Land of Bad Movie Review: Satisfy Most Viewers Looking For Adrenaline-Pumping Entertainment
Cast: Russell Crowe, Liam Hemsworth, Luke Hemsworth, Milo Ventimiglia, Ricky Whittle
Director: William Eubank
Where to Watch: In Theaters
Filmyhype.com Ratings: 3/5 (three stars)
In a curious press silence, the film Land of Bad, directed by William Eubank and with an exceptional cast led by Oscar winner Russell Crowe, arrives in the cinema on Friday 16 February. A film that never proudly takes itself seriously, gliding (in every sense) between pure and hard action movies that seem to come out of the best cinematographic releases of the 80s and 90s, and thrillers with a very high adrenaline rate capable of satisfying the simpler and more instinctive palates of a substantially male audience looking for a healthy dose of testosterone on the small screen. In our review of Land of Bad, we will tell you why the film arriving in the cinema catalog should not be completely thrown away but rather presents interesting narrative and audio-visual solutions in its staging and its artistic and content ambitions which make it an exquisite genre feature film that fulfills its task with simplicity and rough effectiveness.
War has changed. From hand-to-hand combat to cold weapons, through the trenches, and then to atomic bombs, technology over the centuries has introduced new tools to strike the enemy from ever further away. Even the war genre in cinema tries to update itself by telling stories set in a more contemporary reality than military combat. Land of Bad by William Eubank, takes us into this new dimension of “remote wars”, in which drones, cell phones, and infrared rays are increasingly the protagonists in the fight against subversives or in conflicts between states. In cinema, war is usually shown in two very distinct and separate ways: either an event inspired by a true story or vaguely plausible fictional intrigues with the presence of terrorists and belligerent plans to be foiled.
Land of Bad Movie Review: The Story Plot
Relatively inexperienced freshman Kinney (Liam Hemsworth) is recruited at the last minute to join a dangerous Delta Force mission in the Philippines to recover a CIA asset from the clutches of some Islamic terrorists. Aboard a military team helicopter, Kinney must engage in a risky parachute maneuver with fellow soldiers Sugar (Milo Ventimiglia), Abel (Luke Hemsworth) and Bishop (Ricky Whittle). The mission quickly goes awry, with Kinney suddenly left alone after the others disappear, presumed dead. But in reality, the man is not alone, thanks to the “vocal” presence of Reaper (Crowe), who manages the controls remotely together with his partner Nia (Chika Ikogwe) on a military base in Las Vegas. From that moment on, Kinney and Reaper will communicate via audio throughout the mission, with the latter trying to reassure the young recruit and get her out alive from the hell of the ongoing technological war between the United States and Islamic terrorists based in the islands of the Philippines.
This is the narrative premise of Land of Bad, an action movie directed by William Eubank (already the author behind the camera of Paranormal Activity: Next of Kin and Underwater, with Kristen Stewart) and co-written by him together with David Frigerio, A half-wasted opportunity, because although the action feature film seems to want to pay homage to and replicate the staging and structure of some of Michael Bay’s greatest commercial successes, the final effect is that of a cinematographic work with a decidedly more limited budget, where, however, violence and canonical explosions also manage to leave space for the psychological construction of its characters. Which is no small thing these days.
Land of Bad Movie Review and Analysis
Land of Bad is a decent attempt to mix the action genre with the thriller typical of a rescue movie, thanks to some functional production choices that make a narrative that is too inconsistent in pace quite engaging. The exotic scenery of the Philippines is more limited and manageable if we consider the narrative presence of the drone as a constant observer from above; this allows, from an extradiegetic point of view, to always have the situation at hand. The film’s greatest limitation, however, lies precisely in the static nature of one of the two points of view on history in progress. Only Crowe’s voice and gaze try to keep the tension going in the remote-control room in Las Vegas, when instead the dynamism of Hemsworth’s action sequences speak for themselves. In short, Eubank moves in a precarious balance between two directing styles: on the one hand the static and rather monotonous shots of the operator Crowe, and on the other the kinetic camera movements of the soldier Hemsworth.
The action sequences are close to the world of video games: in titles like Call of Duty or The Division the position of the camera just behind the player is as strong as the sense of immersion it gives the viewer. The 42-year-old director of The Signal and Underwater, in this sense, sees streaming as a vehicle closer to the language of one of the younger generations’ favorite mediums. Eubank opts for a less hand-held Kathryn Bigelow style in favor of more entertaining images, thus making some action sequences more “contemporary”, with appreciable visual solutions. Therefore, if Eubank’s direction attempts to make visible and captivating the difference between those who have to press a button in front of the screen and those who have to do it in front of a flesh-and-blood enemy, if Agustin Claramunt ‘s photography pays due homage with appreciable black silhouettes and twilight lighting in Stanley Kubrick and Francis Ford Coppola, the story instead suffers from a few too many blunders.
The screenplay, written by Eubank himself together with David Frigerio (The Signal), has notable gaps both in terms of characters and narrative development. After a slow and all-in-all valid first act of preparation for the explosion of the story, the accumulated tension is more or less resumed with expedients already seen and then dispersed too quickly. Almost useless and senseless, for example, are most of the actions carried out by Crowe’s character: a jumble of waste of time to lengthen the running time and create a specious involvement in the final climax. His narrative point is then changed for no understandable reason. All this flow of shots is – like a paradox – anti-climactic compared to his role but above all compared to what is happening in the forests of the Philippines.
