Tag: Sela Ward

The Fugitive (1993)

An innocent man goes on the run in the one of the finest thrillers of the 90s

Director: Andrew Davis

Cast: Harrison Ford (Dr Richard Kimble), Tommy Lee Jones (US Marshal Sam Gerard), Sela Ward (Helen Kimble), Joe Pantoliano (US Marshal Cosmo Renfro), Jereon Krabbé (Dr Charles Nichols),Andreas Katsulas (Fredrick Sykes), Daniel Roebuck (US Marshal Bobby Biggs), Tom Wood (US Marshal Noah Newman), L Scott Caldwell (US Marshall Erin Poole), Johny Lee Davenport (US Marshall Henry), Julianne Moore (Dr Anne Eastman), Ron Dean (Detective Kelly), Joseph Kosala (Detective Rosetti), Jane Lunch (Dr Kathy Wahlund)

I think there are few things more terrifying than being accused of something you didn’t do. How can you hope to prove your innocence, when no one listens and there isn’t a scrap of evidence to back up your story? How dreadful again if the crime you are accused of, that everyone thinks you are guilty of, is the brutal murder of your wife? The double blow of everyone thinking you guilty, while the real killer walks free. What would you do to clear your name? And how much harder would that be, if you were also on the run from the law who are eager to prep you for the electric chair?

It’s the key idea of The Fugitive, adapted from a hit 60s TV show, and undoubtedly one of the best thrillers of the 90s. Harrison Ford is Dr Richard Kimble, on death row for the murder of his wife Helen (Sela Ward). In transit to prison, an accident caused by a convict’s escape attempt gives him a chance to escape. Returning to Chicago, Kimble is determined to hunt down the mysterious one-armed man he knows murdered his wife and work out why. Problem is, he’s being chased down by a team of US Marshals led by the relentless Sam Gerard (Tommy Lee Jones), who’s not interested in Kimble’s guilt or innocence, only in catching him.

The Fugitive is propulsive, involving and almost stress-inducing in its edge-of-the-seat excitement. It’s a smart, humane and gripping thriller, both a chase movie and an excellent whodunnit conspiracy thriller. It’s one of those examples of Hollywood alchemy: a group of people coming together at the right time and delivering their best work. It’s comfortably the finest work of Andrew Davis, a journeyman action director, who delivers work of flawless intensity, perfectly judging every moment. It’s shot with an immediacy that throws us into the city of Chicago and its surroundings (Davis was a resident of the city and worked with photographer Michael Chapman to bring the real city to life on screen) and the film never lets up for a moment.

It gains hugely from the casting of the two leads. No actor can look as relatably harassed as Harrison Ford. Determined but vulnerable – there is a marvellous moment when Ford squirms with suppressed fear rising in an elevator filled with cops – Ford makes Kimble someone we immediately sympathise with. He’s smart – evading police, forging IDs, inveigling himself into hospitals to access amputee records – but constantly aware of the danger he’s in, brow furrowed with worry, narrow escapes met with near-tearful relief. Ford excels at making righteousness fury un-grating – the film makes a lot of his boy-scout decency – and never forgets Kimble is a humanitarian doctor, putting himself frequently at risk to save lives, from pulling a wounded guard from wreckage during his escape or saving a boy from a missed diagnosis in the hospital where he is working as a cleaner.

You need a heavyweight opposite him, which the film definitely has with Tommy Lee Jones. Jones won an Oscar for his hugely skilful performance. It would have been easy to play Gerard as an obsessed, fixated antagonist. Jones turns him into virtually a dual protagonist. Much as we want Kimble to stay one step ahead of the law, we respect and become bizarrely invested in Gerard’s hunt for him. Jones is charismatic as the focused Gerard, but also a man far more complex than he lets on. He genuinely cares for his team, takes full responsibility for their actions and finds himself becoming increasingly respectful of Kimble, even entertaining the idea of his innocence.

