into production and due in 2022, the same year as The Flash movie which is rumored to have Affleck in it as well.  Despite those off-the-mark reviews for the recent sequel, a third Wonder Woman film has thankfully been greenlit.  Perhaps we’ll get a Cavill appearance in one of those films…or maybe Snyder will benefit from another Twitter grassroots campaign and a Justice League II will come to pass.  No matter what, Snyder’s vision is finally out there and whether you were a strong supporter of this cut being released or think the studio caving to fan demand is the most terrible thing ever (um, why?) this a film that demands some attention and a little admiration as well.  It’s goes for the brass ring with bold gusto.

Films in the DC Extended Universe

Man of Steel (2013)

Batman v Superman: Dawn of Justice (2016)

Suicide Squad (2016)

Wonder Woman (2017)

Justice League (2017)

Aquaman (2018)

Shazam! (2019)

Birds of Prey (2020)

Wonder Woman 1984 (2020)

Zack Snyder’s Justice League (2021)

Future films

The Suicide Squad (2021)

The Flash (2022)

Aquaman 2 (2022)

Shazam! Fury of the Gods (2023)

Movie Review ~ Justice League

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The Facts
:

Synopsis: Earth’s greatest heroes are assembled to form the Justice League, to combat a threat beyond each member’s capabilities.

Stars: Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher, Jesse Eisenberg, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, Ciaran Hinds, Amber Heard

Director: Zack Snyder

Rated: PG-13

Running Length: 121 minutes

Trailer Review: Here

TMMM Score: (3/10)

Review: With the rousing success of Wonder Woman this summer, you had high(er) hopes for Justice League too, didn’t you?  After the gloominess of Man of Steel, the critical drubbing lobbed at Batman v. Superman: Dawn of Justice, and the just plain awful debut of the Suicide Squad, the first solo outing of the Amazon princess made a huge splash with a snazzy film that signaled the floundering DC Universe might be getting back on track.   Alas, it was not meant to be because five short months later Justice League arrives with a huge thud, halting any momentum Wonder Woman had kicked off.

The problems are evident from the beginning.  It should be noted that original director Zack Snyder had to be replaced shortly after filming ended while the movie was in post-production due to a family crisis. Joss Whedon (The Avengers) was brought it to touch up the script, and handle reshoots.  Huge mistake.  Whedon did good work with his involvement in the Marvel Universe but his humor doesn’t translate to the DC world that’s far darker and leaves itself less open for flights of fancy.  His attempts to inject jokey humor crash and burn, especially seeing that they are awkwardly inserted into sequences already filmed by Snyder.

Another elephant in the room to discuss is Henry Cavill (The Man from U.N.C.L.E.), or, more to the point, Cavill’s mustache.  After wrapping his scenes for Justice League, Cavill had grown a mustache to film a role in the next Mission: Impossible film and when he was called back for reshoots Paramount wouldn’t allow him to shave it.  So he filmed his new scenes with facial hair that was then digitally removed…badly.  Cavill comes off looking like a creepy puppet, with the bottom half of his face strangely not in communion with the upper.  He’s in the first shot of the movie and it’s a jarring image that sets the tone for the rest of this schizo outing.

The first half of the film is occupied by a bewildering series of episodic vignettes where we meet characters that the movie treats us as if we already know but in reality have never seen before.  We’re plopped right into the stories of Aquaman (Jason Momoa), The Flash (Ezra Miller, The Perks of Being a Wallflower), and Cyborg (Ray Fisher) without much in the way of introduction or origin, almost like these were clips from a previous entry that was never released.  We’re supposed to know and care about these characters instantly, but their arrivals are treated with such little fanfare it’s hard to warm up to any of them.  Miller winds up being the most intriguing; his loner character is secretly desperate for friends and is brought into the fold by Batman (Ben Affleck, Gone Girl, checking out so much I can see why he’s trying to get excused from The Batman, a planned solo shot for the Caped Crusader) and Wonder Woman (Gal Gadot, Keeping Up with the Joneses).

