Today’s screenwriters often have little use for white and black hats.

The modern hero is less than perfect, to put it mildly. Think Showtime’s “Dexter,” or films like the “Bourne” franchise where shades of gray are the order of the day.

The era of John Wayne-style heroes is no more.

Enter “Safe House,” the new Denzel Washington thriller about a rogue CIA agent who possesses a file so important people are lining up to kill him. Washington’s character, Tobin Frost, is a prime example of the modern anti-hero. He’s a mastermind who went off the grid a decade ago against the will of his government.

At least that’s what we’re told.

The film keeps us guessing about Tobin’s true nature, and that’s part of the story’s appeal. But “Safe House’s” impressive nuance ends abruptly when it’s time to give us a typical Hollywood finale. (Major Spoilers Ahead)

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Name this movie: An ace CIA operative, condemned as a rogue and now hunted by the Company, bashes and crashes his way through colorful foreign settings, pursued by heavily armed hit men, while back at Langley headquarters an inscrutable deputy director and one of his top lieutenants are arousing the suspicion of another officer, a woman, who’s starting to wonder why her two bosses are so intent on terminating this troublesome renegade.

Yes, it does sound like a “Bourne” movie, doesn’t it? But no, this is “Safe House,” with Denzel Washington taking over for Matt Damon, Sam Shepard replacing Scott Glenn as the steely Agency overseer, Brendan Gleeson in for Brian Cox as the dodgy controller, and Vera Farmiga stepping into the Joan Allen role as his straight-shooting subordinate.

The picture has a familiar swarming hand-held visual style, thanks to cinematographer Oliver Wood (who shot all three “Bourne” films) and editor Richard Pearson (who worked on “The Bourne Supremacy”). At one point, an agitated spook even yelps out a demand for remote surveillance with the words “I want eyes on this!”—a line previously yelped by David Strathairn’s agitated spook in “The Bourne Ultimatum.”

“Safe House” may be faux Bourne, but for those counting the moments till the release of “The Bourne Legacy” next August, it might seem better than no Bourne at all. Swedish director Daniel Espinosa has a flair for action staging—the one-on-one fight scenes, agreeably many in number and often set in confined spaces, are smashingly effective. And first-time screenwriter David Guggenheim has usefully adjusted the Bourne template. Here, Washington’s character, Tobin Frost—nominally the Jason Bourne figure—isn’t an unwitting innocent being set up by his shadowy CIA masters; he’s an actual traitor who has been selling Agency secrets for nearly a decade.

Read the full review at Reason.com

Conservatives will start rolling their eyes early on in the new movie “Safe House.”

Denzel Washington stars as a rogue CIA agent who turns himself in to U.S. authorities, and before you can say “human rights abuse” his character undergoes a waterboarding treatment.

Had “Safe House” come out five years ago, the scene might have included jabs at the Bush administration, the War on Terror or both. Likely both. Instead, the scene arrives and leaves without any sermonizing to lessen the moment’s impact.

We’re supposed to learn that Washington’s character, the colorfully named Tobin Frost, is a certifiable bad-ass, and that the information he possesses is critically important to the story. And that’s it.

Nice.

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GOING STREAMING, CANCELLING CABLE

Fascinating reader Email:

I cancelled cable about a year ago, and have not regretted it once. The only casualties have been about ten pounds and a callused channel-flipping thumb. Steaming really is a major time saver and has helped me discover a lot of shows that I bypassed the first time around. Of course my peers are skeptical, but they’re asking more and more questions.

Cancelling our cable and satellite plans is also a protest vote that says we’re not going to pay for channels we don’t watch and we’re no longer willing to subsidize those, like MSNBC, OWN, LOGO, Sundance and others, who constantly attack who we are.

In related news…

YOUTH MOVING AWAY FROM WATCHING TELEVISION ON TELEVISIONS

How is cable supposed to survive this:

New research by Nielsen confirms that Americans 35 and under now watch an increasing amount of television programming on phones, laptops, or devices other than a traditional, ad-friendly television. In 2011, that demographic’s daily TV viewing decreased by an average of nine minutes. (TV, in this sense, is defined as a Nielsen-measurable set and not a show made for television.)

