Year: 2006

  • Munich (2005)

    Munich (2005)

    (In theaters, January 2006) The disconnect between real-life and the movie-world is seldom as blatant as in the thriller genre, where reality seldom has anything to do with the feverish action-packed stories offered to us. Intelligence work, for instance, is more often a matter of statistical analysis than thrilling car chases, but how do you make desk work interesting? Sometimes, however, reality proves to be as exciting as fiction, and that’s the case here with this fictionalized account of one Israeli counter-terrorism operation following the 1972 Munich massacre. Director Steven Spielberg delivers a film with the look and feel of classic seventies thrillers, an uneasy mixture of the realistic and the luminous, taking place in a world recognizably our own. What’s more, Munich also borrows a little bit of seventies-era ambiguity in refusing to takes sides for or against the anti-terrorism assassinations. While Spielberg can’t escape a bit of over-the-top horror in depicting the initial terrorist assaults, the script also suggests that the quest for vengeance may be counterproductive. Good intentions, but they unfortunately lead straight to the film’s major flaws. While Munich stands on its own as a cautionary tale about the value of one’s personal and national morality, it overplays its hand during an overlong third act, using a hammer when a scalpel would have done just as well. It reaches a climax of sort during a wholly unnecessary sequence where lovemaking is interspersed with flashbacks to the Munich Massacre. Too much, too blunt –especially given how effective the film was in raising those very same issues in the previous two acts. Otherwise, there’s a lot to like in this film, from the acting (Craig Daniel even previews “the new James Bond”, and I’m reassured) to the often-unflinching violence. Truly a film that borrows well from a previous era, and may just set a good example for others.

  • Capote (2005)

    Capote (2005)

    (In theaters, January 2006) Given how Truman Capote himself was a character as much as he was a writer, it’s perhaps fitting that the best thing about this eponymous film would be Philip Seymour Hoffman’s title performance. The rest plays straight out of the low-budget independent biopic playbook, with long shots of empty plains and a finale that seemingly can’t stop dragging on. Students of In Cold Blood will probably find much to like here, but it all too often feels like a fiber-rich film (ie; it’s good for you) than a piece of entertainment. As a character study, it’s not bad, unless you’re not particularly tempted by character studies. Long and not particularly energetic, Capote makes one wish for a film about Truman Capote in manic party-mode. While there’s nothing egregiously at fault here, there also a definite limit to how much one can tolerate.

  • Battle Born, Dale Brown

    Bantam, 1999, 555 pages, C$10.99 mmpb, ISBN 0-553-58003-5

    Dale Brown’s last few novels have been a rough patch of reading. After a spate of steadily disappointing aerial thrillers ending with the dismal Fatal Terrain, he made a well-intentioned, but ultimately unsuccessful foray into more land-bound action with the techno-fantasy The Tin Man. While his early novels remain models of the techno-thriller genre, Brown has since been unable to re-capture that earlier spark. The bad news with Battle Born is that he still has a way to go. The good news is that his latest book is a step in the right direction.

    For starters, perennial Brown protagonist Patrick McLanahan is back in the air. While I’m not too fond of series fiction and even less of Brown’s obstinate refusal to start completely afresh, there’s little doubt after the silliness of The Tin Man that McLanahan (and maybe even Brown) are at their best when they’re flying. As Battle Born opens with an exciting training sequence featuring B-1B bombers, we sense that, somehow, we’re back in a comfortable environment.

    Fortunately, there is some evolution in this series. Time is catching up with McLanahan: His career has progressed to what may now be called a supervisory position. After a training accident, the Nevada National Guard Bombing unit has to be re-certified for active duty and the officer responsible for re-grading the unit is McLanahan. Of course, he may have plans of his own concerning the fate of the unit…

    You see, technology also marches on. Dreamland, the gee-whiz research and development shop explored in previous Brown novels, is back in business and fiddling around with B-1B bombers rather than creaky old B-52s. More than just rejuvenating the jargon, this also gives a face-lift to the series: While B-52s are still expected to keep on flying for several more decades, Brown (himself an ex-B-52 crewmember) had definitely milked the plane for all it was worth during his previous novels. The new emphasis on the B-1B is a chance to explore a few more capabilities and update the limits of airborne military intervention. Series fans won’t be overly surprised to learn that Dreamland has now adapted the “Megafortress” concept to embrace the B-1B.

    Battle Born is never better than when it follows the National Reserve crewmembers trying to regain their certification. In these scenes, Brown is writing from the heart and it shows: There’s a real spirit to the scenes between the fliers, and so the book’s best sequence comes during a highly unorthodox training exercise in which procedures are repeatedly broken –with consequences. Whew; it’s good to have the old Dale Brown back, even if only for a few pages. Once the Guard fliers are brought in the Dreamland fold under McLanahan’s supervision, well, it’s a clear signal that the series just got a boost of energy. (Unfortunately, it also includes a bit more silliness in the form of subcutaneous always-on transmitter/communicators.)

    Given all of this, it’s a real shame that Brown had to go and include a full-scale war in the same novel.

    Hey, it’s not as if wars aren’t a good and cool thing to read about in a techno-thriller. Unfortunately, the way through which Brown shows how a United Korea goes to war with China with nuclear weapons (!) just doesn’t ring true, nor does it make the most out of the tension offered by the situation. For every good scene in which the American Vice-President is stuck in the middle of an impossible situation, or in which departing Chinese soldiers are stopped from smuggling weapons out of the newly-united Korea, the novel bogs down in foreign minutia handled without much energy or interest. You can almost hear the gears and pulleys moving in Brown’s head as he makes up a war as a way to prove his new Dreamland crew. Sadly, it comes it too late and too predictably. Despite the wholly unnecessary final sacrifice of the novel’s best new character, Battle Born deflates as it suddenly sprints toward a finish. A shorter, snappier novel would have been more interesting.

    (Add to that the difficulty of setting up a convincing international crisis in a series where nuclear weapons have been detonated a few times after Nagasaki. Whoever cares for series fiction as little as I do may start giggling as the characters remind each other of the fact that China atom-blasted an American base in a previous novel and… nothing much happened. The big problem with series thrillers is that their imagined geopolitics stop matching those of the real world, or require so much back-tracking that they become ridiculous.)

    Still, Battle Born still feels a lot better than Brown’s novels since Storming Heavens. As characters repeat to each other, “Battle Born” is Nevada’s state motto. But it’s also appropriate for a novel that carries along a faint whiff of rebirth. If I had my choice, Brown should drop the McLanahan series entirely. But I’m just a lone reader in an ocean of commercial imperatives: If Brown is going to continue with the same characters, Battle Born shows the way to go. Now let’s see what happens in Warrior Class.