Ben Hur (2016)

**Spoiler Alert**

Director: Timur Bekmambetov/Starring: Jack Huston, Toby Kebbell, Morgan Freeman, Rodrigo Santoro, Pilou Asbaek, Ayelet Zurer and Sofia Black-D'Elia

I've lost count of all the Ben-Hur film adaptations in the 20th and 21st centuries but let's face it; the gold standard still remains the 1925 film version, which starred Ramon Novarro though most people regard William Wyler's grandiose but fun 1959 iteration as the real deal. Taking on Lew Wallace's famous story now is Russian/Kazakh director Timur Bekmambetov; who gave us the incomparable Abraham Lincoln: Vampire Hunter (did you catch the heavy sarcasm?). I suppose Bekmambetov (let's just call him Bek hereafter, shall we?) won't be the last director to adapt the Wallace's book but I wish he were. After Wyler's film, did we really need all the versions that followed, including the animated flick in 2003?

If you were lucky enough to avoid the trailer, you missed the almost imperceptible groans heard throughout the theater. The trailer promised neither excitement nor a moving re-imagining. What one saw was another unnecessary interpretation; cast with actors who looked better suited to playing in a boy band than adversaries in ancient Judea. As you may have heard, box-office receipts were tragically minuscule (gee, how did that happen?) so audiences obviously shared my trepidation. But they, unlike me, had the good sense to lay their green paper elsewhere. So why did I bother? I just had to, folks; I couldn't help myself. I like a chariot-wreck as much as the next chariot-race enthusiast.
Needless to say, Bek's film is dull, silly, often dopey yet one or two scenes almost worked. Almost.

Set in 25 C.E. (no more A.D.), Jack Huston (yes, from the Hollywood Huston dynasty) plays the titular Ben-Hur. Though most of us are well aware of the story, the viewer will find it has been revised somewhat. Messala (Toby Kebbell), is a Roman officer in former adaptations while in Bek's version, he is a Roman orphan adopted by the house of Ben-Hur; making him Judah's step-brother. This, of course, goes a long way to explaining their otherwise unlikely connection.

Early on, we see the brotherly rivalry that defines their mostly loving relationship. While engaged in (literal) horseplay, their dangerously vigorous equine race prefigures their perilous chariot race later in the movie.

A weak, romantic angle has been worked into the story as both young men pursue some of the local Jewish tootsies. I had a hard time drawing a distinction between Judah's sister Tirzah (Sofia Black D'Elia) and the other women in the film. An insipid sameness afflicts the women; rendering them extraneous, pointless characters.

The story then follows a more traditional course as the two men suddenly find their lives working at cross purposes. While Jewish zealots resist Roman Rule, which threatens the uneasy peace between the native population and the occupiers, Judah tries a more conciliatory tack, as he tries to steer the malcontents away from violent protest.

We see Messala join the Roman army, seeking the fortune he hopes will impress his love at home. While Messala campaigns with a legion in Germania, Judah tends to his life of wealth and prestige in his Judean community. But as he sees his Jewish brethren become more impatient with Roman rule, he makes the acquaintance of a Jewish carpenter who preaches the virtues of loving one's neighbor--and enemies--named Jesus (played with Biblical indifference by Rodrigo Santoro, who woefully lacks a messiah's presence). To the film's credit, watching Jesus actually use carpenter's tools is one moment of originality. Usually in films, we only see Jesus standing on a rock, preaching to a gathering of shepherds and hippy-esque Judeans. His message to Judah is so vapidly touch-feely, it's a wonder Ben-Hur doesn't say, "yeah, well, I think I hear Moses calling; I got to go."