Entertainment providers like ESPN have made a point of standing with cable providers, but people are moving elsewhere. Moreover, they’re used to getting unlimited choice and value online.

Within the decade, outlets like ESPN will have to move to online streaming and the old model of making money through ad revenue. In other words, when I was a kid we got TV for free. It was only a few channels, but you didn’t pay a penny for it. The way the networks made money, was through the sale of commercial time.

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Madonna – love her or hate her. Some think she has no talent, while others have named their daughters after her.

Some think her career is pure marketing and her fans believe she’s a real trend setter. There has always been a wide range of opinions about this woman, an entertainer who has enough monikers to be in the witness protection program. As her personal life has evolved through marriages, children and boyfriends, her songs are what are more familiar to people.

For the first time since she became famous, she got to be the star attraction at the Super Bowl Halftime Show. What aspect of her performance did people focus on? Her voice? Nope. What she wore? Not really. Her new song? Sure, a little. Her age? Bingo, report her to AARP, stat!

How dare she try to pull off that type of show as a woman who has experienced more than three decades on the planet? Perish the thought! She has some nerve being on that stage and lifting her leg up at the age of 53. Where are her Mom jeans with the elastic waist? How could she be in high-heeled, thigh high boots when she knows she should be in Easy Spirits? This is even more of an abomination than her performance in “Swept Away.”

Doesn’t she know that woman over 35, let alone 40 in this country, are considered older than Methuselah? You mean she has no clue that she should be referring to herself as “long in the tooth” “an old bag” and a “has-been.” Doesn’t she realize that she has to grow into her date of birth by talking about things she can’t do anymore? Where is her rheumatoid arthritis? COPD? High cholesterol? She should be punished for doing a jumping jack.

Just check the reaction to her performance on social media outlets if you think I am exaggerating.

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OVER TWO MILLION WATCHED SUPER BOWL LIVE STREAM

This is the first time the NFL live-streamed the Super Bowl and the hook was what they called a “second screen” experience, which sounds like the idea was to convince those watching the game on television to also keep their computers on.

How many people, though, watched because they didn’t have access to a television? In the car, for instance? The NFL has to sell this as a “second screen” experience or else cable and satellite providers will howl. If this kind of programming starts streaming, people will cancel their cable packages.

Two million is less than 2% of those who watched the Super Bowl, but that’s still a lot of people.

Right now, the NFL and content providers make a fortune off of cable fees, but you have to wonder  if numbers like these won’t have them looking for a way to cut out the middle man.

WHY DENZEL WASHINGTON IS THE LAST OLD-FASHIONED MOVIE STAR

The author of this piece makes some good observations, but misses the big one. Denzel has never insulted, talked down to, or offended his audience. I’ve seen him hug Obama, I’ve seen him visiting our troops in the Middle East, but there’s nothing divisive about him — nothing anyone can hold against him. That used to be the norm in Hollywood — class — and now it’s an endangered species. Washington is also a family man and openly Christian. What’s not to like about him?

Audiences also trust Denzel not to offend with his film choices. He not only chooses quality projects, but also sucker-punch free projects. We can relax during a Denzel Washington film. We can settle in and not worry about the cheap shot.

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When was the last time Denzel Washington made a bad movie?

Sure, “The Book of Eli” had its flaws, and “The Manchurian Candidate” couldn’t live up to its source material, but few actors churn out as many consistently watchable movies as Washington.

The actor’s latest project looks like more of the same, and that’s a pretty darn good thing.

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In “Safe House,” Washington plays a rogue CIA agent teaming up with a newbie (Ryan Reynolds) to smoke out … well, it’s clear there’s been some double crossing going on.

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Hollywood loves war, it is their glory. War lines the pockets of Hollywood liberals while giving them a forum to moralize their position at the cost of box office totals. And war is what most Hollywood lefties turn to when they dream of marching the streets with blood made of sugar-water and red-dye number three on their phony hands.

In 2002 a group of Hollywood stars met to discuss ways to protest the war in Iraq. The meeting took place in a private swanky home, only an hour or so after President Bush took to the airwaves to announce the commencement of the military conflict.

