I had to write a movie review for a movie released after October 1, so I went and saw Max Payne. Here's the review:
Max Payne is an explosive action flick, but like the soul of Payne himself, something seems to be missing. Payne is a film packed with fire and demons, lead and smoke, but perhaps lacking the adhesive intrigue to hold it all together. It is, however, a film that delivers a strong performance that is enough to keep the audience from walking away feeling like 100 minutes have been thrown down the disposal.
Silent snowfall envelops the back-alleys of New York City, a setting that is an oddly placid contrast to the action-packed plot of the film. However peaceful, the constant flurry of snowflakes adds to the cold, unforgiving feeling radiated by the black, narrow corridors of the urban grunge. The seemingly lifeless metropolis evokes an eerie sentiment more reminiscent of Chernobyl than of the “City That Never Sleeps.” The absence of life and color is a consistent theme in Payne. The exception of several strategically placed scenes cheerily filled with warmth pierces through the drear and provides relief to a storyline as malicious as Dark Knight, though thankfully not nearly as long.
The story of detective Payne is based loosely upon the 2001 videogame of the same name. Although the plot was not taken verbatim, the abundance of violence certainly was. It dances on the thin red line of a “Restricted” rating, and received a PG-13 mark solely due to the low(er) doses of blood. It is, however, heavy as lead in substance, and only for audiences who can stomach the sinister atmosphere. Captivating for the most part, the plot is at times a bit too much, and confusing. However, it is innovative enough to be distanced from the run-of-the-mill action production, and the holes in the plot are sloppily spackled over by astounding action.
Much of the cinematography is nothing short of breathtaking. A number of Matrix-esque shots slow time while boosting your heart rate (reminiscent of the “Bullet Time” effect in the game,) distracting the audience from the confusion of the botched storyline. This is the type of cinematography that leaves a lasting impression, with certain shots lodged in your head like the shards of glass discharged by the explosive action sequences. Payne’s bullet-dodging explosiveness is enough to make even John Woo drool. The marriage of the intricate visuals with the decent acting performances equates to an above-average film from a technical standpoint.
The casting is in some cases bizarre, but the number of exceptional performances blends together to form a believable interpretation of the plot. Mark Wahlberg’s own turbulent past and gruff appearence makes him a perfectly shaped piece to complete the intricate puzzle of Max Payne’s character, and he played the role to a T. Mila Kunis plays a surprisingly convincing role as shady character Mona Sax, considering the lighter roles she played in That ‘70s Show and Forgetting Sarah Marshall, among other things. The menagerie of silver screen talent also includes Nelly Furtado, Chris “Ludacris” Bridges, and soon-to-be Bond girl Olga Kurylenko. All performances are limestone: solid but perhaps a little bland.
Payne is a somewhat gripping sex-and-violence piece, without the sex and double the violence. Max Payne was dubbed “A man with nothing to lose” in the game’s tagline; moviegoers have nothing to lose by seeing it, but perhaps not too much to gain either, give or take some reasonable action.
Current Mood: Bitchin
Listening To: "Walk Away From The Sun" by Seether
