LONDON HAS FALLEN
2016, R, 99 mins.
2016, R, 99 mins.
Gerard Butler as Mike Banning / Aaron Eckhart as President Benjamin Asher / Radha Mitchell as Leah Banning / Morgan Freeman as Vice President Alan Trumbull / Charlotte Riley as MI6 Jacquelin Marshall / Angela Bassett as Lynne Jacobs / Melissa Leo as Secretary of Defense Ruth McMillan / Robert Forster as General Edward Clegg / Alon Aboutboul as Barkawi / Jackie Earle Haley as Deputy Chief Mason
Directed by Babak Najafi / Written by Creighton Rothenberger, Katrin Benedikt, Christian Gudegast, and Chad St. John
OLYMPUS HAS FALLEN was one of
the most blatantly obvious – but also one of the best – DIE HARD clones that I’ve
ever seen. It also
was the finer of the two White House Invasion movies that were also
released that year (sorry, WHITE HOUSE
DOWN). Watching a
one-man army engage in a deadly and clandestine mission to rid the
president’s home of nasty Korean terrorists had a distinctive John
McClane-ian vibe to it all, and gloriously so.
To the extent that OLYMPUS HAS FALLEN was trying to emulate iconic
action franchises of a bygone era, the film was a rousing and entertaining
success; it’s a prime example of formulaic filmmaking riffing on
existing templates done rather well.
HAS FALLEN is the inevitable sequel to Antoine Fuqua’s bruise knuckled and blood-soaked ode to late 80’s
and early 90’s actioneers, but this
time around the film has shifted away from the intimate and claustrophobic
interiors of the most recognized home in Washington to the streets of,
yes, London. On a positive,
the film – like its predecessor – embraces and wears its inherent
schlockiness like a proud badge of honor.
Filled with multiple action film clichés and conventions, multiple
things (and people) going “BOOM!”, ludicrously (and sometimes
ingeniously) staged chase sequences, and a ridiculously high bad guy body
count, LONDON HAS FALLEN is, at times, a preposterously entertaining
cartoon come to life. Much like the action films of decades past that it’s
clearly copying, the film has a simplistic, retrograde brashness
that’s not seen in many genre films these days.
However, the film is indeed louder, cruder, and dumber than OLYMPUS HAS
FALLEN, which doesn’t entirely make for a better film.
Butler – so shockingly effective in the aforementioned John McClane-ian
hero role in the first film – is back again as the gravel voiced,
one-liner spouting, and terrorist murder-happy secret service agent Mike
Banning, who's facing – gasp! – a crisis of conscience in deciding
whether or not to retire – gasp! – from the service in order to help
raise his unborn child with his wife (Radha Mitchell, one of the film’s
many laughably underwritten female characters).
Unknown to his plans is President Asher (Aaron Eckhart), who
convinces his top service man and BFF to come with him to Great Britain to
attend the funeral of their recently deceased prime minister. President Asher leaves Vice President Trumbull behind (Morgan
Freeman, returning from OLYMPUS HAS FALLEN) to run the country while
he’s gone, but Banning – always smelling trouble and having a habit of
being (ahem!) the wrong guy in the wrong place at the wrong time –
senses something fishy about the president’s trip to London.
Rather predictably, Banning was right. For as inane as it appears, the funeral was one gigantically elaborate death trap perpetrated by an arms dealer/terrorist named Barkawi (Alon Aboutboul) and his son (Waleed Zuaiter), during which time nearly all of the world’s leaders from various countries are assassinated, leaving London a relative warzone. Of course, Banning is able to secure the president and the two go on the run in the terrorist occupied streets, carefully evading capture and death at every waking moment. Even though Banning is able to easily terminate multiple terrorist scumbags with ease, even he realizes the sheer gravity of their situation. Getting much needed aid from a British agent (Charlotte Riley), Banning and Asher try as they can to make sense of a senseless situation, but when the president does get captured by Barkawi’s forces and, in turn, is scheduled to be executed (via a beheading) on a live online video stream, Banning must go on the full ass-kicking offensive.
