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redfiona99The Case For The Prosecution:
Blitz is the sort of film that feels grubby. Partly because of some very effective set decoration, but mostly because the lead character is so unlikable.
Brant (Jason Statham's character) is so unspeakably obnoxious that there is nothing and no-one to cheer for. It's partly the fault of the atmosphere of the film, which can't seem to decide if it wants to be a very dark police procedural or a vigilante justice film, a la Dirty Harry. The film isn't good enough to carry off that balancing act, and Brant isn't Harry Callaghan driven to extremes by circumstances. Brant starts off over the edge and never comes back. The script gives Statham no help with trying to make Brant likable.
The film also totally wastes Mark Rylance, which is a sin.
The scene itself:
Of course it's not on Youtube, and unlike other films in this list, I really don't like this one so I don't have access to the DVD.
About halfway through the film, Brant, who suffers from blackouts and memory lapses, visits Porter Nash, the other main policeman, and they have a heart to heart, or at least try to before Brant falls asleep.
Why the scene is so good:
It's the one scene where Brant gets to be human. Statham's actually really good when he's given moments of vulnerability. It also sets up the ending because it explains that Nash has form on the vigilante front. Then again, I think the whole point of the scene is that Nash was Brant by the end of his last job and it's there to show that there is hope (and that Nash is love and is trying to help).
Of course, Brant falls asleep (probably) but the attempt is made.
It's a very human moment in a film lacking in them.
Blitz is the sort of film that feels grubby. Partly because of some very effective set decoration, but mostly because the lead character is so unlikable.
Brant (Jason Statham's character) is so unspeakably obnoxious that there is nothing and no-one to cheer for. It's partly the fault of the atmosphere of the film, which can't seem to decide if it wants to be a very dark police procedural or a vigilante justice film, a la Dirty Harry. The film isn't good enough to carry off that balancing act, and Brant isn't Harry Callaghan driven to extremes by circumstances. Brant starts off over the edge and never comes back. The script gives Statham no help with trying to make Brant likable.
The film also totally wastes Mark Rylance, which is a sin.
The scene itself:
Of course it's not on Youtube, and unlike other films in this list, I really don't like this one so I don't have access to the DVD.
About halfway through the film, Brant, who suffers from blackouts and memory lapses, visits Porter Nash, the other main policeman, and they have a heart to heart, or at least try to before Brant falls asleep.
Why the scene is so good:
It's the one scene where Brant gets to be human. Statham's actually really good when he's given moments of vulnerability. It also sets up the ending because it explains that Nash has form on the vigilante front. Then again, I think the whole point of the scene is that Nash was Brant by the end of his last job and it's there to show that there is hope (and that Nash is love and is trying to help).
Of course, Brant falls asleep (probably) but the attempt is made.
It's a very human moment in a film lacking in them.