On the battlefield, however, it is quite unreal to survive explosions and grenades like Michael Bay without serious damage and to orient oneself almost without fail in square kilometers of clearing without the aid of the drone, suddenly unable to find one’s companions. Not to mention, moreover, the usual “bad guy” without too much bite, full of moralism and incapable of shooting at the right moment; and without forgetting the timer of programmed explosions capable of slowing down for plot needs. The result is a film with a pace that is too inconsistent, between senseless pauses for breath and accelerations that are too fast. Liam Hemsworth has always proven to be a very skilled actor in action films despite always taking a backseat to his brother Chris and lately, he has been in vogue due to controversy after the announcement that he would take Henry Cavill’s place in the Netflix series The Witcher. In Land of Bad, it is he who carries out much of the action without ever letting it sink into useless clichés.
Through his coherent and compelling performance, the viewer witnesses his desperate struggle for survival. It’s not an easy task when your action partner is one of the best actors around. Russell Crowe has arrived at a moment in his career where he can interpret anything and always do it excellently. In Land of Bad, he sits in a chair for much of his performance and is often accompanied by his young collaborator Nia Branson played by Chika Ikogwe, nevertheless, her character is compelling at every second and her characterization is often predominant in the film. Now and then he starts nostalgically talking about lost loves and dispensing love advice to colleagues, other times he judges coffees, but mainly we see him coordinating, calming, and scolding Kinney and his companions while constantly staring at the computer monitor screens which also give an atmosphere hi-tech.
Together with co-writer David Frigerio, William Eubank decided to approach Delta Force’s mission methodically and thoughtfully. So, instead of opting for an immediate and aggressive intervention, the script allows for the gradual development of the characters. The director’s choice to balance the action between the harsh jungle setting and the bureaucratic and technological austerity of the office creates an engaging dichotomy between danger and administrative procedures, enriched by well-calibrated comic moments. However, the plot is quite generic, despite showing very interesting flashes of originality. The script suffers a little too often from slow, clumsy attempts to make the characters more likable than they are, but despite this the pace is tight and the emotion is always present.
The story declines slightly in its third act, succumbing to plot conveniences that strain credibility. For about an hour everything is almost perfect in its intensity, then the closer you get to the conclusion the more the plot becomes excessively long and unbalanced moments from a tonal point of view. Without getting into too many spoilers but going from torture scenes to something as casual as grocery shopping may only work once, then it becomes redundant, and seeing the main villain change his ways for no real reason is beyond suspension of disbelief. Despite this, Eubank knows how to capture the intensity of different situations through the use of some fun and inventive camera angles, and when the plot requires it, the various actors put in the effort to show believable pain. Everything is enhanced by a soundtrack that is always precise and consistent with what is shown.
The cast plays an integral role in bringing the characters to life, with Liam and Luke Hemsworth and Milo Ventimiglia giving solid and convincing performances. However, it is Russell Crowe as the “Reaper” who stands out the most with his magnetic presence and intense portrayal of him. Although his character does not physically interact with most of the other protagonists, his influence is felt tangibly throughout the film. But “Land of Bad” is not just a work of action without too many pretensions; it also offers a deeper reflection on contemporary wars and their impact on society. The introduction of themes such as advanced military technology and the use of drones adds a level of relevance and contemporaneity to the story, inviting viewers to reflect on the ethical and geopolitical implications of such developments.
From a technical point of view, the film stands out for its adrenaline-pumping editing and well-crafted special effects, which contribute to creating a frenetic and engaging atmosphere. Eubank’s direction demonstrates a good command of the genre, maintaining a fast pace that keeps viewers glued to their seats for the entire duration of the film. In conclusion, Land of Bad is nothing new from the point of view of war films, nor was Eubank’s idea to reinvent a new Saving Private Ryan. The result is a good action film with an intriguing thriller component that allows the viewer to maintain tight concentration in a constant, not always coherent, challenge between good and evil, all seasoned with military pomp and language. Hemsworth and Crowe complement each other well and the ending, despite the confusion with which it arises, is that of a real high-level thriller. We are certainly not looking at a masterpiece, but it is a good, fun, and adrenaline-filled film that deserves to be seen.
Land of Bad Movie Review: The Last Words
Land of Bad offers a gripping rescue operation that should satisfy most viewers looking for adrenaline-pumping entertainment. The excellent acting performances allow you to enjoy a fast pace, with some interesting and original stylistic choices and a basic but compelling narrative. It’s a shame for the narrative confusion of the third act which contrasts with the realism of the previous segments, but despite this, the film ultimately achieves what it promises. The action thriller directed by William Eubank shows its teeth and assembles a cast of performers in top form to stage a feature film that intelligently winks at B-series action. A low-grade objective, but instead it turns into an adrenaline-filled and carefree film in the most semantic sense of the term.
Land of Bad Movie Review: Satisfy Most Viewers Looking For Adrenaline-Pumping Entertainment - Filmyhype
Director: William Eubank
Date Created: 2024-02-16 18:42
3
Pros
- The action sequences are intense and well-choreographed.
- Good acting performances, especially those of Liam Hemsworth and Russell Crowe
- Fast-paced and engaging
- A story that effectively combines various styles...
Cons
- ...shame about the third act in which coherence and realism are lost
- Forgettable main villain
- Few, but there are awkward or excessively long situations
