ScreenFish

where faith and film are intertwined

Aaron Eckhart

Midway: Battle-Ready, Willing and Able

by Leave a Comment

Set in the heart of WWII, Midway tells the dramatic story of the US soldiers and pilots who fought during the Battle of Midway in June 1942. Having remained ‘officially’ neutral in the war, the US found themselves drawn into the conflict after the bombing of Pearl Harbour in December 1941 at the hands of the Japanese. Over the next few months, they engaged in a military chess match as both superpowers attempted to outmaneuver one another, culminating in the epic Battle of Midway.

Directed by Roland Emmerich (The Patriot), Midway is a bold and sweeping film that attempts to walk the line between historical drama and action blockbuster. Known for such epic films as Independence Day and The Day After Tomorrow, Emmerich understands the nature of spectacle, which he puts to good use onscreen here. With every screaming bullet and fiery explosion, Emmerich seats the viewer in the centre of one of WWII’s most iconic battles. As a result, the sweeping nature of the action and its ‘rag-tag’ group of characters who come together to win the day fits well into Emmerich’s repertoire. (Ironically, however, it’s interesting to note that the historical aspect of this particular film makes Midwaysomewhat of a departure for him as well, given that his filmography consists almost entirely of science fiction epics.)

Unfortunately, where Midway loses its way is in the area of character development. Like many of Emmerich’s other films, Midway’s heavy reliance on stunning battle sequences often leaves its characters somewhat one dimensional in the middle of complex circumstances. As a result of the film’s emphasis on action, heroic historical characters like Lieutenant Commander McClusky (Luke Evans), cocky war hero Dick Best (Ed Skrein), and Admiral Chester Nimitz (Woody Harrelson) aren’t given the time to explore their true feelings and motivations in the midst of the most difficult of times. None of this is particularly surprising, given Emmerich’s back catalogue. After all, for Emmerich, the greatest drama lies in the victories and losses as opposed to the inner battles of his characters. However, it does keep Midway from truly landing as a truly compelling historical drama. (Although, it is worth noting that one of the most surprising aspects of the cast is its lack of ethnic and gender diversity. While the film is set in the 1940s and the film’s heroes were actually Caucasian males, the script gives little opportunity to anyone else to speak their voice, an important aspect that is usually a staple of Emmerich films.)

However, the film’s penchant for spectacle does powerfully emphasize the nature of sacrifice. For Emmerich, the greatest demonstration of valor comes when people are willing to give their lives in the service and protection of others and Midway demonstrates this truth well. For these characters, war is neither driven by a quest for glory nor individual medals but by doing what is required in order to keep their families safe. In some ways, Midway exemplifies the power of sacrifice best in its smaller moments. For example, one brief scene where a young girl is rescued by her mother as Pearl Harbour is destroyed speaks to the more personal implications of war. In another, as Best informs his troops that, ‘even though they’ve been through hell, they have to get back out there’, the audience recognizes the sheer exhaustion that is required of military troops when they are thrown into the field. Brief moments such as these speak to the true sacrifice of life at war when families are directly impacted or men and women are called upon to give more than they have to offer in service to a call greater than themselves. In this regard, Midway wears its heart on its sleeve by demonstrating Emmerich’s admiration for those who have committed their lives to the mission.

Even so, as the end credits roll, Midway leaves the audience with somewhat of a mixed bag of emotions. While the film’s spectacle is thrilling and often gorgeous to see, frequently one-dimensional writing for its characters and a surprising lack of diversity hold the film back from true greatness. While it’s easily Emmerich’s most entertaining film in years, Midwayis still missing enough depth to truly land the plane.

Midway brings history to life in theatres on Friday, May 8th, 2019.

TIFF ’19: Saban Films acquires Aaron Eckhart’s LINE OF DUTY

by Leave a Comment

TIFF is known for the film’s… but it’s really about business. And today, the news begins!

