Showing posts with label dennis haysbert. Show all posts
Showing posts with label dennis haysbert. Show all posts

Tuesday, April 23, 2019

"BREACH" (2007) Review






"BREACH" (2007) Review

I have noticed over the years that some of the most interesting spy thrillers tend to be based upon historic fact. And many of these fact-based movie usually centered on an individual's betrayal of his or her country on a massive scale. Movie and television productions such as "5 FINGERS""FAMILY OF SPIES" and "CAMBRIDGE SPIES" are good examples. Another is the 2007 political thriller, which told the story of how FBI Special Agent Robert Hanssen ended up being convicted of selling intelligence secrets to the Soviet Union and later, Russia. 

Set between December 2000 and February 2001, "BREACH" began with young FBI employee, Eric O'Neill and two co-workers, engaged in the surveillance of a Muslim couple in Washington D.C. Eric is recalled from his post and assigned by Special Agent Kate Burroughs to work undercover as an assistant to Hanssen, who is allegedly suspected of being a sexual deviant. Despite Hanssen's abrasive personality and rants against the Bureau for its lack of appreciation toward his computer skills, Eric begins to regard him as a friend and mentor. Hanssen and his wife has taken an interest in Eric and his marriage to a German immigrant named Juliana . . . who dislikes them. However, Burroughs eventually tells Eric the truth that Hanssen is suspected of spying for the Soviet Union and later, Russia for years. The Bureau needs hard evidence - from Eric - to put Hanssen away for good.

When I said that "BREACH" was an interesting spy film, I was not kidding. Frankly, I consider it to be one of my favorite in the genre outside the usual "JAMES BOND""MISSION: IMPOSSIBLE" or "JASON BOURNE" movie franchises. I have nothing against these franchises. But . . . there are times when I do enjoy watching the occasional spy thriller that does not feature excessive violence, car chases and explosives. And "BREACH" happens to be one of those films. Instead of the occasional action sequences; the movie featured good acting, first-rate suspense and more importantly well-written drama. "BREACH" knocks it out of the ballpark with all three.

There are those who will probably dismiss the suspense aspect of the movie's plot, considering that audiences know the outcome and Hanssen's fate. But there is suspense. The story's mystery centered on how Eric managed to help the F.B.I. find evidence to arrest and convict Hanssen. It also centered on Eric's struggles to maintain his cover and deal with a perpetually arrogant and paranoid man. But what really made "BREACH" fascinating to me were the emotional consequences that Eric faced, while he played a cat-and-mouse game with Hanssen. The best example of this cat-and-mouse game was featured in a scene in which Eric was forced to delay Hanssen with a trip to a government photo session and obtain data from the latter's Palm Pilot, while F.B.I. agents searched the latter's car for evidence and plant listening devices. And even more interesting scene occurred later in the film, in which Hanssen becomes aware of the listening devices in his car and allows his paranoia to confront Eric . . . while wielding a pistol. 

I found it even more interesting to watch how the case nearly played havoc with O'Neill's marriage to Juliana, who became increasingly resentful over the Hanssens' encroachment upon the younger couple's marriage. More importantly, she becomes resentful toward the Hanssen's intrusions into her and Eric's religious beliefs. This tension is especially played out in a scene involving Robert and Bonnie Hanssen making a surprise visit to the O'Neills' apartment and Juliana's discovery of a video tape in Eric's possession . . . one that features a sexual encounter between the Hanssens that was taped by them. Overall, the drama did an excellent job in conveying the tensions and emotional price that Eric faced, while helping his fellow agents take down Hanssen.

Where there any aspects of "BREACH" I did not like? Well . . . there are two, if I must be honest. One, I did not care for how the screenwriters handled the Rich Garces character, portrayed by Gary Cole. Honestly? It seemed as if the actor's time was wasted in this film. And for a first-rate actor like Cole, I found that rather sad. One other aspect of "BREACH"that failed to impress me was Tak Fujimoto's photography. I realize that the cinematographer is highly regarded in the Hollywood community. And I have admired his work in past movies. I did not care for his photography in this movie. I found it a bit too dark and metallic for my taste. Yes, "BREACH" set mainly set during the winter months of December, January and February. But guess what? I have encountered other movies set during the winter. And honestly, I found the photography for those movies a lot more attractive.

