Early in The Last Stand,
the small-town sheriff played by Arnold Schwarzenegger says, "It's my
day off. Should be a quiet weekend." That's the new way of saying, "I've
got one week to retirement," because it signals — with flashing neon
and everything — that life is going to royally upend those plans.
One of the most inconsistent franchises in movie history is the one beget by Tobe Hooper's 1974 classic, The Texas Chain Saw Massacre. How does one follow all those less-than-beloved sequels? Lionsgate's latest in the series — the seventh — has a solution: Ignore 'em.
Not long after Batman changed Hollywood in the summer of 1989,
every studio wanted to have the next comics-based blockbuster. I
remember visiting Penn Square Mall’s multiplex (as I did often back
then) and seeing a poster for Captain America. The one-sheet was comprised of little more than a close-up of Cap’s iconic shield and a promise to arrive next summer.
With the Broken Lizard comedy troupe becoming increasingly broken, member Paul Soter has branched off to write and direct something about as far away as one can get from the likes of Super Troopers and Beerfest: a horror film. Now that I've seen it, I'm thinking maybe he should stay on his own.
First with “Red” and now with “The Debt,” Helen Mirren has cornered the
market on films with senior-citizen assassins. Whereas “Red” was goofy
and spoofy, “The Debt” is stone-cold serious — the rare thriller that’s
actually smart. Would you expect less from a director as literary-minded
as “Shakespeare in Love”’s John Madden?
The way “The Debt” is structured, it’s as if audiences get two movies in one: a late-’90s-set spy movie with its mid-’60s prequel already attached, both roughly an hour apiece. In the ’90s half, essentially the wraparound story, Mirren plays Rachel Singer, one of three Mossad agents who, in the ’60s half (when she’s played by Jessica Chastain, “The Help”), hunkered down in a dingy Berlin apartment to track down a German gynecologist (Jesper Christensen, “Quantum of Solace”) wanted for Nazi war crimes.
I won’t spoil what Madden quiet effectively keeps secret from moviegoers until their need-to-know point, somewhere after the halfway mark, even if plot summaries and marketing materials do. The colder you are going in, the richer your experience will be. After all, how often does a spy movie with an Oscar winner rely more on story than shrapnel and sex?
The script — written in part by “X-Men: First Class” director Matthew Vaughn, remaking the 2007 Israeli film “Ha-Hov” — presents itself in a nonchronological manner at first, so confusion over the dual time periods’ counterparts may have you scratching your head for a bit. Don’t worry: It’s only for a bit — all is cleared up by the time the plot requires it to be.
While Mirren is front-and-center on the poster and in the credits, “The Debt” really belongs to Chastain, who’s quite remarkable. So compelling is her role in the mission, that I wish the film were all about that. She has some scenes opposite Christensen, where she visits his practice under the guise of being unable to conceive — that’ll make you cringe. In a good way, of course. —Rod Lott