Not that an unspoken sympathy will stop him doing his job. When Kimble pleads his innocence at their first meeting his (iconic) response is “I don’t care”. Later, he doesn’t hesitate to fire three kill-shot bullets at Kimble when nearly capturing him in a government building – Kimble saved only by the bullet-proof glass between them. Jones never loses track of Gerard’s dedication above all to doing his job (the investigation he starts into Kimble’s case is motivated primarily by it being the most efficient way to work out where Kimble might go). But the edgy humour and pretend indifference hide a man passionate about justice and with a firm sense of right and wrong.

These two stars make such perfect foils for each other, it’s amazing to think they spend so little time opposite each other. Davis makes sure those few meetings have real impact, starting with their iconic early face-off at the top of a dam. A gripping chase through the bowels of this concrete monster, it’s also a brilliant establishing moment for how far both men will go: Gerard will continue the hunt, even after losing his gun to Kimble in a fall – because he has another concealed, ready to hand; Kimble won’t even think about using a gun and will go to the same never-ending lengths to preserve his chance at proving his innocence, by jumping off that dam.

The film implies they recognise these similarities in each other. Perhaps that’s why Kimble even eventually bizarrely trusts Gerard as a disinterested party – even while he remains terrified of Gerard catching up with him. The unpicking of (what turns out to be) the conspiracy behind Helen’s death is carefully outlined and surprisingly involving (considering it rotates around sketchily explained corporate shenanigans) – largely because Davis has so invested us in Kimble’s plight.

That’s the film’s greatest strength. Everything draws us into sharing Kimble’s sense of paranoia: that one misspoken word or bad turn could lead to his capture. Scored with lyrical intensity by James Newton Howard, it’s tightly edited and only gives us information when Kimble gets it. We only learn information about the night of the murder as he remembers or uncovers it. Davis twice pulls brilliant “wrong door” routines, where both editing and the careful delivery of information to us at the same time as Kimble makes us convinced that raids are focused on him, when they are in fact looking at someone else entirely.

This sort of stuff makes us nervous, worried for Kimble – and hugely entertained. I’ve seen The Fugitive countless times, and its relentless pace, constant sense of a never-ending chase and the brilliance of its lead performers never make it anything less than utterly engrossing. There is barely a foot wrong in its taut direction and editing and it’s crammed with set-pieces (the dam face-off, a chase through a St Patrick’s Day parade, a breathless fight on an elevated train) that never fail to deliver. It’s a humane but sweat-inducing thriller, a near perfect example of its genre.

Gone Girl (2014)

Rosamund Pike is the Gone Girl leaving husband Ben Affleck in a difficult mess

Director: David Fincher

Cast: Ben Affleck (Nick Dunne), Rosamund Pike (Amy Elliott Dunne), Neil Patrick Harris (Desi Collings), Tyler Perry (Tanner Bolt), Carrie Coon (Margo Dunne), Kim Dickens (Detective Rhonda Boney), Patrick Fugit (Officer James Gilpin), Missi Pyle (Ellen Abbott), Emily Ratajkowski (Andie Fitzgerald), Casey Wilson (Noelle Hawthorne), Lola Kirke (Greta), Boyd Holbrook (Jeff), Sela Ward (Sharon Schieber), Lisa Banes (Marybeth Elliott), David Clennon (Rand Elliott)

In our modern media age, we’ve got massive expectations for how people are meant to behave. With so much of our perception of life filtered through the internet and films we’ve seen, we are reassured when we see behaviours we expect to see, and disconcerted when we see those we haven’t been trained to see. Not distraught enough at your wife going missing? Well you must have done it then!

That’s the problem that faces Nick Dunne (Ben Affleck) in this chilling, intricate adaptation of Gillian Flynn’s best-selling book. Nick’s wife Amy (Rosamund Pike) goes missing in mysterious circumstances, possibly a kidnap, possibly a kidnapping gone wrong. The case becomes a media sensation, but the problem is Nick just isn’t expressive enough, won’t play the role of weeping husband. Instead he’s calm, distant and polite. So naturally rumour swirls that he did it – particularly after more and more manufactured evidence rears up to suggest he might have done. But does Amy have darker secrets than anyone might even suspect? Well to say any more would be a spoiler.