Saban Films announced today that they have acquired U.S. rights to Steven C. Miller’s (Escape Plan 2: Hades, First Kill) Line of Duty.  Penned by Jeremy Drysdale (Grand Theft Parsons), the action thriller stars Golden Globe® nominee Aaron Eckhart (London Has Fallen, The Dark Knight), Courtney Eaton (Mad Max: Fury Road), Dina Meyer (Starship Troopers, Saw), Emmy® nominee Giancarlo Esposito (“Breaking Bad,” Maze Runner franchise) and Ben McKenzie (Gotham).  The film was produced by The Solution Entertainment Group’s Myles Nestel & Craig Chapman, Skip Williamson, Scott LaStaiti, Martin Sprock, Tiffany Stone, Renee Tab and Christopher Tuffin.

Line of Duty follows a disgraced cop (Eckhart) who finds himself in a race against time to find a kidnap victim whose abductor he accidentally killed.

Saban Films’ Bill Bromiley commented, “This fast-paced thriller is action-packed and bound to captivate audiences and keep them on their toes. It’s a testament to Steven’s skills as a filmmaker and the cast, led by Aaron, give stunning performances.”

Solution’s Nestel added, “We are excited to continue our long-standing relationship with Saban as our US distributor on the title.  Steven knocked the film out of the park and Aaron gives a tour-de-force performance as Frank Penny.”

Jonathan Saba negotiated the deal for Saban Films along with Myles Nestel & Lisa Wilson (who also executive produced the film) on behalf of The Solution.  The Solution represents worldwide rights, with Lisa Wilson selling the remaining international rights at this year’s TIFF.

Saban Films continues to grow its presence in the industry, remaining active in the acquisition, production and distribution space. The company’s successes have run the gamut from critically acclaimed theatrical films such as The Homesman starring Hilary Swank, to one of the biggest Fathom events in 2016 with Rob Zombie’s horror thriller 31.   Its upcoming slate includes: Kevin Smith’s highly-anticipated Jay and Silent Bob Reboot, the sequel to the 2001 comedy Jay and Silent Bob Strike Back which the company is partnering on after coming onboard at script stage; horror icon and heavy metal mastermind Rob Zombie’s 3 From Hell; Cannes hit Vivarium starring Imogen Poots and Jesse Eisenberg; the heartfelt baseball drama Bottom of the 9th starring Joe Manganiello and Sofía Vergara; Darren Lynn Bousman’s Death of Me starring Maggie Q and Luke Hemsworth; Casey Affleck’s directorial debut Light of My Life; and Derrick Borte’s American Dreamer starring Jim Gaffigan.  

Line of Duty marks the fourth in-house production over the last two years from leading film distribution, finance and sales company, The Solution Entertainment Group. Founded in 2012 by Myles Nestel, Lisa Wilson and Craig Chapman, The Solution has also produced Wheelman starring Frank Grillo, Killerman starring Liam Hemsworth and is currently finishing up Honest Thief starring Liam Neeson.   This in addition to a robust third-party sales slate, which includes Nicholas Jarecki’s Dreamland, currently in post and the upcoming Liam Neeson actioner, Ice Road.

Sully: In the Moment

by 6 Comments

sullyOn January 15, 2009, U.S. Airways pilot Chesley”Sully” Sullenberger and his co-pilot, Jeff Skiles,  were flying a commercial airliner from LaGuardia for a standard run, the same way Sullenberger had flown for forty years. When his Airbus A320 struck a herd of geese that destroyed the engines, Sullenberger’s quick thinking landed the plane safely in the Hudson River. The pilot’s decisive flying decisions had saved 155 passengers but in the days that followed, the investigation called his character and experience into question. Sully is the story of one man’s heroism, and his vindication in the face of those who weren’t there.

Todd Komarnicki’s script is based on Sullenberger’s own book, Highest Duty, wrapping a pair of all-time greats, director Clint Eastwood and lead actor Tom Hanks, in a story that inspires and challenges the audience to examine their own thinking. The story itself is straight forward: we meet Sullenberger (Hanks) and Skiles (Eckhart) in the aftermath, as the National Transportation Safety Board digs into the events surrounding the water landing.

