Benny Boom

  • Next Day Air (2009)

    Next Day Air (2009)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2021) I have some fondness for those small low-budget comic thrillers with mostly black casts — they’re often a lot of fun to watch even if they’re hardly essential, and it’s that category that I’d place Next Day Air, alongside such titles as All About the Benjamins, Bait, Blue Streak and a few others. The plot is more convoluted than complex, but it deals with an important package being delivered to the wrong address and the efforts of various groups to find it again. A few moderately known names (Donald Faison, Mike Epps, Mos Def) anchor the cast, but much of the film lives on the script rather than the performances. Director Benny Boom apparently has some fun managing the proceedings, although he seems hesitant to either go big on the comedy or the action. There are still a few good moments (including a crime-speak translation) and an eye-catching performance from Yasmin Deliz. Moving briskly at less than 90 minutes, Next Day Air works fast and works well as long as your expectations don’t run particularly high.

  • S.W.A.T.: Firefight (2011)

    S.W.A.T.: Firefight (2011)

    ByChristian Sauvé Movie Review

    (On DVD, June 2011) At a time where the video rental business is crumbling, the Direct-to-Video market is undergoing a curious rehabilitation, even when it comes to cheap action movies.  Helped along with polyvalent digital cameras and cheaper post-production processes, DTV films now look better than ever, and manage to sport scripts, actors and direction that are well above the mediocrity we’ve gotten used to in movies that never played in theaters.  S.W.A.T.: Firefight looks like a perfect example of the form: Sequel-in-name-only to a better-known theatrical action film solely for marketing purposes (there’s practically no story link to the original), it’s a reasonably entertaining way to spend an hour and a half.  Part of the appeal is due to square-jawed Gabriel Macht in the lead role, as a Los Angeles SWAT leader sent to Detroit in order to train the local team.  Refreshingly, the first half of the film adopts a convincingly realistic attitude in portraying a competent SWAT team with minimal dysfunction: S.W.A.T.: Firefight is never as interesting as when it’s showing off the team training, bonding and working together in showcase sequences.  The choice to set the film in the ruins of Detroit is intriguing.  Shannon Kane makes a good impression as a tough new recruit.  Unfortunately, the second half of the film gets farther away from the SWAT rationale the longer it focuses on another improbably all-powerful antagonist who takes a personal dislike to the hero.  It’s not as it Robert Patrick isn’t good, but that the film becomes a lot more predictable once the plot is sketched, and far less interesting as a result.  (It also ends a bit too quickly.)  At least the film moves with energy; director Benny Boom uses his limited budget effectively, even though touches like a gun fastened to a camera give an unpleasant video-game jolt out of the film’s experience.  While the picture quality can’t escape a certain video softness, S.W.A.T.: Firefight looks good, goes by pleasantly, scores a few good scenes and exceeds the low expectation associated with a DTV film.