Max Payne
When it comes to action movies, originality now refers to look and style. Gone are the days of the “Lethal Weapons,” the “Speeds,” the “Die Hards,” the “Long Kiss Goodnights,” the “Raiders of the Lost Arks,” the “Professionals,” the “Face/Offs,” and the “Rocks,” movies that relied more on imaginative screenwriting than imaginative visuals. Most action movies now come from one of two sources- comic books and video games. Don’t get me wrong, the best ones still deliver the goods. But with little variation (meaning the occasional sequel for an “Indiana Jones” and Bond movie), those two sources are the go-to for a genre that goes all the way back to Tarzan and “The Adventures of Robin Hood.”
“Max Payne”- based on the popular video game- is equally derivative from both prime sources of modern action fodder. From the video game comes the story, but the style reminded me of a combination of “Sin City” and “Constantine.” That’s not a bad thing, either- while the film- directed by Fox director-for-hire John Moore (“The Omen 666,” “Behind Enemy Lines”)- does manage some intriguing twists in its’ story, it’s always locked-and-loaded to move from action sequence to action sequence with little in the way of real thought. In which case, it helps to have shots of the main character walking the dark streets of the city in a never-ending snowfall. I shouldn’t say that, though- sometimes characters are walking in a downpour… 🙂
Mark Wahlberg flexes his action chops, and gives his acting chops (well-honed in his Oscar-nominated turn in “The Departed”) a sabbatical, as Max Payne, a homicide detective on the NYPD until his wife and baby girl are murdered in a mysterious break-in. Payne came home, killing two of the violators; a third one escaped, and remains on the run to this day. Payne moves himself to the Cold Case department- where cases left unsolved go to live to haunt another day- but he still braces the streets for clues as to the identity of the third man in his family’s murder. It’s on the trailer of his next lead that gets Payne involved in an even bigger case, which may point to a connection in the two cases.
Moore delivers the action goods in high style, with a pulsing score by Marco Beltrami there to add some bang to the visuals, as all action scores require to do evidently. But where “Max Payne” really finds its’ footing is in its’ casting. Wahlberg is ever the stalwart hero, an actor capable of getting you on his side regardless how ridiculous things get around him (remember “The Big Hit?”). Adding some sass and sexiness to the proceedings is Mila Kunis (recently of “Forgetting Sarah Marshall”) and new Bond girl Olga Kurylenko (upcoming in “Quantum of Solace”) as sisters who are as lethal as they are beautiful. And where’s Chris O’Donnell been since the not-so-glory days of Robin in the last “Batman” franchise? No matter; he adds some straight-faced intrigue as a former co-worker of Payne’s wife who might have some answers, as do Beau Bridges as Payne’s mentor and Ludacris as IA officer Jim Bravura (don’t you love these names?). If you’re looking for the next great action thriller, look elsewhere (preferably your own movie collection). If you’re looking for something to just sit back and get taken on a ride with, this is your film.