The group — called themselves Artists United to Win Without War — with merry huckster members Susan Sarandon, Ethan Hawke and Jessica Lange speaking out from the east coast. The Grand Poobah of this rank and file of brilliant geopolitical-analysts was none other than Rob Reiner. The rest of the troops were made up by Sally Field, Blythe Danner, Christine Lahti and husband Thomas Schlamme (director of The West Wing), MASH star Mike Farrell, Dharma & Greg’s Mimi Kennedy, Bradley Whitford and then wife Jane Kaczmarek, writer/director Audrey Wells, producer Robert Greenwald, actress Fionnula Flanagan, TV stars Lindsay Wagner, Daniel Benzali, Sharon Lawrence, David Clennon and rising star Troy Garity, the son of Jane Fonda and Tom Hayden. (This group has grown to over 140 members.) It was announced at the event that the Barbra Streisand Foundation was donating $5,000 to keep the group going. I assume the donation was for the Russian beluga and Crystal served to these wealthy Democrats by the Venezuelan help on loan from Hugo Chavez.

It is in the very heart of Hollywood, as misguided and self-serving as it is, to march in the streets, to make movies about their positions, and to yell like banshees: “War is not the answer!” The problem with Hollywood celebrities shouting anti-war babble is their inability to ask the question, “Without war, where would Hollywood be?”

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“Unstoppable” is an action movie that relies on the thrill of anticipation. It tells the story of an out-of-control. unmanned train carrying hazardous materials as it heads towards a major Pennsylvania city. Inspired by true events, this fast-paced thriller starring Chris Pine and Denzel Washington will keep audiences on the edge of their seats. 

The story begins with Will (Pine) getting out of bed on what he believes is another average day. He’s been working as a train conductor for the past few months and he’s adjusting to the position. He’s assigned to work alongside a longtime train operator named Frank (Denzel Washington), who questions Will’s lack of experience.

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As they work together, these characters face personal distractions as Will tries to reconcile with his wife and Frank attempts to reconcile with his daughter. Neither of these men are perfect but both accept their own shortcomings. Pine and Washington do a great job in creating realistic characters who are soon put in an unimaginable situation. 

At another Pennsylvania station, train operator Dewey (Ethan Suplee) attempts to move a large train from one track to another. While driving, the lazy employee has trouble deploying the brake so he stupidly jumps out of the cab and runs towards a manual switch that will stop the train. Before Dewey can reach the switch, the train races past him and down the track. Suddenly, the train is speeding down the track without an operator.

Several fellow employees try to stop the train using manual switches but are too late. The train is already speeding down the track. The automatic brake that should stop the train if the operator becomes incapacitated wasn’t set correctly so there is no easy way to slow down the runaway engine. Containing hazardous materials, this train will keep going until someone manually stops it or it crashes. Eventually, Will and Frank discover the runaway train is headed towards them and work together to stop it.  (more…)

To hear Newsweek’s Allison Samuels tell it, the reason J.J. Abrams’ NBC spy series “Undercovers” was recently canceled after only a few weeks on the air is all because of race – is due to the fact that the show’s two leads were — in her words — “super-negroes.” Now, nothing makes me happier than to witness the liberal media rip into liberal Hollywood, and normally I would just stand back and enjoy the cannibalism. But this is not only a grievance-bridge too far, it also easily qualifes as the most condescending and dopey thing I’ve read all year. 

Had this published in Newsweek a few months ago, my guess is that the magazine would’ve sold for 50 cents instead of a dollar.

I think it’s possible that a slightly more obvious, disturbing reason could be behind Undercovers’ failure, and it’s pretty familiar: race. Prime-time audiences just weren’t ready for “super-negros” on the small screen. And that’s exactly what Undercovers was: a show about black people doing very “unblack” things. Before anyone gets upset, let me explain. “Super-negro” was a term my family often used while watching old Sidney Poitier movies back in the day. In Guess Who’s Coming to Dinner (our favorite), Poitier portrays a black doctor in love with a white, wealthy young socialite during the ’60s. Pretty early in the film, you begin to realize that Poitier’s character is not just any black doctor (an accomplishment in itself for most people then, and now); he’s a black doctor with degrees from several Ivy League universities, an internationally known scholar behind cures of dozens of diseases in Africa and elsewhere. Overkill. But Poitier portraying a “regular negro” was simply not good enough during those times, so the “super-negro” was born. The same could be said of his character from In the Heat of the Night, a Philadelphia cop with highly decorated awards.

