Release: Friday, October 13, 2017
Written by: David Marconi
Directed by: Martin Campbell
Martin Campbell has been behind two of my all-time favorite Bond movies, Casino Royale and Goldeneye (incidentally two films that also saw a changing of the guard amongst the ranks of the 00 elite), and now he’s responsible for one of my favorite Jackie Chan movies ever. The Legend is back, and as The Foreigner he’s kicking ass and taking names in ways we haven’t seen before.
Before going any further, before my bias toward the Kiwi’s new movie renders me a totally unreliable resource, I should point out that this is the same director who made Vertical Limit, the face-palming result of woefully apparent and inadequate research that turned the rock climbing community into the laughingstock of audiences everywhere. The critical and commercial failure that was Green Lantern in 2011 further sullied the good Campbell name. Fortunately those are stains that have come out in the wash. The Foreigner is his first theatrical release since then, and it’s one of his best.
The New Zealand-born filmmaker is arguably an entertainer first and a director second, as not even his lesser output — Vertical frikkin’ Limit included — fail to provide at least some degree of escapism. The Foreigner offers something a little different in that regard. Though the movie does at some point become farcical, the viewer can’t afford to completely detach, much less get comfortable, for it is the gnarly landscape of our present reality over which the narrative cautiously treads. Steeped in the world of dastardly complex politics in an age of global terrorism, the story tells of a retired Vietnam War special forces op named Quan (Chan) who seeks justice for his daughter who is killed in a London department store bombing.
Hong Kong’s biggest action star subverts roughly 30 years of expectation by portraying a father pushed to the brink of sanity, a man who tiptoes the line of morality in his quest to expose the identities of the culprits — a group who call themselves “The Authentic IRA.” In The Foreigner, Chan goes full-on Liam Neeson, a brute force awakened from slumber whose very particular set of skills, shaped by his survival of Vietnamese internment camps as well as a life overflowing with personal tragedy, are called upon when he finally loses everything. So, yeah. Rush Hour this ain’t. Reportedly Campbell had to make two separate trips to China in order to convince Chan this is a role he should take.
Not everything is unfamiliar. At 63, and in post-Lifetime Achievement Award territory, Chan is still risking life and limb for the sake of bona fide performance art. The stunts aren’t as spectacular as they once were, that’s true, but I’ll run that number by you again. He’s 63 and still jumping out of second-floor windows, narrowly avoiding death like a parkour expert in their early 20s. It’s as if death wishes are part of some non-negotiable clause in Chan’s career contract. Separating this role from most, however, is that added edge of emotion that sees that mischievous grin of his traded in for a face twisted in grief and pain.
Chan’s not the only one turning in a surprisingly impactful performance. Quan’s queries, which in the language of these familiar action movies become obsessions, eventually lead him into the office of Irish deputy minister Liam Hennessy (Pierce Brosnan). He’s an intimidating man with a dark history to match, one made public by his own admission but the true extent to which it remains relevant becomes a mystery only Quan seems prepared (or desperate enough) to investigate. Aging suits Brosnan well, particularly in a more complex role like this where he appears to be bad at keeping the peace — let all The Troubles be forgot — but better at playing the sadistic puppeteer.
As the story unfolds it relies increasingly on these performances. Throughout we become bombarded with subplots detailing the total lack of trust between the Irish and the British, where acts of terrorism are perpetrated in the name of government favors and special interests. There’s a lot of orchestration going on behind the scenes, most memorably highlighted in an intensely heated exchange between Hennessy and a rogue IRA member played by Dermot Crowley. In the end, it’s the cat-and-mouse game between the film’s two stars that gives us reason to invest. The politics may become a bit silly, but these guys really aren’t fucking around. I enjoyed The Foreigner probably more than I should have, for that reason alone.
Recommendation: Fans of The Legend and the James Bond that M once lovingly called “a relic of the Cold War” should have a lot of time for a movie like The Foreigner. As a story it’s familiar, but Jackie Chan and Pierce Brosnan challenge the assertion that a cliché movie is a bad movie.
Running Time: 114 mins.
Quoted: “Politicians and terrorists, they are just two ends of the same snake. What’s the difference?”
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