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The disaster movie provides an opportunity to show the experience of, well, disasters from various perspectives. 1970s classics The Poseidon Adventure and The Towering Inferno brought together disparate people whose differences proved essential to their survival, a trope also used in Roland Emmerich’s Independence Day, The Day After Tomorrow and 2012. Ric Roman Waugh’s Greenland follows a similar pattern to those of Emmerich, but with a serious tone more akin to those of Irwin Allen. Rather than treating the impact of a comet on the Earth as a rollercoaster ride, Greenland leans into the grim and frightening aspects of the disaster. Part of this comes from the wide scale destruction, but there is just as much horror to be found in the actions of humanity. Structural engineer John Garrity (Gerard Butler) and his wife Allison (Morena Baccarin) and son Nathan (Roger Dale Floyd) are selected for evacuation by the US government. However, no one that they know is selected, and their journey towards safety rapidly exposes the severe triage being enacted on the population. Only those designated as healthy and useful are to be evacuated, and desperation leads to panic leads to violence. There is ample destruction and some jaw-dropping spectacle, but Waugh wisely keeps the focus on the human drama, ensuring that we feel every panic-stricken step of the Garritys’ journey. The film’s commitment to this conceit results in a tense and gripping tale of family, fear and hope, that also succeeds in being emotional and moving.
I don’t like the term political correctness, nor do I appreciate commentary that is solely or even primarily motivated by it. So here it is: How To Train Your Dragon 2 is sexist. I’ve commented on problematic gender politics before in reference to Mission Impossible: Ghost Protocol and Skyfall, but in those cases there was plenty of high quality material to engage with so the sexism was less prominent. The fact that the sexism in HTTYD2 was such a problem highlights the weaknesses in the film overall. The film has a number of great set pieces, including dragon aerobatics, battles between new villain Drago Bloodfist (Djimon Hounsou) and our heroes, and the death of a major character that delivers genuine emotional impact. Furthermore, the central relationship between Hiccup (Jay Baruchel) and Toothless is warm, engaging and affecting. But the introduction of an important female character, Valka (Cate Blanchett), is an expansion of the promising female element provided by Astrid (America Ferrera) and suggests the importance of the feminine in Hiccup’s development as well as the film’s world as a whole. Valka is as accomplished a dragon-rider, not to mention as compassionate, as Hiccup, and as fierce a warrior as Stoick (Gerard Butler), so to have her side-lined and ultimately subordinated is a rather depressing conservatism on the part of the filmmakers. Children’s animated films have long propagated the ideal female character as a passive princess who waits to be rescued from some form of imprisonment, and while there have been some progressive alternatives (Fiona in the Shrek franchise, Elsa and Anna in Frozen), HTTYD2 seems to take one step forward and then two steps back. This is disappointing as the film’s promotion of patriarchy is neither necessary nor consistent – Hiccup’s dramatic arc could have easily continued on its initial trajectory with a more prominent role for Valka. Instead, we are left with a few impressive set pieces that add up to less than the sum of their parts, undercut by a discouraging assertion of patriarchy.
Olympus Has Fallen was a better experience than I anticipated. Antoine Fuqua’s film received mediocre reviews so I was not prepared to pay for it; fortunately I got a free ticket and it turned out to be good fun. As is often the case, low expectations led to a pleasant surprise as the film is far from awful. It is no masterpiece and has plenty of problems, but it is an entertaining piece of action cinema.
I would summarise this film as the missing link between Die Hard (John McTiernan, 1988) and Air Force One (Wolfgang Peterson, 1996). As in Air Force One, the President of the United States and senior members of his cabinet are taken prisoner by VERY EVIL terrorists. As in Die Hard, only one man stands between the VERY EVIL terrorists and even greater disaster. Air Force One had the conceit of this man being the President himself; in Olympus Has Fallen, the lone hero is Secret Service Agent Mike Banning (Gerard Butler), while President Benjamin Asher (Aaron Eckhart) must the inflictions of Korean supremacist, Kang (Rick Yune). None of this is a spoiler as it’s all in the trailer.