Fincher’s film is a tour-de-force of deliberately cold, polished looking perfection – which is designed to reflect back the surface perfection of the Dunnes’ deeply flawed marriage. Fincher’s film is in many ways a jet black social satire, using its almost outlandish shocks and twists to involve the audience in that “oh-no-they-didn’t!” way, in the same way that the Dunne media story fascinates the people in the movie.

“What have we done to each other?” Nick asks in voiceover early in the film, and it’s the question the film tackles obliquely: how much of the flashbacks to the relationship we see between Amy and Nick is real and how much springs from unreliable narration from Amy’s diary? Two handsome people living the American dream, but how much of it is an invented or projected narrative? Is their whole life a performance they are living for themselves and for others? Poor old Amy is even already semi-fictionalised person, a parents using her life as inspiration for a beloved children’s book character Amazing Amy.

So when Amy goes missing, the strain on Nick is very different from what you might expect. Rather than being consumed with grief, he feels wearied and dutiful about continuing a performance of a marriage which has long since ended. Nick’s actually too honest for this world – he won’t put on a show of how he is supposed to feel, he can only try not to make too much of a show of what he really feels. The mystery that builds around his and Amy’s marriage is born in this blunt honesty, of someone who won’t be what people want him to be. Of course that doesn’t stop Nick from being selfish or even a whiner.

Fincher mixes this intelligent commentary on society with, to be honest, the sort of bizarre extremism and bunny-boiling antics that make you unsurprised to hear he was inspired by Paul Verhoeven while making the film. It’s a film that shifts gears notably in the second half to become an increasingly gothic horror-thriller. A lot of this is powered also by Rosamund Pike’s excellent performance as Amy, a woman who seems almost completely cryptically unknowable, whose whole life has been a performance, and for whom taking on a series of roles and personalities is clearly not a challenge. Needless to say the person she turns out to be, and what she is capable of, is completely different from what the film leads you to expect.

It’s no surprise that a relationship featuring a person like Amy could go as south as the Dunnes’ has, but then Nick is hardly a saint either. Ben Affleck is just about perfect casting as a sort of All-American charmer gone to seed, a prickly fellow who wants privacy but also partly grows to enjoy the drama that surrounds him, once he works out the game he is playing. Fincher’s deliberately distant, smoothly clean-surfaced film frames modern day aesthetic perfection all round this seemingly dream couple.

The whole film is a nightmare vision of a love match gone wrong, of the after-effects of a beautiful story that has spiralled out into disappointment and everyday mundane life. And that struggle to keep the romance going in the familiar is at least something many of us can understand right? So it’s enjoyable to see that matched up with the freaky, semi-gothic blood and guts the film serves up in the second half, and the almost surreal Grand Guignol plot developments that power that half of the film (shot and scripted by Fincher and Flynn with a brilliant mixture of tension, horror and black comic delight at its extremity).

Like many Fincher films, there are several delightful performances. Pike is a revelation in a gift of a role, Affleck very good channelling his life lived in the spotlight. Carrie Coon is a stand-out as Nick’s exasperated, down-to-earth and loving twin sister. Kim Dickens is authorative and questioning as the police detective investigating the case, and Tyler Perry assured and cool as a hot-shot lawyer. Playing way against type, Neil Patrick Harris is pretty unforgettable as a slightly self-satisfied rich kid still holding a candle for Amy after all these years.