What I always enjoyed about the previous incarnations of Batman and Superman was how they were up against villains that seemed somewhat plausible…at least for a comic-book foe.  From the Penguin to Lex Luthor, the heroes were battling adversaries that sought awesome power, not ones that already had other-worldly talents.  The villain in Justice League is Steppenwolf, a poorly rendered CGI baddie voiced by Ciarán Hinds (Frozen) that’s as generic as they come.  This is a bad guy that might have worked better as a Marvel rival but definitely not one the Justice League should be working to thwart.  Steppenwolf is on the hunt for three Mother Boxes that form a trinity that can, snooze, give him power over all earth.  Yawn, boring, wake me when it’s over.

Poor Wonder Woman.  That’s what I kept thinking throughout Justice League.  Gadot looks miserable having to carry this film, it’s clear the plot was tweaked at some point to give her character more to do and capitalize on the success of Wonder Woman.  Her ascension to co-lead comes at the sacrifice of a bunch of familiar faces that get sidelined.  Diane Lane (Inside Out) and Connie Nielsen  pop up in brief cameos as the mothers of Superman and Wonder Woman, J.K. Simmons (The Snowman) doesn’t even have to glue down his toupee, and Amy Adams (Her) wears multiple bad wigs but does get the most unintentionally funny line of dialogue in the film: “I’m no longer Lois Lane, dedicated reporter”.

The effects of the hand-off between Snyder and Whedon really sink the film in its last ¼, when the Justice League works together to stave off Steppenwolf before he can unite the Mother Boxes.  There are a few decent action sequences but they’re so darkly lit it all becomes a blur, especially when you add in Steppenwolf’s drone warriors that fly around in a head-spinning frenzy like wasps.  It’s a blessing the movie is as short as it is, but it still feels pretty long when the content is as forgettable as this.  You keep wanting to find something, anything to root for but no one seems interested in being memorable in any way shape or form.  It’s like everyone was forced into making this and are waiting for their final scene to be shot.

There’s a post-credit scene that does nothing to get you excited for the future, it feels like it was shot last week with the actors involved under duress.  Based on his performance here, I shudder to think about Momoa’s Aquaman film coming in 2018, wish that Wonder Woman 2 wasn’t two years away, and am intrigued at a chance to get more info on The Flash in 2020’s Flashpoint.   At this point, whatever the creative team behind these DC films are doing, it’s not working.  Not only do audiences deserve better, but so do the actors locked into contracts for future films.

The Silver Bullet ~ Justice League

Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy.

Release Date: November 17, 2017

Thoughts: With Wonder Woman becoming the top-earning movie at the summer box office, the producers behind the DC Comics franchise are riding a wave of positivity right now.  Let’s hope they can keep that goodwill going strong as the November release of Justice League draws near.  I didn’t mind Batman vs. Superman: Dawn of Justice nearly as much as my colleagues did but the unrelenting darkness of this franchise has kept it from truly taking off. Wonder Woman was a nice reminder of what these films could be while director Zac Snyder deals with a family tragedy, Avengers mastermind Joss Whedon was brought in to oversee postproduction so I’m hoping Whedon can bring a little Marvel spark to the DC Universe.  This extended look at Justice League gives a few more clues for audiences to decipher and one cliffhanger that already has the internet abuzz.

Movie Review ~ The Disappearance of Eleanor Rigby: Them

disappearance_of_eleanor_rigby

The Facts:

Synopsis: One couple’s story as they try to reclaim the life and love they once knew and pick up the pieces of a past that may be too far gone.

Stars: James McAvoy, Jessica Chastain, William Hurt, Bill Hader, Viola Davis, Isabelle Huppert, Jess Weixler, Ciarán Hinds

Director: Ned Benson

Rated: R

Running Length: 122 minutes

TMMM Score: (5/10)

Review:  I’m going to try my hardest to get through this review without working in a quote from The Beatles song featured in the title of this brittle drama. However, I may wind up resorting to cheap references to talking about “all the lonely people” and questioning “where do they all come from?” because aside from two strong performances from the leads, there’s not a whole lot more to discuss.