What unfolds over the next two hours is an exploration of Sullenger the man and the pilot, through a series of flashbacks to his previous experiences flying, current conversations with his wife (Laura Linney) and Skiles, and the interviews before a board of NTSB agents (Yes, Dear’s Mike O’Malley and Law & Order: Criminal Intent’s Jamey Sheridan). We see his inner struggles, including the nightmares that involve how the landing could have gone; we hear the way that his clinical mind attempts to unpack and sort through what happened in those 208 seconds. All of this is carefully depicted by the power of Hanks’ performance, the Komarnicki script that provides facts (but not too many) and witty banter, and the direction of Eastwood who has proved himself to be a worthy director of films that examine heroism.

sully2Because I am not much of a news watcher or avid flyer, I was oblivious to the way that the investigation played out, and found myself moved by the way that Sullenger found himself on the spot. The NTSB is certainly the antagonist here, as their inclination is to search for human error. But when their findings are fueled by technical information and by statistical findings, our view of the likable Sullenberger is confronted with a mountain of data.

And here lies the principle of the film: not every moment can be explained away with facts. Some require the nearly holy recognition of the human condition – we have the capacity for wonderful acts of courage and moments outside of the realm of the expected. One might even call them … miraculous.

When we examine the story of Sullenberger – that is, the collected fragments brought together in Komarnicki’s script, we recognize that Sullenberger acted the way that he did because he had the forty years of flying experience that he did. We can see that his calm demeanor, his strong decision-making, his soul – these components made the miracle possible. Sullenberger’s life up until January 15, 2009 was preparing him for this moment. Without those other moments, maybe Sully doesn’t become a hero; maybe if someone else is flying the plane… there’s no movie to be made.

A day after seeing the film, I keep asking myself: what moment or moments has my life lead me to so far? What situation am I uniquely gifted to handle? What calling has God placed on my life, that the hurt, joy, experience, education, and skills I have are all divinely ordained for?

This is the beauty of Sully: when the moment came, Chesley Sullenberger was ready. And the passengers and the crew will be forever grateful.

sully3

Special features include a deeper look at Sullenberger in “Sully Sullenberger: The Man Behind the Miracle,” especially his character; “Moment By Moment: Averting Disaster on the Hudson” as the real-life Sullenberger, Skiles, and traffic controller Patrick Harten walk the audience through what happened; and “Neck Deep in the Hudson: Shooting Sully” as Eastwood and two producers (Frank Marshall and Allyn Stewart) show how the ‘splashdown’ was shot on film. 

My All American: Getting to Know Freddie

by Leave a Comment

myallamerican3The weekends are a wonderful time to get caught up on housework, take a trip to the beach or mountains, or grab a few extra hours of sleep.  There’s also the opportunity to sit down with some friends, grab some snacks, and enjoy a game of football (whether it’s high school on Friday, college on Saturday, or professional on Sunday). For a few hours, players do battle on the field to determine if their team is better than another in a game that’s a little over a century old. It’s often a test of courage and bravado for those playing—one that if passed, can bring honor and glory to a team (and perhaps an individual player who does well).  But we don’t often get to learn the backstory of these players.

Freddie Steinmark may not be a familiar name in college football history, but the University of Texas student has a story that exudes determination, commitment, courage, and hope.  In the new film My All American, director Angelo Pizzo brings his story to light. The viewer ends up discovering what it means to never give up on one’s dreams—even if there are some pitfalls along the way.

