Tag Archives: B-


Producer: Scott Stuber, Dylan Clark, Mark Wahlberg, Stephen Levinson, Hutch Parker, Dorothy Aufiero and Michael Radutzky
Director: Peter Berg
Writer: Peter Berg, Matt Cook and Joshua Zetumer
Stars: Mark Wahlberg, Kevin Bacon, John Goodman, J.K. Simmons, Michelle Monaghan, Themo Melikidze, Alex Wolff, Melissa Benoist, Jimmy O. Yang, Michael Beach, Christopher O'Shea, Rachel Brosnahan, Jake Picking, Vincent Curatola and James Colby
Studio: Lionsgate/CBS Films


The team of writer-director Peter Berg and macho star Mark Wahlberg didn’t invent the genre of heroic disaster movie—Irwin Allen was a past master, and asteroid-heading-for-earth pictures and fare like “San Andreas” are prime examples–but they have certainly perfected the form for modern audiences with a docu-drama twist. In a series of joint efforts—“Lone Survivor,” “Deepwater Horizon” and now “Patriots Day”—they’ve shown mastery of the recipe: choose a recent catastrophe, whether it be a failed military operation, an industrial disaster or a terrorist act, and recreate it in jittery, viscerally exciting cinematic style (here courtesy of cinematographer Tobias Schliesser and editor Colby Parker, Jr.)—but making sure to emphasize how the tragedy brings out the best in the human spirit, not only in terms of individual heroism (especially of the “common man” variety) but as demonstrated in the resiliency of the victims as well. Along the way insert a few moments of homely humor, just to lighten the mood a bit.

One shouldn’t denigrate the Berg-Wahlberg pictures. From a docu-drama perspective, they are all exceedingly well-done. From a purely cinematic perspective “Patriots Day” does a remarkably effective job of recounting the 2013 Boston Marathon bombing, portraying, quite graphically but still with restraint, the horror of the episode and the destruction it wrought on property and people. But it follows the pair’s established formula. It begins with a roughly twenty-five minute prologue introducing important characters—in this case police and victims-to-be—going about their ordinary lives, while cutting periodically to show the perpetrators preparing their attack.

At roughly the half-hour point, the disaster occurs, and as the injured are desperately cared for, a frantic investigation ensues, resulting in the identification of the bombers and a manhunt to track them down. The culmination comes with a confrontation between law enforcement and the bombers, followed not only by captions describing the punishment meted out to malefactors but, in this case, by clips of affected persons describing their reactions to their experience and archival clips demonstrating the public determination—particularly among the citizens of Boston—not to be cowed by the violence aimed against them.

All films of this sort massage the details of the historical record for dramatic effect; that’s certainly true of the previous Berg-Wahlberg collaborations. But “Patriots Day” does so in a more pronounced fashion. It includes a great many actual figures in the course of the narrative—not only the Tsarnaev brothers Tamerlan (Themo Melikidze) and Jahar (Alex Wolff) and the former’s wife Katherine Russell (Melissa Benoist), but such official personages as Boston police commissioner Ed Davis (John Goodman), the city’s police superintendent William Evans (James Colby), Massachusetts governor Deval Patrick (Michael Beach), Boston mayor Thomas Menino (Vincent Curatola), Watertown police sergeant Jeffrey Pugliese (J.K. Simmons), and chief FBI agent Richard DesLauriers (Kevin Bacon). Attention is also given to victims like Jessica Kensky (Rachel Brosnahan) and her husband Patrick Downes (Christopher O’Shea) as well as MIT campus officer Sean Collier (Jake Picking). Carjacked civilian Dun Meng (Jimmy O. Yang), the reluctant hero who proved instrumental in tracking down the bombers, becomes a recurring character as well (Dun Meng also has a cameo in one scene).

Speculation necessarily occurs in the scenes featuring these figures in the script Berg, Matt Cook and Joshua Zetumer have fashioned from the actual events; after all the conversations between the Tsarnaev brothers must be based on probability and dramatic license. But the screenplay goes further in creating a composite character named Tommy Saunders (Wahlberg), a sergeant in the Boston PD, to serve as a general symbol of the yeoman work that Boston cops did on the day of the bombing and those following. The effect is akin to what the old television series “The Untouchables” did with Elliot Ness, placing the agent at the center of virtually every government action against the criminals of the Prohibition era despite his marginal, or non-existent, involvement. The decision to fabricate the Saunders character is a dubious tactic in itself, but it’s frankly not justified by Wahlberg’s performance, which turns the cop into precisely the sort of hot-tempered but highly principled figure so familiar from TV police dramas and one—given his accent and attitude—that comes across almost as a Boston caricature. One can imagine that disentangling all the threads the script combines in Saunders might have been a difficult narrative task, but that doesn’t diminish the weakness of the composite solution, which is accentuated by the predictable relationship between the character and his wife (Michelle Monaghan).