Of course we know Messala's return, which happens to coincide with more militant acts of zealot mayhem, will be a major bummer for Judah. Caught between his step-brother's allegiance to the oppressive Roman occupiers and his own cultural imperatives, the two men find themselves hostile adversaries. Messala asks Judah to calm the people during the Roman prefect Pontius Pilate's visit to Judea. Judah is reluctant though the tension in Judea reaches a critical mass when a zealot chooses to kill a Roman officer during the army's procession through town. Though he escapes, Judah claims responsibility in a moment of self-sacrifice (a very Christ-like act, no?), which invites the angry enmity of his brother and the Roman authorities. Messala orders his step-mother and step-sister to be taken away while he consigns his step-brother to abject servitude aboard a Roman ship.

Judah is forced to join the ranks of rowers who sweat and suffer below decks but a clash with Mediterranean pirates causes the destruction of the ship on which he serves; leaving him floating helplessly on logs which suspiciously resemble a cross. From an aerial point-of-view, we see Judah resting on the cross beam; the shot unmistakably a mock crucifix. Any chance we're supposed to draw a connection?

Rather than rescue a Roman officer as in previous interpretations, Judah washes ashore in what must be Jamaica. Why Jamaica? Because the man who rescues him; Ilderim (Morgan Freeman; his appearance in the film an unanswerable riddle) resembles a Rastafarian. Ilderim even sports natty dreads. I asked myself; did the Romans colonize Jamaica too?

Ilderim threatens to fink on the castaway until Judah convinces him otherwise. It also helps that Judah is able to help Ilderim's ailing, white, Arabian horse, which is one of four he keeps for the chariot races. In time, Judah earns Ilderim's friendship and trust while training the horses for the races. Ilderim convinces Judah the best of way to oppose Rome is to defeat Messala in the chariot races. Judah agrees.

Meanwhile, Judah's sister and mother rot in a prison; their leprosy a horrid consequence of Messala's hateful vindictiveness. Judah's thirst for vengeance grows as the imperial races approach.

The race comes, and if anything is certain, it's the outcome, which I need not mention. I will say that it was done well, as the line between CGI and live action was expertly blurred. Liberties were taken with the actual race, for Pontius Pilate attends as kind of an Emperor-surrogate, urging Messala on. A moment of unintentional comedy takes place during the race when Messala asks Judah; "are we having fun yet, brother?" Are you kidding me? If you're going to utter an anachronistic taunt, then why not something more cold-blooded, like "are you feeling me, bitch?" The film is overrun with modern expressions.

Messala survives the race, which leads to a hokey, heart-warming reconciliation; clearing the way for the finale on Golgotha, where Jesus endures needless torture and Judah's mother and sister wash themselves with divine rainfall, which clears up their skin considerably; even better than Clearasil could.

The most I can say about the film is that it's competent. It looks sufficiently ancient-Judea-like and the costumes are imaginatively designed though they look a little too modern at times. In one scene, Judah appears to be in jeans, while one of the women wears what look like white slacks.

Huston and Kebbell make an earnest attempt to play hoary characters but the listless script and even more listless direction can't rescue them from what is an out and out bomb. They aren't entirely to blame; after all, who really wanted to see another 21st Century retelling? Definitely not me. Some, if not all movies, are better off not being re-imagined. Hear that, makers of the forthcoming Magnificent Seven?

In Bek's telling, he reaches for something less grandeur and more earthbound, which is a good impulse but it proves ineffective. Abraham Lincoln: Vampire Hunter didn't work too well either. So it goes. Maybe this box office defeat will discourage future productions, unless someone chooses to reinterpret the story as a comedy. That could be fun. But for now, I've had enough of Judah Ben-Hur and his leprous family.

The 33

Director: Patricia Riggen/Starring: Antonio Banderas, Lou Diamond Phillips, Juliette Binoche, Kate de Castillo, Gabriel Byrne, Rodrigo Santoro and James Brolin

The 2010 Copiapo Mining Accident in Chile's Atacama Desert, where 33 miners were trapped for 69 days underground, riveted the world and became a headline mainstay. A concerted effort by engineers and mining personnel from around the world made a difficult rescue possible. Malnourished and weak, the men were supplied--by way of drilling--with food, water, clothes and electronic devices to enable the miners to maintain contact with their rescuers and loved ones. The miner's struggle to stay alive in a dangerous environment and the rescue effort that followed soon after, were made possible through ingenuity and the human spirit. A film version of such an incredible story deserves a powerful telling but though director Patricia Riggen's The 33 dramatizes the accident and the rescue, it fails--in spite of its well-meaning efforts--to capture the suspense and danger of the miner's seemingly hopeless struggle underground and the desperate attempt to rescue them above ground.