My feelings for the performances featured in this film is a completely different matter. Yes, I was a little disappointed that Gary Cole was underused. And the movie featured some solid performances that did not exactly dazzled me. But . . . despite being underused, I must admit that I found Cole rather entertaining as Special Agent Rich Garces, whose amused and laid back attitude toward Hanssen seemed to ruffle the latter's feathers. Bruce Davison had a nice appearance as Eric's father who gives the latter some wise advice. Dennis Haysbert's portrayal of Special Agent Dean Plesac also struck me as pretty solid. But in one particular scene that featured Hanssen's arrest, I was impressed by how Haysbert expressed his character's mild disgust and disbelief over the other man's refusal to face the reality of what was going on. Kathleen Quinlan gave a very interesting performance as Hanssen's wife, Bonnie. Regardless of whether or not Mrs. Hanssen knew about her husband's espionage work, I must admit that Quinlan did an exceptional work in conveying a subtle perversity in her character's personality that I found rather disturbing. It must have been somewhat difficult for Caroline Dhavernas to portray Juliana O'Neill. In the hands of a less skilled or less experienced actress, Juliana could have come off as a shrewish wife who seems incapable of understanding her husband's profession. But Dhavernas managed to avoid that one-dimensional portrayal and expertly convey how much the Hanssens' intrusions and Eric's continuing privacy had put a strain on her psyche.

I cannot deny that I found Laura Linney's portrayal of Kate Burrough, Eric's F.B.I. handler, very interesting. And very complex. Linney's Agent Burrough bridled with righteous anger at Hanssen's betrayal of his country. Yet, she skillfully balanced that anger with a world-weary cynicism toward Eric's initial naivety that I found fascinating to watch. There are times when I find myself wondering if Ryan Phillippe is underrated as an actor. Personally, I never have. And his performance as Eric O'Neill has only confirmed (at least in my mind) that he is a superb actor. Eric O'Neill might be one of the nicest characters he has ever portrayed. But thanks to Phillippe's complex and intense performance, the character also proved to be interesting . . . especially in how he dealt with the stress of serving as Hanssen's aide, while investing the latter; and how that stress put a strain on his marriage. Also, Phillippe is such a strong actor that it is obvious he had no problem whatsoever in keeping up with the more highly regarded Laura Linney and his main co-star, Chris Cooper. Speaking of the latter, I am still disappointed that he was never recognized for his portrayal of Robert Hanssen with a major acting award. He really deserved it. More importantly, I regard Robert Hanssen as one of his best roles. I thought Cooper was outstanding as the paranoid Hanssen, who seemed to be a curious mixture of the dedicated and morally pure Federal agent; and the perverse and paranoid man, whose ego led him to commit a major betrayal against his country. Cooper really knocked it out of the ballpark.

Overall, I would highly recommend "BREACH". Is it historically accurate? Of course not. I have yet to see a historical drama that was. But "BREACH" is such a fascinating tale, thanks to Billy Ray's direction; a tight screenplay written by him, Adam Mazer and William Rotko; and superb performances by a cast led by Chris Cooper and Ryan Phillippe that it was inspired me to visit my local library and read more on Robert Hanssen and what led to his capture.

Friday, March 8, 2019

"BREACH" (2007) Photo Gallery

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Below are images from the 2007 political thriller, "BREACH". Directed by Billy Ray, the movie starred Chris Cooper and Ryan Phillippe: 



"BREACH" (2007) Photo Gallery

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Saturday, January 7, 2012

"HEAT" (1995) Review



Below is my review of "HEAT", Michael Mann’s 1995 crime melodrama that starred Al Pacino, Robert De Niro and Val Kilmer:


"HEAT" (1995) Review

For many filmgoers and critics, the 1995 crime drama ”HEAT” is regarded as director Michael Mann’s masterpiece. It is the movie that most fans think of when the director’s name is mentioned. "TIME" magazine had even placed it on its list of top 100 crime dramas of all time. And the brutal downtown Los Angeles shootout is considered to be one of the best action sequences in movie history.

So . . . how do I feel about "HEAT"? Like many others, I consider it to be one of the best crime dramas I have ever seen. Honestly. The movie centered around a cat-and-mouse game between a Los Angeles Police detective named Vincent Hanna (Al Pacino) and a ruthless professional thief named Neil McCauley (Robert De Niro). McCauley’s carefully planned heist of an armored car that contained US$1.6 million dollars in bearer bonds owned by a money launderer named Roger Van Zant (William Fichtner) goes slightly wrong when one of his crew – a trigger-happy cowboy named Waingro (Kevin Gage) – kills one of the armored car guards being held at gunpoint by the crew. Realizing they cannot leave behind any witnesses, McCauley’s crew is forced to kill the remaining guards. This multiple homicide, along with the armored car robbery, attracts the attention of Detective Hanna and his squad – members of the L.A.P.D. Robbery/Homicide Unit.