HAS FALLEN doesn’t have Fuqua at the directorial helm this time...and it
frequently shows. Substituted
in his place is Iranian born director Babak Najafi, and even though he
doesn’t have the established pedigree of Fuqua, he nevertheless is able
to acclimatize himself rather commendably to delivering the film’s
template of shoot and kill first, ask questions a distant second level of
bone-crunching and artery spewing mayhem.
Once that very first car bomb is triggered in the film to get the
terrorist’s plan off to the races, LONDON HAS FALLEN rarely shifts into
neutral. For the most part,
the film is methodically and relentlessly paced throughout, featuring
scene after scene of Banning punching, kicking, stabbing, shooting and
blowing up his way through an improbable number of faceless terrorist
scumbags. Fans of barbarically punishing old school violence – done
with a reasonable amount of gleeful, wink-wink acknowledgment to audience
members – will, no doubt, eat up LONDON HAS FALLEN.
The whole enterprise is also greatly assisted by the presence of
Butler, who seems to comprehend the sheer ludicrousness of what’s
transpiring around his character and simply just goes for it with a
commendable level of performance commitment; he’s simply fun to watch
stakes are indeed much higher on a global level in LONDON HAS FALLEN,
which does strain modest credulity upon scrutinizing Barkawi’s nefarious
plans. The Korean invasion of
the White House somehow felt chillingly possible
in the first film, whereas here seeing Barkawi's forces so easily and
systematically disguise themselves (as emergency workers, police officers,
members of the Queen’s Guard, and so forth), evade detection and then
lay their hellish plans down without much opposition is kind of eye-rollingly
silly (you’d also think that after the events of OLYMPUS HAS FALLEN that
every country would be on ridiculous high alert and have extra security
measures in place). Most of
the recognizable landmarks of London are also obliterated in balls of
computer-generated fire in visual effects work that ranges from awful to
middling, which really doesn’t help sell the inherent chaos to audience
members. LONDON HAS FALLEN tries to up the ante of the scale of the
destruction from its prequel, but technical – and obvious budgetary –
restrictions are painfully obvious to witness in the final product.
needs to be said about the relatively unsavory handling of the villains in
this film. Barkawi and his
band of thugs are fairly obvious ISIS clones and are dutifully painted as
evil mostly because of their nationality (perplexingly, they're typified
for being arms dealers and very little, if any, mention of their extremist
religious ideologies is ever presented).
That, and the film’s screenplay – the product of four writers
– never once seems to compellingly engage in the motives of these
terrorists, which are mostly born out of America’s unsuccessful
assassination attempt of Barkawi (Asher authorized a drone strike, which
failed to get the intended deed done and instead killed many people at a
Pakistani wedding). LONDON
HAS FALLEN is egregiously simplistic – if not more than a bit
potentially offensive – with its black and
white portrayal of villainy and heroism, not to mention that it goes out of its way to
show the xenophobic leanings of its main American hero.
At one point Banning screams at his terrorist prey to “go back to
Fuckheadistan.” Audiences jubilantly
cheered during this moment, whereas I uncomfortably sunk down in my theater
chair in shame.
I’m not sure whether I really should recommend LONDON HAS FALLEN. If you loved the first entry in this series then you’ll certainly find sporadic enjoyment this sequel. Najafi does frame some of the individual action sequences with a real pulse pounding efficiency (a late scene involving Banning storming through a street and into the terrorist stronghold – done with what appears to be a long, unbroken take – is quite exhilarating to behold). Deep down, I understood the type of action film LONDON HAS FALLEN was trying to be, which means that criticizing it for its inherent B-grade action genre eccentricities is ultimately a fool’s errand. At 90 minutes, the film is also mercifully brief and never overstays its welcome. The film is – in small bite-sized portions – tasty cinematic junk food. Yet, should you pay upwards of $12 for a piece Big Mac action cinema like this? I’m just not altogether sure, especially after OLYMPUS HAS FALLEN did everything that it needed to do – and better – than this sequel.