Fast-forward 40 years, and it’s plain to see that Hollywood still hasn’t figured out a way to move beyond that absurd premise. It still can’t just fit us in. Yes, we often appear as sidekicks or backup characters in an array of popular shows in prime time, but rarely do we carry a show as the star or let the viewers come home with us.

For starters, this premise is just factually wrong. Unless Ms. Samuels is going to push her already laughable theory to the breaking point of splitting the fine hair between movies and television, it’s just a cold truth that Denzel Washington, Morgan Freeman and Will Smith not only qualify as her “super negroes,” but also happen to be three of the most universally popular and beloved actors in America today. Furthermore, only 6 million people tuned into “Undercovers” in a country where 42 million Black Americans currently reside. With those numbers you don’t need anyone of the Caucasian persuasion to create yourself a hit television show.

If NBC can’t win 20% of that particular demographic, how is the failure of “Undercovers” a race issue? Well, Ms. Samuels has an even more outrageous theory to answer that one. Be sure to pay extra special attention to what’s in bold [my emphasis]: (more…)

A night at the movies can be many things if you’re lucky – filled with laughter, tears, love or awe. And during Halloween season, plenty of movies try to play on our fears, even as most horror movies are absolutely lacking in innovation of any kind.

This weekend, however, one new movie is certain to make viewers cringe on the edge of their seats for far more interesting reasons than the torture porn that drives the spurious appeal of the “Saw” movie series and its cinematic ilk. In the propulsive, harrowing yet wildly fun thriller “Unstoppable” – incredibly inspired by true events – Denzel Washington and Chris Pine (Captain Kirk of 2009’s successful “Star Trek” reboot) portray blue-collar railroad workers who team up to prevent an unmanned, runaway train packed with diesel fuel and toxic chemicals from derailing and causing more than $100 million in deaths, damages and cleanup costs.

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As the unmanned train hurtles through the small towns and farm land of rural Pennsylvania towards 750,000 residents near the city of Stanton, a jaw-dropping repertoire of rescue attempts involving other trains, helicopters, a special-forces soldier and countless track manipulations make this one movie that will cause high blood pressure in viewers who don’t already have it.

“Unstoppable” goes for full-throttle fun as its runaway train blasts through roadblocks and misplaced vehicles, is shadowed by multiple TV news choppers, and raced against by railroad workers trying to find ways to make it stop. Ultimately, it becomes a two-man rescue operation, as Pine and Washington decide that the only way to stop the loco locomotive is by reversing the direction of a train they’re on and hurtling fast enough to catch up to the runaway train, link it to their own lead car at more than 70 mph, and hit the brakes hard enough and safely enough to bring the train to a halt before it can resist derailing in the center of Stanton.

Director Tony Scott (“Man on Fire”, “Top Gun”) is hardly subtle at the helm of this film, but one can never expect subtlety from this master of big-budget action. The bigger the sound booms, the better the payoff as the train obliterates everything in its path and nearly even wipes out a couple of horses. While this is rated PG13 for its intensity, it’s certainly a film that any 10-year-old boy is clamoring to see, so make it a family night out for anyone that age and up. (more…)

In the Age of the Hollywood Sucker Punch, betting your time and dollars on movies and TV is more perilous than ever.

As often as not, you can expect to fork over $20-$40 at the theater expecting to laugh, cry, and be entertained. . .

. . . only to find yourself trapped in a widescreen, 3D, surround sound, stadium-seated liberal indoctrination chamber.

With TV, you can dedicate months and years to becoming a dedicated fan of a series. . .

. . . only to suddenly start getting lectured on what creeps you and your family are by dint of your politics/religion/gender/race/fill-in-the-blank.

Closing in on two years patrolling the mean streets, Big Hollywood already has dozens of posts that document these lies, cheap shots, and propaganda in grim detail. Amidst the cultural carnage conservatives step ever more gingerly, sifting through the rubble for scraps worth investing in.