Like the real-life multinational effort that made the rescue possible, the film-makers have called upon an international cast that includes Juliette Binoche, Antonio Banderas, Kate de Castillo, Rodrigo Santoro and Gabriel Byrne to portray Chileans, with mixed results. Though it's hardly a stretch for Castillo, Banderas and Santoro to sound Chilean, the accent proves unwieldy for Byrne and Binoche, whose best efforts come to naught.

The mine caves in after the 33 miners begin what seems like a typical day below ground. Among the crew is a Bolivian, whose shabby treatment becomes an issue later. We get background on some of the miners. One miner's love-life is shambles as his mistress and his wife vie for his attentions. Another fights alcoholism while yet another is only days from retirement.

After the mine collapse, which is caused by a slab of rock twice the mass of the Empire State Building, the way in and out of the mine is obstructed; leaving them cut-off from the surface. The foreman assigned to oversee miner safety; Don Lucho (Lou Diamond Phillips) becomes consumed by guilt; believing he has failed in his job. Though Lucho's position as foreman gives him authority in the mine; a miner named Mario Sepulveda (Antonio Banderas) becomes de facto leader. It is Sepulveda's stubborn optimism that lifts the miner's spirits and their gloomy mood as they face further disasters and almost certain death.

After Sepulveda and another miner discover the ladders leading to the surface were never completed, the other miners prepare for a protracted stay; many believing a rescue will never come.
The miners also begin to think pragmatically as they begin rationing 3-day food supplies.

Above ground, the Minister of Mining; Laurence Golborne (Rodrigo Santoro); petitions Chilean President Pinera (Bob Gunton) for help, reminding him of the government's duty to intervene. Pinera commits government resources to helping the miners, with Golborne directing the effort.

Meanwhile, the miner's wives and girlfriends become a sustained presence at the mines; demanding information about their loved ones and forcefully resisting the mine company's attempts to disperse them. Leading the familial gathering is Maria Segovia (Juliette Binoche), who, like the others, waits impatiently for any news regarding the miners.

Unsure of the miner's fates, Golborne learns a common area in the mines which serves as a living space may be the area where the survivors congregate. Deterred by the slab of stone blocking the entrance, attempts are made to drill down to the miners to provide life-preserving supplies. As days drag into weeks, the rescue attempt draws the attention of the world media; which in turn attracts outside support. A drawn-out rescue operation makes it necessary to summon a state mining engineer named Andre Sougarret (Gabriel Byrne) to assume leadership in the operation. In time, drilling makes it possible to provide much-needed supplies to the men below.

How the miners cope with their predicament provides much of the drama in the film. As one might expect, bickering and petty factionalism take hold briefly before the miners unite in common cause. We see their supplies dwindle to almost nothing as meal portions become minuscule. Fighting despair but losing hope for a rescue, the supplies temporarily lift sagging morale and make it possible for the miners to maintain video contact with the leaders of the rescue. More importantly, the families are able to converse with their wives and children, which boosts spirits all around.

But though life-sustaining supplies bring relief, the problem of actually bringing the miners to the surface creates another problem. Attempts to employ massive drills to create a shaft into the rock are initially unsuccessful as a massive drill bit is shattered. The metallic fragments make a large magnet necessary, which in turn means summoning the necessary implement from Brazil. Sougarret and Golborne realize that every delay means one more day the miners' lives are endangered by the shifting rock in the mine, which also complicates rescue efforts.

As we see news programs from around the world broadcasting the rescue effort, one month underground becomes two. In spite of their dire situation, we see the miners gradually form an unbreakable bond.