Originally filmed and intended to be released as two movies told from the male and female perspective of a crumbling marriage, The Disappearance of Eleanor Rigby feels familiar from the get-go.  There’s a mystery surrounding why our titular character (Jessica Chastain, Zero Dark Thirty) has fled her marriage to Conor (James McAvoy, Trance) and returned home to mommy, daddy, and single-mom sis but Ned Benson’s script isn’t malleable enough to allow Chastain and McAvoy to rise above some overly dramatic sequences that feel like scenes out of a training video on grief counseling.

I’m growing less enamored with Chastain as I see more of her work.  After scoring so big in 2011 & 2012 with a slew of memorable roles (like The Help, Lawless, Mama, and The Tree of Life), she’s now seemed to have slipped into that groove of making emotion filled movies as she waits on her next Oscar nomination.  McAvoy. too, doesn’t seem all that challenged by the material, largely letting Benson’s cliché set-ups win out over the actors usually interesting instinct.  It was a brilliant choice to pair Isabelle Huppert (Dead Man Down) and William Hurt (The Host) as Chastain’s parents because I actually believed they produced this character…but Huppert is stuck with a lot of out of the blue observances meant to be revelatory but wind up as mere devices to explain where some of Eleanor’s hurt comes from.  Speaking of hurt, Hurt takes on another soft-spoken sage seemingly capable of one quizzical facial expression that indicates he’s just seen a sockeye salmon driving a dune buggy wearing a Versace dress.  Then there’s Viola Davis (Beautiful Creatures) as a grumpy college professor and colleague of Hurt’s that takes a liking to Chastain after she audits her class.  Davis is as strong an actor as they come, but her performance here is so ice cold that it seems impossible someone like Eleanor could melt her.

Perhaps editing the two movies into one damaged the overall effect Benson was going for in showing there are two sides to every argument and some arguments are more interesting than others.  The whole central conceit of the film was (and this may be a minor spoiler) done better in Rabbit Hole, providing nearly the exact same set-up but arriving at its final destination with its characters in row…rather than leaving them in the dust as Benson’s writing and direction is often wont to do.

The Silver Bullet ~ Edge of Tomorrow

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Synopsis: A soldier fighting in a war with aliens finds himself caught in a time loop of his last day in the battle, though he becomes better skilled along the way.

Release Date:  June 6, 2014

Thoughts: It’s become almost too easy for people to go after Tom Cruise and how he lives his life off-screen.  Yes, the couch jumping was eyebrow raising, the Scientology is head-scratching, and the rumors of his personal life have been tabloid fodder for decades.  Still, it’s hard to deny that the man continues to make very watchable films.  I thought his performance in Rock of Ages was the only saving grace in that mess and the underappreciated Jack Reacher and Oblivion showed the scrappy actor aging gracefully in quality product.

Slightly delayed from its original intended holiday 2013 release date and re-titled from the more interesting All You Need is Kill, Cruise’s Edge of Tomorrow has the creative time behind it that suggests it’s more than just another big budget Tranformers-y point and shoot film.  Adding considerable interest to me is Emily Blunt (Looper, Salmon Fishing in the Yemen), an actress consistently good but who has yet to lock into that perfect role.  2014 might be her year as she goes action chick in this and shows off her singing pipes in Into The Woods so check back in a year to see where she winds up.  Me, I’m looking forward to this…as I do most Cruise vehicles because they are always cinematically in tune with the times.

Movie Review ~ Frozen

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Synopsis: Fearless optimist Anna teams up with Kristoff in an epic journey, encountering Everest-like conditions, and a hilarious snowman named Olaf in a race to find Anna’s sister Elsa, whose icy powers have trapped the kingdom in eternal winter.