One way most of us navigate this minefield is by discerning which actors — big, well-known, picture-opening actors — are worth trusting on name alone. No one has a perfect record, but the best gain our confidence by routinely choosing projects that hew to some modicum of quality, decency, and fair play. You may not agree with the underlying message or political slant of their movies, but that’s not the point — it’s completely possible for conservatives to love great liberal movies and vice versa. Rather, these actors convince us over the course of their careers that they aren’t likely to sucker punch their fans, or to embarrass their country, profession, or family by allowing politics and prejudices to tarnish their public reputations and filmed entertainments. (more…)

“It is time for stronger remedies to be applied,” said abolitionist Wendell Phillips of the Union’s effort during the Civil War, “in the form of hot lead and cold steel duly administered by 100,000 black doctors.”  His vision became a reality as over 180,000 African-Americans (free men and escaped slaves) joined the Union Army to fight against the slave-holding Confederacy.

The story of the first such “colored” regiment to be formed, the 54^th Massachusetts, is beautifully retold in director Edward Zwick’s 1989 film Glory.  That this film didn’t even garner an Oscar nomination for best picture – in a year where Driving Miss Daisy took the prize – is puzzling to me.  Glory features a first-rate script, wonderful imagery, and a stellar cast led by Matthew Broderick who plays Col. Robert Gould Shaw, the real-life idealistic white officer chosen to lead the regiment. The film is also a feast for the ears as the majestic chorus of the Harlem Boys’ Choir permeates the score. (more…)

A good argument can be made that the period 2000-2009 was the single worst decade for movies in Hollywood history. Unfortunately, judging by what we’ve seen so far in 2010, the next decade could conceivably dip even lower into mediocrity. Over just the next three months, theaters are set to debut yet more anti-conservative rewritings of history, yet more anti Prop-8 propaganda masquerading as entertainment for the masses, yet more heaping piles of torture and snuff porn, and much else that looks eminently skip-worthy.

So what’s left for those of us looking for things like stirring heroism, rousing action, and solid family-friendly entertainment? If you had to pick five films appearing between now and the end of the year that look decent enough to take a chance on, what would they be? Here’s my shortlist, sorted by release date:

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YouTube -- click here to watch in full-screen

Red (October 15)

A blissfully silly, cartoonishly hyper-violent trailer. A formidable array of talent seeming to have the time of their lives as they chew up the scenery, with normally stately and self-serious Oscar-winners like Helen Mirren and Morgan Freeman hamming it up next to Bruce Willis and John Malkovich. A premise that sounds something like Spy Kids for adults. Sounds good to me. (more…)

If you’re not interested in having Will Ferrell lecture you on the evils of capitalism this coming weekend and would instead prefer to cozy up at home before the warm glow of plasma with a cold one in one hand a Redbox receipt in the other, here are five fairly new-to-DVD flicks that won’t leave you feeling sucker punched.

1. The Road: Director John Hillcoat’s adaptation of Cormac McCarthy’s Pulitzer Prize winner was unforgivably snubbed for Oscar consideration last year, as was leading man Viggo Mortensen for his heart-wrenching work as a widowed father leading his adolescent son across a dangerous, barren  post-apocalyptic America. Muted, heartbreaking, and yet hopeful, this is a story about a father teaching his son about what it takes to survive at any cost other than losing your humanity. Perfectly acted, beautifully directed and paced in such a way that casts an hypnotic spell, “The Road” is part Christian allegory, part zombie movie, and boasts an unforgettable cameo by Robert Duvall. (more…)

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The trailer had us at Denzel, but “a missile the size of the Chrysler Building” has us circling November 12th in red on the old calendar. (more…)

Pop quiz: what do the following movies have in common?

Gone with the Wind (1939), Star Wars (1977), The Sound of Music (1965), E.T.: The Extra-Terrestrial (1982), The Ten Commandments (1956), Titanic (1997), Jaws (1975), Doctor Zhivago (1965), The Exorcist (1973), Snow White and the Seven Dwarfs (1939), 101 Dalmatians (1961), The Empire Strikes Back (1980), Ben-Hur (1959), Avatar (2009), Return of the Jedi (1983), The Sting (1973), Raiders of the Lost Ark (1981), Jurassic Park (1993), The Graduate (1967), Star Wars: Episode I — The Phantom Menace (1999), Fantasia (1941), The Godfather (1972), Forrest Gump (1994), Mary Poppins (1964), The Lion King (1994)

If you said they all made scads of money, bravo — they are the top twenty-five domestic box-office champions of all time (adjusted for inflation, of course).