After Sougarret and the Chilean government nearly give up the miners for dead, Golborne's determination to rescue the miners reverses what almost becomes full capitulation by all parties involved. With renewed resolve, another attempt is made with the help of an American engineer named Jeff Hart (James Brolin).

As previously mentioned, the accident and subsequent rescue were hardly wanting for suspense, drama and heart-breaking and heart-warming sentiment. But somehow the film only stirs interest rather than giving us a visceral experience. It is competently dramatized but it never leaves us breathless with suspense. Part of the problem may be we know the outcome before hand but the film itself never does much to make the audience forget it knows.

As also previously mentioned, it was difficult to overlook the various accents, particularly Binoche's. Though I highly esteem her as an actress, even she can't overcome a hokey, Chilean accent. She deserves better. Vaudeville accents are the domain of lesser actresses, like Meryl Streep; not French film stars with boundless talent.

I wanted to like the film more but a whiff of Disney seeped into the story. The real-life events ended happily (thank goodness) but the ordeal must have been hell for many involved. It's that hellish aspect that's lacking in The 33. What we're left with is something pretty decent but who pays multiplex prices to see something decent?

What this movie needs is a small screen to make its tepid, emotional output seem gargantuan, which is how I recommend one see the film.

The important thing is the miners survived, with their health intact. A so-so movie about their ordeal is less important in the grand scheme.

Focus

**Spoiler Alert**

Director: Glen Ficarra and John Requa/Starring: Will Smith, Margot Robbie, Rodrigo Santoro and Gerald McRaney

I've never been a fan of Will Smith, so I was less than enthusiastic about seeing Focus, directors Glen Ficarra (I Love You Phillip Morris) and John Requa's new film that is mainly about the world of cons but is as much about the sex appeal of its two leads. The trailer didn't exactly wow movie-goers and I must say it left me feeling impatient and bored. But if Focus isn't particularly riveting cinema, it's hardly disposable. It has its redemptive attributes and though it isn't difficult to see the story's sleight of hand and anticipate its direction, it still manages to have fun getting to its destination and for once, I didn't recoil from Smith's presence onscreen.

With every film about cons, we're asked as an audience to determine who is conning who and how much of what we see is some sort of elaborate put-on. Focus asks us to do more of the same but like every film of its ilk, the visual landscape must be stocked with charming and attractive confidence men and women. Will Smith and Margot Robbie fill the bill nicely.

Smith plays Nicky, a professional con man with a team that traffics in every sort rip-off scheme, big and small; from pick-pocketing to ATM scams to identity and credit card theft. Like all cons, they aren't hampered by crises of conscience about what they do.

Nicky's team targets major sporting events where crowds are sure to gather, like the Super Bowl and college bowl games.

When we first see Nicky, he is appraising the sexy Jess (Margot Robbie) in a hotel bar. After conversation leads to a bedroom tryst, Nicky finds that he is the target of a would-be scam when a man purporting to be Jess' husband bursts into the room with a gun. When the gunman fails to frighten Nicky, the con is laid bare. Nicky, further wounding the small-time con's wounded egos, offers them pointers on how to properly carry out the con they failed to perpetrate.

Not long after, Jess approaches Nicky and learns of his professional life as a con. Taking Jess under his wing, he introduces her to his team and even shows her his temporary New Orleans headquarters, where merchandise, money and valuables, pilfered from the unsuspecting, rest.

A series of scenes follows where Jess participates in elaborate pickpocketing and credit card thefts which are a little too neat and flawlessly executed.

A romance blossoms between the two cons, in spite of Nicky's reluctance to bring Jess into the fold.