But the main success of the film is the whipper-sharp coldness of its execution, the cool tension Fincher ekes out of every moment, and the violent, Vertigo-ish obsession he gets out of every moment. Gone Girl works because it’s at first a chilling what-if story of a man in a media storm, which becomes a sort of black comedy so extreme that it pulls a delighted audience in to gasp at audacious characters getting away with outrageous things. As a black comic thriller it’s delightful.rela

The Day After Tomorrow (2004)

Our heroes undergo one hell of a cold snap

Director: Roland Emmerich
Cast: Dennis Quaid (Jack Hall), Jake Gyllenhaal (Sam Hall), Ian Holm (Professor Terry Rapson), Emmy Rossum (Laura Chapman), Sela Ward (Dr. Lucy Hall), Christopher Britton (Vorsteen), Arjay Smith (Brian Parks), Dash Mihok (Jason Evans), Jay O Sanders (Frank Harris), Adrian Lester (Simon), Kenneth Welsh (Vice President Raymond Becker)

I have to confess there are certain genres I have a weakness for. One of these is the big-budget disaster movie. For some reason, nothing helps me relax or unwind more of an evening than watching some of the great landmarks of the world being destroyed or seeing hundreds of people fleeing before a tsunami/pyroclastic flow/asteroid impact/tornado etc. There is clearly something wrong with me.

The Day After Tomorrowfits very comfortably into this trope, offering up some totally predictable and entertaining-enough thrills combined with total ‘scientific’ nonsense. Thanks to man’s foolishness, the climate of the Northern hemisphere is changing, and only Professor Jack Hall (Dennis Quaid) knows that it’s happening (although to be fair he does say it will take place across hundreds of years). But gosh darn it doncha know, suddenly those projections are revised to “the next six to eight weeks!” Cue cold snaps of -100°F dealing out death in Scotland, brick sized hail bashing in heads in Tokyo, and a tsunami taking out New York. Of course Hall’s son (a game Jack Gyllenhaal) is trapped in New York so Hall mounts a rescue mission…

The world-destroying scenes are suitably high scale and dramatic, with Roland Emmerich showing his usual efficient martialling of special effects. Emmerich doesn’t get quite the credit he deserves – as a B movie hack director, he’s very good at keeping the viewer fully aware of what’s happening all the time and to whom, and very rarely labours any particularly point. He also has a goofiness about him, when directing this sort of nonsense, that encourages you to disengage critical faculties and join him for the ride. Don’t get me wrong, he’s no Hitchcock – but compared to Michael Bay, he’s David Lean.

The story doles out the expected personal dramas amongst the chaos. Its main issue is that “weather” doesn’t make the most relatable nemesis ever committed to screen. To cover this, some timber wolves are introduced into New York to terrorise Gyllenhaal and his trapped student friends (Emmerich, bless him, carefully stages a scene earlier where befuddled zookeepers stare aghast at an empty wolf pen and comment “The wolves are gone!”). To be honest, though, these animals are a bit dull – what people will really remember are the desperate dashes to get somewhere warm while another “death-on-contact” cold snap speeds towards our heroes. As most of this stuff happens in the first half of the movie, the second half can rather drag – with the Northern hemisphere effectively destroyed early doors, what else is there left to show?

Emmerich does have some fun with politics. One of the joys of the disaster film (I find) is the inevitable crowd of characters who denounce any chance of the disaster occurring. Emmerich goes one better here by having the President and Vice-President vocally and visually imitate then-office-holders Bush and Cheney. The facsimile Bush even defers to his facsimile Cheney. It makes for some heavy-handed digs at their Presidency’s lack of impetus on climate change, and general perceived weakness, but hey at least the film is using blockbusting to make some tongue-in-cheek political points.

The characters are all pulled from the stock. Quaid does his usual decent job as the guy you hire for this sort of film when your first choices are unavailable, but he never lets you down and brings a lot of dignity to the ludicrous concept. Gyllenhaal and Rossum are rather sweet as smart teenagers (gotta like a film where all the young characters are bookish nerds). Smith gives some good comic support. Ian Holm and Adrian Lester manage to keep a straight face and provide a lot of dignity to roles that must have been little more than picking up paycheques.

Disengage brain, settle back and enjoy the carnage. Emmerich is like an eager-to-please student proudly presenting his work on parents’ day. The great thing about him is that you know he is a booky, geeky type (like his heroes here) and he’ll never do anything to offend you.