| The
Review: |
It must have looked good on paper:
one of the world's most respected and talented actors pairing
up with one of the funniest comedians in years in a story
that should provide action, humor, and enjoyment (note to
reader: STRONG emphasis on the word "should"). However, like
novels translated into big-screen adaptations, scripts and
ideas don't always achieve the grandeur they originally bear
once they make it to their opening day. ***
Such is the case with "Bad Company,"
which hits all the necessary targets associated with "A Jerry
Bruckheimer Production," but with far less entertaining results.
I mean, I'm not all that hard to please when it comes to his
brand of popcorn drivel and blow-it-up fanaticism (you're
reading the opinion of someone who actually enjoyed "Gone
in 60 Seconds" and "The Rock"). But unlike these pieces of
pure schlock, "Company" lacks any entertainment value, be
it comedy or action, and is just plain unwatchable, and even
insulting in some cases. ***
The premise, for starters, is so
completely unbelievable and ludicrous, one could drive a spacecraft
through the holes in the plot. It begins with the usual bang,
in which CIA Agent Oakes (Anthony Hopkins) witnesses the death
of his partner, Kevin Pope (Chris Rock) whose presence is
essential to the completion of a hoax deal with Czech terrorists
in possession of a compact nuclear weapon. This brings up
a point I've been dying to express: when a movie like "Bad
Company" is released in Czechoslovakia, what do people of
that nationality feel when they see themselves reduced to
nothing but third-world foreigners chosen to do the dirty
deeds associated with terrorism? If anything, I think we're
adding to the problem we're trying to quell. ***
With precious little time to find
a viable replacement, the CIA targets an underhanded scalper
by the name of Jake Hayes (also played by Rock), who (duh!)
bears a striking resemblance to their former agent. They cite
him, offer him a hefty sum for his services should he choose
to comply, and begin the process by which he is trained to
walk, talk, act, and behave like his predecessor in less than
five movie minutes, supposedly stretched out over three days.
Yeah, right. And what is with the whole long-lost twin brother
aspect? Were they really twins? Or was it a blatant lie on
the part of Oakes to play on Hayes' sympathy? Does it really
matter? Of course not. ***
So, as you may have already guessed,
things begin to go haywire when the various meetings between
the heroes and the enemies slowly unveil the deception of
the CIA in concern to Hayes. Things blow up, our characters
engage in various chases involving vehicles, gunfire, and
darkly lit spaces, and the story hits every plot point you
know it will. But, amongst all of this frenzy, there is not
one shred of likeability to latch onto. The action sequences
are cliched, repetitive and boring, while the plot just becomes
too familiar, too unconvincing, and too banal to be of any
interest. ***
The movie has garnered attention
due to its casting of Hopkins and Rock as the two main characters,
and one would think that with such talents under its sleeve,
it would at least be able to redeem itself through acting
gusto and comedic intervention. But even these possible uplifts
sit motionless throughout: as with "Down to Earth," Rock's
comedic brilliance is hammered down by a PG-13 rating that
dispels his ability (I could only smile at the "bullet in
my backside" line for so long). Hopkins, on the other hand,
is given little material to work with, employing all the charm
he has left into a character who is about as lively as an
empty bullet casing. ***
I think the thing that bothers me
the most about a movie like this is its catering to our patriotic
instincts through the inclusion of the terrorist characters.
The bogus sense of patriotism seen on display here is the
worst case I've seen this side of last year's "Behind Enemy
Lines," and I'm sure we've had enough time to heal without
the need for movies like this to once again up-end our aggressions
for the grievances we've faced. In this aspect, "Bad Company"
is little more than a hammy, redundant action vehicle masquerading
as an anti-terrorism propoganda tool that does more harm than
good.
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| Image
and Sound |
With the exception of the bombastic
"Pearl Harbor," Jerry Bruckheimer-produced popcorn vehicles
always have a dark appearance to them. Whether it be the dark
government offices and asteroid setting of "Armageddon," or
the overly tan quality of the picture for "Gone in Sixty Seconds,"
there's always something just begging for a DVD mastering.
"Bad Company," one of Bruckheimer's less commendable efforts,
benefits on the format from a superior transfer. The dark
picture is beautifully rendered through solid blacks and excellent
contrast, with colors that fit nicely into the spectrum, balancing
between vivid and drained without skipping a beat. Noise and
artifacts are kept mum throughout, and details are enhanced
through sharp edges and terrific clarity. The movie may be
a bust, but the DVD image is stupendous. ***
The sound, both the Dolby and DTS
5.1 tracks, are extremely powerful in their own Crunch 'n'
Munch manner. Frenetic action and high-speed chases abound
in the film, and the soundstage comes to life with an energetic
use of the surrounds, and deep, penetrating bass that retains
a slightly cleaner presence in the DTS track, but pleases
in both just the same. Dialogue is clean and remains centered,
while the front channels and surrounds forge a connection
across the spectrum that is instantly enveloping. In spite
of all these attributes, it's not quite reference quality,
but for the movie, it'll do.
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