Tag Archives: 13 Hours: The Secret Soldiers Of Benghazi

A Week In Film #512: Mussels

Jack Reacher: Never Go Back
Pretty crap, mediocre sequel with Diddy Cruise as Lee Childs’ ex-Army cop turned zen drifter-warrior monk type dude, now caught up in a dull conspiracy involving bent soldiers and military contractors and there’s a woman officer who’s framed and and and zzzz…

13 Hours: The Secret Soldiers Of Benghazi title screen13 Hours: The Secret Soldiers Of Benghazi
I cannot work out why I keep going back to this. It’s such gung ho nonsense and yet very watchable.

A Week In Film #480: Kicking in

Green Zone
Paul Greengrass overextends his jitter-cam pseudo documentary style, with Matt Damon as a kind of super-soldier uncovering a conspiracy in post-occupation Iraq.

13 Hours: The Secret Soldiers Of Benghazi
Like Zero Dark Thirty and Black Hawk Down something of a guilty, visceral pleasure – male-dominant, innately right wing, violence-fetishising, fearful of darkness, yet excellently staged and well acted. Strong performances from buffed up Office alums John Krasinski and David Denman, Pablo Schreiber from the second season of The Wire, Toby Camomile Lawn Stephens etc.

Command And Control
Interesting, old-style documentary about a catastrophic fubar at a nuclear missile silo in 1980.

A late period Nicolas Cage crime thriller that looked like it might be okay – an ex-Irish mob hardman-turned-legitimate-businessman gathers together his old pals when his teenage daughter goes missing after a home invasion. But this is no Full Neeson. The odd nice turn (Peter Stormare as a gangster in a wheelchair) and a sort of decent twist don’t go any way to salvaging what is a turgid piece of crap.

2 Guns
Starts off as a pleasingly old school sugar-and-spice buddy cop actioner in the vein of Busting, Freebie And The Bean, Running Scared, Lethal Weapon, 48 Hrs and the rest – overlaid onto the plot of Charley Varrick – but quickly tails off into forgettable Big Explosions territory. Denzel Washington and Mark Wahlberg have decent chemistry, but overall it feels like a late series A Team episode with a bigger budget.

Power Rangers
The Breakfast Club-meets-Goonies opening was great fun, with a likeable cast of young outsiders, but once we get into the actual save-the-Earth-from-Rita-Repulsa shenanigans it’s all rather meh.

The Open House
Dark little tale from Matt Angel and Suzanne Coote, taking a recently widowed woman and her teenage son and plonking them in a remote mountain lodge being put up for sale by her sister. Then a bunch of creepy shit happens. And more creepy shit. And then some really freaky shit. And then it ends. Excellent score by Joseph Shirley.

A Week In Film #397: Guys, guys, guys

13 Hours: The Secret Soldiers Of Benghazi title screen
13 Hours: The Secret Soldiers Of Benghazi
Turns out Pain & Gain is not, after all, “the only Michael Bay film I will ever unequivocally enjoy”, which is a bit embarrassing, seeing as this is a gung ho sabre-rattler for American empire.

Still, less objectionable in its portrayal of The Others than, say, Black Hawk Down. Him from The Office (John Krasinski) and him from season two of The Wire (Pablo Shreiber) and him from The Camomile Lawn (Toby Stephens) are all pretty good.

Watchmen title screen
Zack Snyder’s largely panel-by-panel retelling of the Alan Moore/Dave Gibbons comic book masterpiece somehow manages to flatten out and demystify everything that was so good about the original. Oh well.

Star Wars: Episode III - Revenge Of The Sith title screen
Star Wars: Episode III – Revenge Of The Sith
Boy’s choice. Always with the bloody crappy 90s ones, FFS. “The one with the fire pits and Anakin becomes Darth Vader, daddy!” Yes, and so we have to wade through more than two hours of crappy CGI to get to the only bit he’s really interested in, which he already knows what happens in.

Only The Dead title screen
Only The Dead
Breath-sapping, dead-eyed stare of a documentary by Australian journalist Michael Ware, about his seven years covering the war in Iraq. Numbing, sometimes confusing, saddening.

Shadow Dancer title screen
Shadow Dancer
Solid if not ground-breaking drama set in Northern Ireland in the early/mid nineties, with Andrea Riseborough a woman from a staunch republican family caught between a rock and a hard place. With Aiden Gillen, Domhnall Gleeson, Clive Owen and Gillian Anderson. Directed by James Marsh.

Cartel Land title screen
Cartel Land
Documentary by Matthew Heinemann about anti-cartel vigilante groups on either side of the US-Mexico border.