Stars: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Santino Fontana, Alan Tudyk, Maia Wilson, Ciarán Hinds, Edie McClurg

Director: Chris Buck, Jennifer Lee

Rated: PG

Running Length: 108 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review: Perhaps it’s the kid that still bounces around within me, but I still get a little twinge of excitement every time a new Disney film is about to open. Though I’ve long since given up hope that the hand drawn animation of the late 80’s/early 90’s age of Disney films will ever truly make a comeback, I find myself remaining interested in what projects the studio is working on.

The latest output from the House of Mouse is a wintery musical (very) loosely based on Hans Christian Anderson’s The Snow Queen, refashioned as a tale of sisterly bonds and the embracing of our own individuality.  Featuring a welcome return to the musical roots of the Golden Age of the studio, Frozen boasts some very appealing tunes by Kristen Anderson-Lopez and Robert Lopez heartily sung by a roster of Broadway actors that help to keep the movie afloat during several slow stretches.

After their royal parents are lost at sea, sisters Elsa (Idina Menzel) and Anna (Kristen Bell, Hit and Run) are left to rule the Nordic land of Arendelle. The sisters rarely speak due to a childhood accident involving Elsa’s powers to turn anything she touches to ice.  With the help of some magical trolls, the royal parents and Elsa decide to keep her away from Anna, adjusting her memory so that no harm can come to Elsa or the villagers that may not understand her powers.

This separation has come at a price, though, because Anna doesn’t understand why her sister has cut her off.  That all changes when Elsa comes of age to inherit the throne and accidentally unleashes a massive winter freeze on the sunny village and hills of Arendelle.  With Elsa fleeing to a wintery castle of her own creation, Anna treks after her to bring her sister home and end the chill of a winter without end.

Bell gives Anna just the right amount of pluck and spunk, not to mention a clarion singing voice that is a nice fit to the various musical styles of the Lopez/Anderson-Lopez score.  There’s some classic Disney princess-ey whimsy going on here and Bell skips right along with it.  Whether she’s dealing with a handsome prince (Santino Fontana, also lending strong singing chops) or bumping heads while climbing a mountain with the local (and now unemployed) ice delivery man (Jonathan Groff), Bell keeps Anna in good spirits and great voice.

While Menzel brings her Broadway belt with her for the Act 1 power ballad “Let it Go”, there’s something about her voice that doesn’t match up with the character that’s been animated for her.  The booming timbre and slightly raspy tones sound great on the CD but strangely feel awkward and out of place when you see it onscreen.  It’s a disappointing wrinkle and the fault lies with the concept animation, not in Menzel’s performance.

I’m not a huge fan of Josh Gad (Thanks for Sharing, jOBS, The Internship) but I have to say that this is probably the most I’ve enjoyed him in anything so far.  As charmingly daft snowman Olaf, Gad pretty much walks away with the movie thanks to his stellar timing and easy-going approach to what could have been a much sillier role.  There’s a welcome tenderness to this particular character that gives the movie extra oomph.

While the 3D animation is, as usual, crisp and intriguing I found myself less interested in it than I have in previous efforts like Tangled.  As pleasing as the voices are and as soothing as the snowflake heavy animation is, it all feels vaguely familiar…and not as original as I wanted it to be.  On the other hand, there’s something to be said about the magic of a Disney film and how it can somehow overcome its shortcomings.  Though initially pleased but not overwhelmed by the film, I find myself humming the tunes and thinking about the characters…and that’s nice when you consider how rare animated musicals are nowadays.

A special note, Frozen is preceded by a brand new neat-o Mickey Mouse animated short that gives a nice nod to the black and white cartoon origins of Disney before breaking through (literally) to a more modern day feel.  Don’t be late…and stay through the end credits of Frozen too!

Movie Review ~ Closed Circuit

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The Facts:

Synopsis: A high-profile terrorism case unexpectedly binds together two ex-lovers on the defense team – testing the limits of their loyalties and placing their lives in jeopardy.

