Friday Fisticuffs: Equilibrium (2002)

equilibrium I first discovered Equilibrium while perusing my beloved Family Video. Since it came out in 2002, I must have checked it out while home for the summer from college and was drawn in by Taye Diggs and whoever that Christian Bale guy was wearing Matrix-like gear holding guns. It’s not like I had heard anything about it and dug around for it, it just appeared one day, looked interesting enough and I remember enjoying it, but never really got back to it.

When I saw it on Netflix Instant I was pretty excited, remembering that there was a fairly interesting sci-fi future as well as some interesting marital arts action that cleverly used firearms (called “gun katta” apparently). Said future was an incredibly structured one that keeps humanity emotionally muzzled by forcing them to take a suppressant drug. The governing body has a group of warriors called Clerics who make sure that no one’s feeling. Part of that job involves tracking down works of art and destroying them along with vagrants who live on the outskirts of society, struggling to survive, but feeling every minute of it.

Bale plays a Cleric who winds up skipping a dose and becoming that which he’s sworn to persecute: a sense offender. As he regains emotion and feelings, Bale’s character uses his position in the organization to try and make up for some of the things he’s done.

Much as I remember liking this movie and did enjoy it this time around, I’ve got to say, there are some pretty silly elements. If you’re a government organization whose sole focus is to keep the populace under a metaphorical emotional blindfold, why would you put that in their hands? Why wouldn’t the drugs be administered by way of water supply or provided food? That seemed like the kind of plot point that only exists to move the story along. The movie also gets a little slow at times, but I think that’s only because I went into this movie with an action flick mindset and it’s a lot more of an emotional journey than you might expect. If you’re looking for more and more fights and gun katta, then a slower talking scene can feel like it’s going on way too long.

But, the point of this post is to talk about fight scenes in movies. Sometimes I’ll watch an action movie, thinking it’d make for a great FF entry only to discover that most of the violence in the film involves gun play. That’s the case with Equilibrium, but it just so happens that the film combines those two elements in a lot of fun ways. The idea behind gun katta is that the guys can not only shoot really well, but also knows all the best physical positions to get their bodies in to do the most damage as quickly as possible. He can also use his guns as blunt weapons and do all kinds of cool flips, picking up weapons and using them in several different ways.

The problem with some of these fight scenes is that, sometimes, they look a little too set-design-y. There’s a good deal of Power Ranger-like posing and whatnot as well as sets that seem only developed to look as cool as possible. I’m not sure whether my definition of cool has changed over the years or director Kurt Wimmer and I just don’t jive on that subject, but it seemed a little too overwrought at times.

But, I still thought it was an enjoyable movie. If you saw the poster or cover and avoided it because it looked like a Matrix rip, it actually has nothing to do with that film aside from the fact that they share the same taste in jackets. Plus the cast includes a lot of great actors like Bale, Sean Bean, Taye Diggs (he’s great in this, you guys), Sean Pertwee, Emily Watson and Prison Break vets Dominic Purcell and William Fichtner. So, if you’ve got some time, give it a shot and see how it makes you feel. PUNS!

Revisiting Prison Break Season 2 (2006-2007)

To say I’m enjoying re-watching Prison Break would be quite an understatement. I finished the first season in a few days and it only took me five days to watch the second only because the weekend hit and I had other stuff to do. No offense to my lovely wife, but the benefit of liking a show she doesn’t care about is that I can burn through them like crazy. It’s to the point where I’m neglecting most other forms of entertainment from current TV to Netflix discs (I’ve had The Road sitting here for over a week because of this show) and even podcasts, though I still listen to/watch those while cooking or playing Xbox. Anyway, I liked the second season as much as the first but I can see how it might have lost some people. While the first season involved a lot of suspension of disbelief (guards not seeing or hearing things, etc.) this one had a lot of close calls and people showing up at exactly the perfect time to save someone else’s ass. And yet, I don’t care.

The beauty of Prison Break‘s second season is that it doesn’t rest on its laurels. The drama of the first season was how or if Michael’s plan would work, how his tattoos plaid into the whole thing and whether he could trust the people he either brought in or had to bring in to his inner circle to get out. Now, some of those elements are still there (the tats still contain aspects of their escape and he can’t seem to completely escape some of his fellow escapees), but now we’re focused on survival, trying to figure out a way to prove their innocence and eluding a series of enemies all much more formidable than prison guards and fellow cons.

The key to this season, as far as I’m concerned, was found in the performances. Most of the escapees got their own stories and a chance to show what they had before leading to death or further freedom. I still have no idea what kind of accent John Abruzzi was supposed to have, but he was put to the test and failed. C-Note did his damndest to save his family, but it wasn’t an easy road. Hell, even Haywire had more interesting moments than he probably had any right to (which included a guest appearance by future Big Bang Theory star Kaley Cuoco). But, as I’ve come to expect from this series, most of the emotional heavy lifting is done by T-Bag who runs the gamut from slithery asshole to creepy predator and charmer to lovesick fool. The writers give him a ton to do and he bears the weight with ease. There’s moments where you almost, ALMOST feel bad for the dude. The same can be said for Alex Mahone who came in this season as a kind of bad guy, a bent FBI agent whose strings were being pulled with the threat of harm to his family hanging over his head. The linchpin, though, was that he was just as smart as Michael. Another tragic figure in this story, Mahone’s path does not wind up where you would have expected as the series kicked off.

The season ends with plenty of game changers, which is another element of the series I appreciate. Like I said with the first season, it feels like the seasons are planned out as giant arcs with plenty of smaller arcs built into them with plenty of bad things happening to good people to keep you interested. A lot of series’ kick off with a wild first season where it seems like they throw all their best ideas into the pot immediately without much thought for further seasons. Sure, you can never know how long you’ll be on the air, but how bad did Heroes get after the first season? How about Desperate Housewives (yeah, I watched the first season and still think it’s pretty good, though I haven’t seen it since it first aired)? You get the feeling with those shows that they had this desire to top themselves that wound up creating some ridiculous situations or arcs that had no chance of comparing favorably to the more thought-out ones in the earlier/first seasons. With Prison Break it’s pretty simple: Season One has them escaping a prison, Season Two sees them trying to stay free, Season Three has them unfairly locked up in a crazy Mexican prison and the Fourth…well, I don’t quite remember. That’s a pretty basic set-up, but it makes sense. Expect another one of these posts by the end of this week because the third season was shortened by the writer’s strike and comes in at 12 or 13 episodes if memory serves.