In contrast to Wahlberg, Monaghan and the rest of the cast deliver solid work, with Simmons bringing a likably regular-guy vibe to Pugliese and Melikidze, Wolff and Benoist giving some shading to the Tsarnaev without downplaying their essentially villainous quality. All of the victims are understandably portrayed in terms that exhibit no flaws (neither the youngest casualty, Martin Richard, nor his parents are impersonated by actors at the family’s request, though one of the most poignant episodes involves the treatment of the boy’s remains). One of the figures that audiences will most embrace is certainly Dun Meng, whom Yang invests with real charm.

There are various elements of “Patriots Day” that might give one pause—was the shootout in Watertown, for instance, really such an explosive action-movie fracas as the one presented here? (By contrast the depiction of the bombing and the destruction it caused has the ring of authenticity.) Because of the subject matter, however, it can’t help but have strong emotional impact, even if ultimately it doesn’t measure up to Paul Greengrass’s “United 93” (still the touchstone of this genre)—or the previous Berg-Wahlberg films, for that matter.


Producer: Stacey Reiss, Sharon Chang and Otto Bell
Director: Otto Bell
Stars: Aisholpan Nurgaiv, Rhys Nurgaiv, Kuksyegyen Almagul and Boshai Dalaikhan
Studio: Sony Pictures Classics


There are documentaries than stun you with their on-the-fly immediacy, and others that annoy you with their obvious reliance on recreating the events they’re portraying. “The Eagle Huntress” falls into the second category, and thereby sugarcoats the tale of a barrier-breaking Mongolian girl to such an extent that the finished product feels a bit like a cheat, though admittedly a visually enthralling one.

The protagonist is Aisholpan Nurgaiv, who has been enthralled by the eagle hunting of her father Rhys since she was a tyke. The sport is a species of falconry practiced in various parts of Asia, in which one takes a wild eagle chick from its nest and raises and trains it to hunt in tandem with its human partner. In Mongolia, however, it has always been the province of men. Rhys, however, decides to encourage her interest, and in time she has a bird of her own and carefully nurtures a bond with it as it grows into an eaglet.

So successful is the training that Rhys enters Aisholpan in the annual Golden Eagle competition of eagle hunters that tests how successful the training has been. Though the youngest participant, and the only female, she triumphs, to the consternation of some of the older men, who sternly deplore the admission of a girl into the sport and express doubt that Aisholpan will prove herself worthy in an actual hunt.

That leads to the film’s final act, in which she and her father trek out into the wintry hills to track and kill a fox. Despite one moment when her horse gets trapped in a knee-high snowdrift, the hunt is successful, and proves the girl’s mettle. Some, of course, might think that fox-hunting is no more acceptable in a Mongolian context than a Western one, but the film ignores such issues of cultural difference, simply celebrating Aisholpan’s breaking of the sport’s glass ceiling.

Director Otto Bell, his cinematographer Simon Niblett and editor Pierre Takal take a few breaks from the eagle-hunting plot from time to time to visit Aisholpan at school, where she’s predictably rather a tomboy, or simply to sketch the Nurgaiv family’s home life, but mainly they concentrate on the girl’s groundbreaking accomplishment. The interviews with Rhys and less sympathetic males are basically straightforward, and throughout Aisholpan offers mostly banalities, but the film is obviously intended to be visual rather than verbal, and the outdoor sequences are often stunning, both those of father and daughter out in the wild and those at the colorful competition.

But one does get the feeling, from the elaborate camerawork and very direct narrative line, that much of what is being shown has been staged. That’s a technique as old as the form itself—one need think only of the work of Robert Flaherty. But you can’t help wondering whether a more warts-and=all treatment would not have been more revealing and enlightening. One might also blanch when, at the close, the score by Jingle Punks and Jeff Peters is overtaken by the pop song “Angel by the Wings” by the Australian singer Sia—which hammers home the story’s point rather crudely in the refrain “You Can Do Anything!”

Youngsters, especially girls, will be captivated by Aisholpan’s collaborative triumph with her pet, though others may feel that the film represents the Disneyfication of her story.