Back in the late 1980s, Michael Mann had written a transcript for a 1989 made-for-television film called "L.A. TAKEDOWN" about a cat-and-mouse game between a Los Angeles Police detective and a hardened and methodical criminal that affected a bank robbery in downtown Los Angeles. Following his success of "THE LAST OF THE MOHICANS", Mann took that transcript and broadened it for a theatrical movie that would become "HEAT". Mann’s screenplay featured a multi-layered and complex look into the lives of professional criminals and the police officers that pursued them. Through characters like the introverted thief McCauley and one of his co-horts, Chris Shiherlis (Val Kilmer), audiences received a glimpse into the lives of professional criminals that were neither mobsters or amateurish lone wolves. Men like McCauley and Shiherlis were just as organized as the Mob, but they did not come from any particular ethnic group like the La Cosa Nostra. The movie also offered a glimpse into their personal lives and reveal how their pursuit of crime affected their families and other loved ones. "HEAT" also presented a parallel glimpse into the lives of police officers like Vincent Hanna, who led a special unit of detectives that investigate robberies and homicides. Mann took filmgoers into Hanna’s marriage. There, the director revealed how the detective’s intense dedication to his profession and temper affected said marriage.

As I had earlier stated, "HEAT" is a complex tale filled with intriguing characters and multiple subplots that served the movie’s main plot. Well . . . some of the subplots accomplished this task. The one plot that dominated the movie (and served as the only plot for Mann’s "L.A. TAKEDOWN") was the clash between Hanna and McCauley that culminated in a downtown Los Angeles bank robbery and its aftereffects. Through his script and direction, Mann provided some memorable moments in the film. I found myself impressed by the scene that featured McCauley and his crew being double-crossed at a local drive-in theater by men working for money launderer Van Zant. Another scene that impressed me was the more dramatic quarrel between Chris Shiherlis and his wife, Charlene (Ashley Judd) over his gambling habits. The scene served as a reminder on how the activities of criminals end up affecting their lives on a personal scale. One favorite scene featured an amusing, yet crowd-pleasing moment when Hanna realized that McCauley had become aware of the squad’s presence with his own investigation. But the movie’s tour-de-force remains, of course, the famous shootout in downtown Los Angeles, following a bank robbery committed by McCauley and his crew. I could rave over the excellence and excitement of the scene. But why should I bother? The sequence’s positive reputation amongst critics and filmgoers is a perfect reflection of the scene’s excellence. I can only think of a handful of similar action sequences – two of them from other Mann movies – that are this well shot.

As much as I admire "HEAT", it has its flaws. One, the movie has a running time of 165 minutes. Now, this might not be much of a problem on its own. However, it does become something of a problem with a movie filled with what I consider to be unnecessary subplots that dragged the film in certain areas. I could have done without the movie’s romantic subplots. McCauley’s romance with a bookstore clerk/graphics artist named Eady (Amy Bremmerman) bored the hell out of me. Hanna’s marriage to a divorcee named Justine (Diane Verona) annoyed me. Well . . . her character annoyed me. I became weary of her constant complaints about his “dedication” to the job. This particular subplot had its own in the form of Hanna’s suicidal stepdaughter (Natalie Portman), who seemed incapable of dealing with her real father’s absence from her life. In the end, Hanna and McCauley’s personal lives seemed to have NO real impact upon the movie’s main plot and minor impact upon their respective characters. Worse, both subplots nearly dragged the film. Ironically, the two relationships that had a stronger impact upon the movie’s main plot turned out to be Chris and Charlene Shiherlis’s troubled marriage and the marriage between another member of McCauley’s crew named Trejo (Danny Trejo) and his wife, Anna (Begonya Plaza). Chris and Charlene’s marriage and feelings for one another played a role in Chris’ fate following the disastrous bank robbery. And Trejo’s love for his wife led him to reveal McCauley’s robbery plans, while being tortured by Van Zant’s men and Waingro . . . before they could tip off the police. And yet, these two relationships did not receive as much screen time as Hanna and McCauley’s relationships.