Olympus Has Fallen is very much Die Hard in the White House, due to its confined setting and internal/external conflict. Banning used to be on the President’s security detail, but was removed when he saved President Asher but allowed the First Lady (a momentary Ashley Judd) to die – saving Asher is Banning’s redemption as well as his duty. Further parallels appear as Banning moves through crawlspaces in the walls, has to contend with a helicopter attack mounted by his supposed allies outside, the VERY EVIL (I’ll stop now) terrorists’ heavy artillery, some interchanges with Kang that (poorly) echo Bruce Willis and Alan Rickman’s banter in Die Hard, and even a moment when he encounters an enemy who pretends to be an ally. If the last two Die Hard films hadn’t been larger scale it would be easy to see John McClane in Banning’s position. This does appear to be the premise in 2013’s other film about the White House going down, entitled, imaginatively enough, White House Down. In Roland Emmerich’s film, Channing Tatum is a Capitol policeman touring the White House when it is taken over by terrorists and only he can save President Jamie Foxx. Perhaps it’s best that Willis never got there, there’d be nothing left for Tatum and Butler.
Not that Banning is simply McClane with a vaguely Scottish accent and a quarter of the wit (like Fuqua’s previous efforts Training Day, King Arthur, Shooter and Brooklyn’s Finest, Olympus Has Fallen is very serious). Part of Banning’s arsenal is his familiarity with the White House and its security, so the required suspension of disbelief is not as big as it could be. It is still pretty big though, as the terrorists (who know everything) target a secret nuclear strategy to unleash hell on earth; the Pentagon action committee (headed by a rather wasted Morgan Freeman) make every wrong decision except to occasionally trust Banning; a heavily armed plane opens fire on Washington, gunning down the jets sent after it as well as dozens of civilians on the ground.
I enjoy action movies very much, and indeed rate Die Hard as one of my favourite films of all time. There is a thrill in the spectacle of blazing guns that only just miss our hero, and generic conventions give us confidence that he will save the day. Despite this confidence, action cinema only works if there is tension and suspense. We may be confident that the hero will survive, but how? When Banning needs to get Connor Asher (Finley Jacobsen) away from the terrorists, will he wait them out or fight his way through them? How many of the hostages are expendable, and how many are necessary for Banning’s redemption? There are also stylistic considerations. As I argued in relation to Safe House, constant shaky-cam completely undercuts any tension. Fuqua favours steady cinematography; pans, whips, and tracking shots propel the action, while close-ups and fast editing convey the danger. Suspense like this invests the viewer in the action, which is heightened whenever a significant character dies.
How people die though is interesting. Many of the deaths in Olympus Has Fallen are very bloody, as civilians as well as numerous Secret Service agents are gunned down, many of whom we have got to know a little. Indeed, during the assault Banning is left alone as his friends die around him, and close-ups on his face allow us access to his grief. There are scenes of pain and suffering, as we see blood-stained bodies and several victims dying in agony. Kang obtains vital information from his hostages through torture, including a very ugly scene in which he punches and kicks Secretary of Defence Ruth McMillan (Melissa Leo), whose injuries and agonised screams of defiance are palpable. The physical emphasis of Olympus Has Fallen begins in the opening scene with Asher and Banning boxing, and many of the interpersonal clashes are brutal, not least the final, largely unarmed, fight between Banning and Kang.
This emphasis on physical action with associated embodied pain and suffering seems less common than it used to be. Historically, when movie characters were shot they coiled into a ball with a pained expression and then collapsed. Under the Hays Code, this was an acceptably sanitised way to present death on screen. With the withdrawal of the code and introduction of the MPAA rating system, New Hollywood saw more explicitly violent movies gain prominence, such as Bonnie and Clyde, The Wild Bunch, The French Connection, Dirty Harry, The Godfather and Taxi Driver. These were not action movies per se, more westerns and crime films, but their success demonstrated the audience’s appetite for destruction.