Stars: Eric Bana, Rebecca Hall, Ciarán Hinds, Riz Ahmed, Anne-Marie Duff, Kenneth Cranham, Denis Moschitto, Julia Stiles, Jim Broadbent

Director: John Crowley

Rated: R

Running Length: 92 minutes

Trailer Review: Here

TMMM Score: (4/10)

Review: I think we’ve been long overdue for a paranoid thriller with conspiracies at every corner and the threat of mortal danger with each new secret discovered so I was looking forward to the twisty feast that Closed Circuit purported to offer.  Sadly, though the appetizer of the film was filling if lacking spice the main course was a flavorless Jell-O mold of stale red-herrings.

A bombing in a populous square in London leaves many dead and is described as the worst terrorist attack on record.  A suspect is arrested and, due to issues of national security, given two lawyers for his defense.  One will try the case in open court while the other is appointed as a Special Advocate, privy to private, classified information that the other lawyer can’t hear and will present in a closed session.  It’s a strange situation and unlike any we’ve seen in most courtroom thrillers so the set-up is appealing…at the start.

Taking elements from any number of government conspiracy thrillers from the 70’s and 80’s, the film starts out sharp with a nicely tense opening sequence of the closed circuit cameras that pick up the moments leading up to the bombing.   When the original lawyer assigned to the case takes his own life (a scenario no one seems to bat an eye at in a case we’re constantly reminded is the most important in British history), the job goes to Martin Rose (Eric Bana, Star Trek, Lone Survivor) who soon finds out that the Special Advocate assigned to the case is his former mistress Claudia (Rebecca Hall, Iron Man 3, The Awakening).

Now their past relationship should mean that one of them has to recuse themselves but, no, where would that leave us?  The law states that the two are to have no contact so the audience is left to wonder two things.  The first is why Martin and Claudia ever got together in the first place.  There’s an obvious lack of chemistry between the actors and it’s tough to pinpoint who is more at fault, Bana’s cocky puffshirt of an attorney or Hall’s chilly take on her character.  The second thing is how long it will be before Martin and Claudia break the rules and start talking about the case with each other.

As the movie follows Martin and Claudia conducting their own investigations into the bombing, a whole slew of extra characters are introduced and nearly all are written in solely to give information that moves the plot along.  Julia Stiles’ (Silver Linings Playbook, Girl Most Likely) miniscule role is given such short shrift that her exit from the film might very well be missed if you look away.  Jim Broadbent (Cloud Atlas), Riz Ahmed (The Reluctant Fundamentalist), and Ciarán Hinds (The Woman in Black, John Carter) get their jobs done efficiently, even if they are merely obviously placed roadblocks to Martin and Claudia getting at the truth of it all.

If the film is worth seeing it’s for a scene that I can’t even talk about because it would give the one interesting twist the movie has up its sleeve.  I’ll just say that it involves Hall’s character cross-examining a witness that audiences won’t see coming (well, if you’ve seen the trailer you may…so take my advice and don’t watch it).  That this scene crackles is thanks to the actor playing opposite Hall and it gives way nicely to several more scenery chewing moments.

Unfortunately, this scene a little over halfway through the movie can’t snap the film back onto the promising track it started off on.  It winds up blowing totally off course as it struggles to find an ending that is suitable and winds up settling for a denouement that’s not very exciting or satisfying.  Arriving at the tail end of the summer movie season, Closed Circuit seems out of place for this time of year and with so many other strong films arriving in the last few weeks, this isn’t one I’d make a serious effort to see.  A fine rental for a rainy day but not worth the trip to the theater.

The Silver Bullet ~ Closed Circuit

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Synopsis: Martin and Claudia are lawyers — and ex-lovers — who find themselves put at risk after they join the defense team for an international terrorist’s trial.

Release Date:  August 28, 2013

Thoughts: Though it does remind me of something moviegoers would have been treated to in the early 90’s, this UK thriller boasts a nicely low-key cast and a premise that may have some mileage in it.  I’ve never been totally won over by either Rebecca Hall (The Awakening) or Eric Bana (Star Trek) but this movie intrigues me. I love a nice courtroom thriller and this seems to fit squarely into a John Grisham-y rhythm that could be worth investigating when it goes before the late summer film fan jury.