The Infiltrator

July 15, 2016 by  
Filed under Cody, Reviews

Starring: Bryan Cranston, John Leguizamo, Diane Kruger
Directed by: Brad Furman (“The Lincoln Lawyer”)
Written by: Ellen Sue Brown (debut)

Colombian cartel kingpin Pablo Escobar has always been a source of great fascination. Even still, there seems to be a resurgence in the interest of him as a subject, as seen in recent projects like Netflix’s “Narcos,” “Escobar: Paradise Lost” and various other documentaries. As a look at a different perspective “The Infiltrator” tells the story about how a U.S. Customs agent took down the cartel’s money laundering system in America.

Based on a true story, “The Infiltrator” tells the story of how U.S. Customs agent Robert Mazur (Bryan Cranston) assumed the role of Bob Musella and infiltrated the deadly Escobar-led Medillin cartel. Posing as an accountant of sorts, Musella offers to help launder cocaine money while getting close to higher ups of the organization. As Mazur goes deeper and deeper, his relationships become more complex and the danger grows.

It is no secret that Cranston is one of the most lauded television actors of all time. Since the end of “Breaking Bad,” where Cranston won four Emmys (including a record tying three in a row) playing chemistry teacher turned drug lord Walter White, Cranston has had mixed results in film projects. Last year’s “Trumbo,” a role which found Cranston nominated for an Oscar, may have been the turning point, however. His performance in “The Infiltrator” is no different. Cranston is easily the best thing on screen, as he begins to blur his way into his new role as Musella. Cranston has always played vulnerable well, and to watch him sink into the role while using his expressive face to show the difficult of taking down people you’ve grown close to is something to behold. The supporting cast is OK, with John Leguizamo getting the brunt of the work. It’s a slightly hammy performance. As a comedian, it’s almost as if Leguizamo couldn’t help but throw in jokes in times where they don’t work as well.

The best thing “The Infiltrator” has working for it is its sense of tension. Musella is constantly put in situations where he’s given pressure to break, as he works his way into the cartel. It’s a bloody and scary business and watching even the most seasoned pro like Musella be so deeply affected by the brutality of the industry is a credit to Cranston’s performance and good tension building.

When the film is tense and unpredictable, it’s edge-of-your-seat stuff. When it isn’t, however, it becomes a little dull and plodding. Tension between Leguizamo and Cranston feels a little forced and ineffective, while elements of Mazur/Musella’s home life are nothing special.

There’s a bit of cartel fatigue going around, especially with the Escobar story being told so many times. “The Infiltrator” does a good enough job of telling another side of the story that makes it a worthwhile endeavor. It’s a touch generic and retreaded ground (if you’ve seen any cartel movie, you should be able to figure out where the plot is going), but when it dials up the tension, Cranston’s sheer power takes over and elevates the material exponentially.

The Lincoln Lawyer

March 23, 2011 by  
Filed under Reviews

Starring: Matthew McConaughey, Marisa Tomei, Ryan Phillippe
Directed by: Brad Furman (“The Take”)
Written by: John Romano (“Nights in Rodanthe”)

As far as courtroom dramas are concerned, you’d be hard-pressed to find something as generic as “The Lincoln Lawyer.” Forget about the excitement brewing because Matthew McConaughey (“Ghosts of Girlfriends Past”) is actually starring in a film that doesn’t require him to remove his shirt or offer up his rugged good looks for an insulting rom com role opposite Kate Hudson or Sarah Jessica Parker – as much as everyone would like it to be, this is not a sequel to 1996’s “A Time to Kill.” Instead, “Lawyer” is an overrated, underwritten crime schlock that plays like an irritating Dick Wolf-produced legal TV show. Call it “Law & Order: Luxury Sedan.”

That title might even be a stretch, since the titular vehicle doesn’t make much of an impact in the film besides serving as a shiny prop for the laid-back soundtrack featuring blues, R&B, and old-school hip-hop from artists including Bobby “Blue” Bland, Erick Sermon, and Marlena Shaw. As a suave, street-smart criminal defense attorney practicing in Beverly Hills, Mickey Haller (McConaughey) is chauffeured around town in style inside his vintage Lincoln Town Car.

Adapted from the novel of the same name by crime-fiction writer Michael Connelly (this is the first of four books in the Haller series), Lawyer struggles to find its footing within a cliché storyline reworked by screenwriter John Romano (“Nights in Rodanthe”) and helmed by novice director Brad Furman, whose only other film is the straight-to-DVD armored-truck thriller “The Take.”

In “Lawyer,” Mickey lands the case of his career when he is hired to defend Louis Roulet (Ryan Phillippe), a spoiled, rich socialite charged with the brutal assault of a prostitute who propositions him at a nightclub. While Louis maintains his innocence (he cries “Set up!” on more than one occasion), Mickey and his investigator friend Frank Levin (William H. Macy) figure out a way to get their client off the hook even after indispensable evidence seems to mount against them.

From here, “Lawyer” becomes part morality thriller, part courtroom drama with Mickey caught in the middle wondering if he’s fighting for a scumbag’s exoneration. Despite McConaughey’s satisfying performance, none of it is very original. The pool of shallow characters (Marisa Tomei as the ex-wife prosecutor; John Leguizamo as a shady bail bondsman; Michael Peña as an ex-client who is now in San Quentin) don’t help us sympathize with our conflicted lawyer, whose character is never fully explored past his slicked-back hair, dog-tired eyes, and vulnerability to the bottle.