Three other subplots failed to grab me. With Trejo and his wife in Van Zant’s clutches, McCauley was forced to recruit a driver for the bank robbery – a paroled convict named Donald Breeden (Dennis Haysbert). Unfortunately, Mann included a subplot that led Breeden to break his parole and accept McCauley’s job offer – a subplot that described the parolee’s difficulties in staying straight. I found the story a bore and a waste of Haysbert’s talent. And I never understood Mann’s decision to include Waingro’s murder of a teenage prostitute. Hanna and his team had never linked the murder to Waingro. Nor did the crime have an impact upon the movie’s plot, except force Hanna to abandon a dinner party with his squad and their wives . . . and give Justine another excuse to complain about his job. One last subplot seemed useless to me. It featured Hanna and McCauley’s only meeting at a local diner near, where each man examined the other and revealed that they would not hesitate to kill the other if the situation demands it. And while I must admit that Pacino and De Niro gave top notch performances, the entire scene struck me as a . . . waste . . . of . . . time. The only thing this entire scene had served was a chance to allow Pacino and De Niro to share one scene together.

I realized that I had written so much about the movie’s plot that I nearly forgotten about the performances. Fortunately, Mann had cast the movie with talented actors and actresses and I cannot fault any one of them. I realize much has been said about Al Pacino’s tendency to engage in theatrical acting. In other words, he can be a ham. He certainly was a ham in "HEAT". But the thing about Pacino is that he can be subtle or he can be a ham . . . with style. Which is why I am willing to give him a pass on some of his hammier moments. But I cannot deny that Vincent Hanna may be one of his best roles. Whereas Pacino’s Hanna is all fire and theatrics, De Niro’s Neil McCauley is quiet intensity. His McCauley must be one of the most subtle performances he has ever given. I cannot even remember a scene where he had raised his voice, let alone mugged for the . There were other performances that also impressed me - Mykelti Williamson as the no-nonsense Sergeant Drucker, one of Hanna’s teammates; Tom Siezemore as McCauley’s most loyal henchman, Michael Cheritto; Jon Voight as Nate, McCauley’s pragmatic fence; and Diane Verona as Hanna’s embittered wife, Justine. Yes I had complained about her character, but I must admit that Verona gave a memorable performance. However, I have to give special kudos to Natalie Portman’s emotional performance as Hanna’s suicidal stepdaughter who is desperate for her real father’s attention; and to Val Kilmer and Ashley Judd, who managed to give complex performances as Chris and Charlene Shiherlis – one of McCauley’s colleagues and his wife. Despite their constant clashes over his gambling habit and her brief foray into adultery with a Las Vegas resident named Alan Marciano (Hank Azaria), Kilmer and Judd made it clear that these two loved each other . . . especially in a quiet and tense scene that featured Charlene giving fugitive Chris a silent warning to stay away, due to the presence of nearby police.

As much as I admire Michael Mann as a director, there is one aspect of his filmmaking that turns me off – namely his cinematic view of Los Angeles. I tend to find this view cold and antiseptic. I have noticed this in both "HEAT" and his 2004 thriller, "COLLATERAL". Hell, Mann’s view of Chicago in "PUBLIC ENEMIES" struck me as ten times more colorful. Considering that Mann is from Chicago, I am not surprised. Mind you, cinematographer Dante Spinotti captured some memorable shots of Los Angeles – including one breathtaking one of the city at night from McCauley’s Hollywood Hills home. But it still came off as slightly chilly. Mann’s view of Los Angeles is probably a reflection of his view of the city . . . which is completely opposite of my own. I did find Pasquale Buba, William Goldenberg, Dov Hoenig and Tom Rolf’s editing very impressive; especially in the downtown shootout. But there is one technical aspect of "HEAT" that really knocked my socks off. I am speaking of Elliot Goldenthal’s score. Granted, most of Goldenthal’s score failed to make an impression upon me. However . . . his score for the bank robbery sequence was more than memorable. I enjoyed the way Goldenthal used percussion to underscore the scene’s growing tension that finally exploded into violence when Chris Shirherlis spotted cops and Hanna’s team waiting outside of the bank. For me, the entire sequence featured a perfect blend of music and action.

To repeat myself, "HEAT" is not a perfect movie, despite its reputation. I consider Mann’s septic view of Los Angeles to be one of the movie’s minor flaws. But its major flaw seemed to be the numerous subplots that had nothing to do with the movie’s main narrative. A flaw that ended up dragging the movie’s pacing in many scenes. But despite these flaws, Mann still managed to create an exciting and complex story about two men – a methodical thief and an intuitive police detective – whose cat-and-mouse game engulfed those in their lives and an entire city. It is this cat-and-mouse game that made "HEAT" a recent Hollywood classic.

Sunday, November 13, 2011

"HEAT" (1995) Photo Gallery




Below are photos from Michael Mann's 1995 crime drama, "HEAT". Written by Mann, the movie starred Al Pacino, Robert De Niro and Val Kilmer:


"HEAT" (1995) Photo Gallery