The story begins with a student reporter in the office of legendary football coach Darrell Royal. She asks him who his favorite All-American was at the University of Texas.  When Coach Royal says it was Freddie Steinmark (played by Finn Wittrock), she reminds him that he was never selected for that honor. He comments that Steinmark was his All-American before the scene shifts to the state of Colorado.  Steinmark’s high school hadn’t won their division in a quarter century, but there was hope.  In addition to Freddie, the team had a new player from California named Bobby Mitchell (Rett Terrell) who was a great running back.  The team begins to do well, defeating their arch-rival and putting up a fantastic season.

myallamerican2Freddie is good at football, is smart, and is a devout Catholic. He has the trophy girlfriend in Linda (Sara Bolger) and he plans to play at Notre Dame, but isn’t built for the rigors of college football.  Schools tell his father (Michael Reilly Burke) that Freddie needs to go to a junior college first and bulk up before they’ll consider him. This frustrates his father, who, along with his wife Gloria (Robin Tunney), has pushed Freddie to be his best in all areas of life, although they’re quite poor. When the University of Texas asks to look at Bobbie, they take a look at Freddie–and offer both a scholarship.

Coach Royal (Aaron Eckhart) knows tons of guys want to play on UT’s football team, so he makes the practices rough and tough in order to weed out players.  At one point he looks at his charges and says, “Gentlemen . . . impress me” before putting them through a grueling practice. Freddie’s skill and sheer determination to try a new position (he was a running back in high school and is asked to play safety and kick returner) impresses Royal enough to put him on the field as a freshman.

The UT team is absolutely horrible but starts picking up wins once Coach Royal installs a new offensive scheme called the triple option. It is effective enough that UT begins to be considered for the national championship the following year. The wins keep piling up and eventually lead to a winner-take-all game between the Longhorns and the University of Arkansas in 1969. Freddie is still playing at a top level, but has noticed an infrequent pain in his leg.  Linda (who goes to UT as well) encourages him to see a doctor, but he doesn’t until after he has to be taken out of the national title game due to ineffectiveness.  The doctor’s findings suddenly render football a non-priority, forcing him to fight for his life.  This fight encapsulates who Freddie Steinmark is and cements his legacy in the eyes of Coach Royal.

myallamerican1My All-American, like all football players in high school, has the ability to become something bigger than the sum of its parts.  Does the film succeed in doing that?  For me, I’m not sure that it does.  Pizzo’s track record with sports-themed films has been nothing short of stellar (he directed the acclaimed titles Hoosiers and Rudy), but something doesn’t quite feel right about My All American. It’s not the cinematography, which is top-notch and provides an archival feel to the story.  It’s not the sports sequences, which showcase some bone-crunching tackles and fantastic build-up in the championship game.

The problem lies in the characters themselves. Freddie is fully fleshed out as a determined, courageous football player who fights to get where he is, but the others are very one-note. Steinmark’s girlfriend Linda is given very little to work with other than being a non-married companion. His parents aren’t given much more in the way of characterization.  Even some of the main football players (such as quarterback James Street (Juston Street)) are very static, giving the film a determined focus on Freddie and his life. This can work in some instances, but when the lead character is looked at by other characters as a role model, it diminishes the effectiveness of the overall product. It’s unfortunate, as My All American has the potential to line up with Pizzo’s other masterworks.  Instead, it comes off as uplifting but bland.

There is a scene in the film that merits discussion—one between Bobby and Freddie. After Bobby’s brother is killed while serving in Vietnam, he goes out and loses his mind, ripping a placard promoting the war.  Freddie calms Bobby down, gets him back to the room, and asks if he can pray for him. Bobby isn’t religious and reminds Freddie, “Just because you aren’t a religious person doesn’t mean you can’t pray at a time like this.” The scene ends with Freddie praying and Bobby fretting, only to start praying as well. Bobby has seen enough of Freddie’s life to know that he means what he says and that maybe prayer does work.

To me, this is why he gave in and called on God in his time of need. Peter says that followers of Jesus should seek to live such good lives among the rest of the world that people take notice and glorify God themselves (1 Peter 2:12).  When followers of Jesus make mockeries of the faith they claim through their actions, ideas, or even reactions to other believers (see the whole Starbucks red cup non-issue), it doesn’t help the cause of Christ. Freddie’s example was notable enough to challenge the lives of those who came into contact with him and make them better in the long run.  May we all do the same so the world can see Jesus in the right light.