But consider another similarity: surprisingly few of them relied on established A-list movie stars — the most famous, the highest paid — for their moneymaking prospects. Gone with the Wind had Gable, yes. The Sting had Newman and Redford. The Godfather, Brando.

As for most of the rest, they either featured no A-listers at all, or used them before they became bonafide movie stars. In fact, many of those pictures can take credit for sending now-famous actors into the celestial Hollywood firmament in the first place. Gone with the Wind made Vivian Leigh known to the world. The Ten Commandments did it for Charlton Heston. The Graduate, Dustin Hoffman. The Godfather, Al Pacino. Star Wars, Harrison Ford. Mary Poppins, Julie Andrews. (more…)

I just finished voting for the Screen Actors Guild awards and after wading through the five “screeners” they sent me I started wondering about the leading men of today.In this day of confused metro-sexual male stars one might wonder where all the real men have gone. 

Look at the leading men of today. When I saw Leonardo DiCaprio as a tough guy in Gangs of New York I wasn’t sure if it was a drama or a comedy. Matt Damon isn’t too bad but I‘m not convinced he could take a punch. I like Bill Pullman but he looks like he is always on the verge of breaking into tears. George Clooney, please my sister could throw him down and twist him up like a pretzel.

Here are my top five unrecognized real men of filmdom. I skipped the obvious choices like The Duke and Clint and went for some guys who are well known but not often looked at as Alpha dogs. Can you imagine any of these guys sitting in anything but a leather barber chair? Can you see any of them wondering if they should get frosted tips or a mani-pedi? Just being a tough guy wasn’t enough for my list they also had to have the craft of acting down too! (more…)

“One day I heard this voice, like it was coming from inside me. It led me to a place… I found this book, buried deep in the rubble… And the voice told me to carry it west…”

Credit where credit is due… Hollywood is trying. Granted, six years have passed since “The Passion” proved we Christians can be convinced to return to a medium that has spent decades taking great pleasure in insulting who we are and what we believe; and with that clinical Christmas card of a follow up called “The Nativity” it seemed as though they would never figure it out. But between the unapologetic Christian “Blind Side” and now the down and dirty “Book of Eli,” there’s reason to hope the Pagans of the Pacific might have just moved a little closer to cracking our code.

“The Book of Eli” isn’t just Christian, it’s off-the-rails Christian … literally. Heathens might as well hit the lobby at the end of the second act because the final act is all about the faith. You’re more than welcome to stick around, but I have a feeling those of you with red strings tied ‘round your wrist will be checking your watch for the last twenty-minutes. Not we Bible-thumpers, though. That’s when it all comes together; and it’s moving and smart and best of all, not some hyper-reverent snoozer.

So, thanks Hollywood. Oh, I’ll be kicking your ass again in a sec, but for now… really, thanks. (more…)

Think of Christian films, and you might conjure up images of Mel Gibson’s “The Passion of the Christ,” with Jesus being brutally pummeled and crucified until he dies. Or you might think of countless lesser-known movies filled with sappy storylines, bad acting and moral messages that are themselves pummeled into the audience. 

But the new movie “The Book of Eli” doesn’t fit either of those molds. In fact, this wildly entertaining, ultra-violent, post-Apocalyptic tale of a lone wanderer named Eli (Denzel Washington) who will defend the mysterious book in his possession at all costs is one of the oddest yet most forthright faith-based films to ever come out of a major studio. 

Eli is carrying a copy of the last Bible on the planet, since all other religious texts – including Torahs and Korans – were rounded up and destroyed 30 years before after religious strife was believed to have caused a devastating global nuclear war. Eli believes he’s heard the voice of God telling him to bring the Bible to an unspecified place in the West, but a ruthless despot named Carnegie (Gary Oldman) knows that if he gets his hands on the precious book, he can distort its teachings and have total control over the minds and spirits of the people who live in his empire of revived, Old West-style towns.  (more…)