The model for modern action films was fine-tuned during the 1980s, with the high concept approach favoured by producers like Jerry Bruckheimer and Don Simpson. Directors like Tony Scott and James Cameron as well as actors such as Arnold Schwarzenegger and Bruce Willis became household names as a result of various loud, flashy, high concept action movies which could earn revenue through ticket sales, video rentals and, perhaps most importantly, merchandising. Many of the action films from this era were very violent, such as The Terminator, Commando, Predator, Lethal Weapon, Tango & Cash, Cobra, Nico and Hard To Kill as well as, of course, Die Hard. I knew these were violent because I saw them in video rental shops in the 90s and they all carried 18 certificates. In the US they were R, but the more stringent BBFC would have no thirteen or fourteen year-olds seeing such things (my first 18 certificate at the cinema was Se7en, and I was sixteen at the time).
Many of the prominent action films of the 90s, such as Terminator 2: Judgment Day, True Lies, Speed, Die Hard with a Vengeance and The Matrix, only warranted a 15 in the UK (although there were exceptions, such as Face/Off). Stronger stuff was needed to qualify for an 18 certificate, which was largely the province of gangster films, such as Casino, The Usual Suspects, L.A. Confidential, and in the 21st century other titles including The Departed, Training Day and Drive, as well as horror films like Saw and the torture porn cycle. Action films were largely embraced by the 12A category, especially with the growth of the superhero genre. The X-Men, Spider-Man, Avengers, Dark Knight and Hellboy franchises largely received 12A certificates, as did other blockbusters including Transformers, Inception, Avatar and Oblivion, not to mention contemporary-set action films like the Jason Bourne and Mission: Impossible franchises, and the seemingly unstoppable James Bond.
I was keen to see Olympus Has Fallen because it was awarded a 15 certificate, which seemed unusual for a film like this. Why would it be unusual, I thought? Is this level of violence and profanity that rare? Reflecting on the last decade of Hollywood action cinema, I realised it was, since the introduction of the 12A certificate in the UK. Recently, A Good Day to Die Hard was submitted to the BBFC and awarded a 15 certificate. The studio recut the film and resubmitted it in order to receive a 12A certificate, which increased the size of its audience. The same happened in 2012 with The Hunger Games as well as Taken 2. As a result, in recent years there has been a dearth of a certain kind of macho action film. In order to reach a wider audience, films are distributed with little explicit violence or strong language and minimal sexual content.
What is striking about these films is that, while they feature plenty of action, the emphasis is more often on the spectacle of scale than of death. Characters certainly die, but our attention is quickly drawn to something larger, often a digital creation such as a giant robot or an alien creature. We marvel instead of recoil, the action aesthetic has moved in the direction of “Wow” rather than “Ow”.
This change of direction has marginalised the macho action movie, where MEN are manly in their swearing, shooting and fighting. Nostalgia for 80s-style action has fuelled The Expendables franchise, as well as Sylvester Stallone’s return to Rambo and Schwarzenegger’s The Last Stand. These films emphasise guns and bodies, rather than technological spectacle, and seem quaint and curiously niche.
Olympus Has Fallen emphasises physicality, yet much of the action is digital, especially the aerial assaults both by the terrorists and the Navy SEALs who attempt to retake the White House. This is clearly practical – create a completely digital Washington and you can have as much destruction as you like without having to pay or wait for the disruptions you cause in the city. Yet this sits uneasily with the emphasis on down-and-dirty physicality. In an interview with the BBC, Butler commented that he was left very sore after filming the climactic fight scene, which seems at odds with the CGI sequences.
Olympus Has Fallen falls into a peculiar niche of action films for non-family audiences. Action cinema has moved away from the graphic spectacle of pain, as this restricts audiences. That said, there is clearly still a market for harder action, which need not be serviced by Hollywood – the most intense action film in years was 2012’s The Raid from Indonesia. The Raid is a little different for being a martial arts film, where the emphasis is still very much on physicality and digital sequences are less frequent. For Hollywood action movies like Olympus Has Fallen (and perhaps White House Down), there remains a tension between the grit of physical action and the wonder of digital animation.