The Grey by Joe Carnahan

The Grey

The Grey by Joe Carnahan

A man who has lost the will to live must save a group of men after a plane crash in the midst of Alaska. That is a compelling premise.

If you lost the will to live, is there any value in human life? How do you value someone else’s life? Is there even any point in running away when you are in the face of death?

The Grey asks these existential questions but doesn’t get bogged down by the weight of them. It externalizes these ideas into something entertaining: a survival film. And more importantly, the film doesn’t leave these questions unanswered. It manages to answer them from the point of view of Liam Nesson’s character, John Ottway. And if there’s one thing that Liam Nesson does really well, it is bringing gravitas to a role and a story, no matter how ridiculous the situation may be (i.e. in Taken where he singlehandedly takes on Paris. Or heck, even the scene in The A-Team where the team in a tank falling from the sky and he orders the team to maneuver the tank through firing out of its cannon).

The structure of the story is that of a philosophy thesis. These characters exist as viewpoints. Survival arguments between the characters are disguised existential arguments. One noteworthy scene is where all the men sit around in a campfire and share their personal stories, it works both as character development and on a thematic level establishes what they all have to live for as existential discussion. As for the wolves, I know nothing about wolves and their social behavior. I don’t know if they make sounds like a Tyrannosaur Rex or sneak up on people like ninjas as they’re portrayed in The Grey. And you know what? It does not matter one single bit. These are not real wolves. These are thematic existential wolves. Yes, they exist as an idea and they work like that of a movie monster metaphor.

As for the set pieces, they are brutal. They reportedly shot in -40 degree weather and it looks it. We feel the pain of these deaths. The balance between the philosophical and the survival film tropes make it a thrilling experience.

The A-Team and Smoking Aces was both fun fluff, but The Grey is levels higher and it shows maturity and improvement on the filmmaker’s behalf. This is the best Joe Carnahan film has made yet.

I’m all for not hurting animals, but there’s something really badass about watching Liam Nesson punching a wolf. The Grey is aware of its popcorn movie layer though despite of that has much higher ambitions than to simply entertain, it chooses to say something deep instead. And it succeeds. Or else they could have just named the movie – Liam Nesson: Wolf Puncher.

Warrior by Gavin O’Connor

Warrior (2011 film)

Warrior by Gavin O’Connor

I have a confession to make: I love martial arts. I love martial arts movies. There’s nothing more primal than watching two people beating the shit out of each other. Warrior is a movie that understands this but earns that fun legitimately through the three lead performances. It works on these two levels.

Joel Edgerton brings genuine goodness to the film. His character Brendan Conlon is formerly-failed MMA fighter turned school teacher, the bank is taking his house and now he is fighting in the cage to keep his family together. And through being motivated by family, he becomes a better fighter. You root for him. You want him to win.

I’ve never seen Nick Nolte so raw and completely naked playing this broken old man trying to repair his regrets. The Nick Nolte-isms do not shortcut him. He’s earned that Oscar nomination, though I don’t think he’ll win this year.

Here’s why I think Tom Hardy is a great actor: he acts with his entire body. No, I’m not talking about his deltoids (though “Tom Hardy’s deltoids” completely earn another independent credit in this movie). It’s an fine-tuned, equally internal and external performance. Notice the way he grunts, the weight in his walk, how he speaks under his breath and the way he glares his eyes like he’s going to lose it any second. He’s not even human in this movie. He is a mythic beast. Let’s just say, the bat will be broken.

The fights themselves are exciting to watch because of four aesthetic reasons, 1) The drama works. We care. 2) The actors are doing it. The camera doesn’t do anything to hide a stuntman. 3) The fights happen in film time, not real time. They’re editing on dramatic beats. They’re not sticking to how real MMA fights play out, which most of the time is people hugging each other on the ground. (If you’ve seen Never Back Down, you know what I’m talking about.) They’re presented in a realistic fashion with the boring parts omitted. 4) You feel the pain of these fights. On a side note, I also enjoyed the dual training montage sequence. They’re acknowledging the origin of the DNA strain (uh.. Rocky, anybody?) and trying to evolve it into something of their own. I appreciated that.

This was probably the most fun I’ve had watching a movie this year. I have a soft spot for it.

That said, I’m a little jealous that Joel Edgerton pulled off a flying armbar. That took me months!