After Nicky informs his team of their successful take, which exceeds one million dollars, he invites Jess to the Super Bowl in New Orleans; giving her a taste of the lush life his business brings. Intoxicated by the luxury seats Nicky has secured, the two casually watch the game and the crowd. The two begin casually making bets on fan tendencies and when a wealthy Asian man sitting nearby asks to join the betting, the monetary stakes begin to climb. At this point, we know Nicky has had a troubled gambling past, which adds some tension to the scene. When Jess tries to stop Nicky from making making larger bets, he is egged on by the Asian man's taunts. As he continues to lose the double or nothing bets, the prize grows to one million, which causes Jess more than just a little anxiety. As Nicky makes an enormous, last stand bet, we discover a highly elaborate con in play. How it plays out reveals something about the degree to which Nicky will pursue an intricately crafted con. It also says something about how the film virulently petitions the audience to overlook logic and plausibility. Though it is an exciting sequence, it is also quite improbable. Why would Nicky and the Asian gambler be carrying bags of cash on them at the Super Bowl? Wouldn't bags arouse security's suspicion? And what about the con itself? Would Nicky and his crew have such superhuman faith in a con involving subliminal messages; whose success is hardly guaranteed? And would they be willing to risk losing a million dollars to earn more? It is worth mentioning that the convoluted plan involves one of Nicky's crew standing on the sidelines in a uniform, which seems laughably absurd. But somehow we're coaxed along and if the sequence seems too fantastic to swallow, it also manages to be entertaining.

Nicky, feeling some kind of guilt for dragging Jess into his world, decides to part company with her. Crestfallen, he leaves her with a substantial chunk of cash before saying goodbye.

The story picks up three years later as we find Nicky in Argentina. He is now a part of a Formula One Racing pit crew. Why he would end up in such an unlikely place is slowly teased out in the plot. We learn he is part of a con that involves selling a highly coveted but bogus device that is supposed to give driver's an edge over their competition. Nicky is in the employ of a wealthy man named Garriga (Rodrigo Santoro); an avid race fan who hopes to con a competitor into spending big dollars on the useless copy of his device. The con, in part, involves Nicky staging a fight with Garriga's pit crew boss at a party he is throwing; a deception that is supposed to draw the attention of Garriga's target. But after Nicky arrives for the party, he is shocked to see Jess romancing Garriga, which arouses his jealous ire. Nicky manages to re-kindle the relationship with the resistant Jess. Not long after, Nicky double crosses Garriga by selling his device to all the opposing racing teams. As Nicky and Jess try to escape, they are captured by one of Garriga's henchmen. Tied up, the two await execution in a warehouse. Of course we learn that Nicky's rekindling of the romance was part of a larger deception conceived to steal a password for Garriga's encrypted computer files, which contains information about his wonder device. But it also becomes known that Jess herself was working Garriga and we're meant to be titillated by the multiple double crossings that are an imperative in all con films.

Why Argentina and Formula One racing? I suppose filmmakers wanted an exotic locale for the second half of the film but why racing? Why would that appeal to a con man? It doesn't make sense but I guess the audience isn't meant to quibble about where a con finds his or her marks.

In spite of the plot hokum, the movie still held me captive. Part of the film's appeal is the chemistry between Smith and Robbie. Inter-racial romances are rare in Hollywood films so the relationship was something different and refreshing.

I can't say the character of Nicky challenged Smith much. That he be suave and cool were the lone demands of his performance though a back-story dealing with his grifter father was an attempt at depth. Jess' wardrobe and Robbie's acting seem to be on loan from her character in The Wolf of Wall Street. It's uncanny how few differences separate the two characters. Robbie even sounds like her character in Scorcese's film.

If you look too closely, nothing in Focus makes much sense and if it had a believable moment, then it probably escaped my notice. But in spite of impossible odds, I enjoyed the movie anyway. It doesn't take itself too seriously and it knows not to sell its whopper of a plot too hard. The romanticized life of a grifter: big money, beautiful women and the potential for danger is the draw here, not air-tight, unassailable, plot-twisting storytelling. Nevertheless, directors Ficarra and Requa know how to keep their story one-step from the abyss of the ludicrous.

Focus is fun. It is a last-weekend-in-February diversion before the more-stimulating March fare arrives. It is adequate for now but it may wither in the early morning light of March 1st. We'll see.