By Carl Kozlowski
Remember when Thanksgiving weekend marked a great time for the whole family to gather around the TV to watch a network broadcast of a classic family movie like It’s a Wonderful Life to help kick off the most joyous season of the year?
Remember how movie theaters had sunny comedies the whole family could enjoy together, like Planes Trains & Automobiles, after a turkey dinner?
Good luck this year. Hollywood has inexplicably decided to foist upon us the following cinematic smorgasbord of choices: Hunger Games 2, featuring people killing each other for sport in a despotic future America; Delivery Man, which is a great movie but its plot about a guy who learns he donated enough sperm to produce over 500 kids isn’t exactly easy for grandma or little kids to handle; and Frozen, a 3D Disney cartoon that feels like an uninspired Pixar reject.
And then there are the two winners. Homefront stars action hero Jason Statham and a screenplay by Sylvester Stallone that’s about a former undercover DEA agent who finds his retirement in the swamps of Louisiana disrupted by a feud with a local gang of meth-making bikers. Meanwhile, Oldboy is a Spike Lee-directed remake of a nasty cult-classic South Korean thriller about a man who is held prisoner for 20 years then seeks revenge while solving the mystery of who put him away. It’s extremely well-made, but it’s dark, brutal, has a graphically acrobatic sex scene and involves a series of final plot twists that give a whole new and disgusting meaning to close family relations.
Let’s start with Homefront, which features Statham plays Phil Broker, who in keeping with Statham tradition, is extremely soft-spoken and even seemingly gentle until someone talks to him the wrong way, at which point he punches, kicks or hurls them into submission.
Broker quit the DEA after killing the son of a biker drug kingpin two years before and went into hiding to avoid revenge from his fellow gang members. But when his 10-year-old daughter opens a can of whoopass on a fat and stupid class bully in their backwoods town, the townspeople start to wonder what kind of dad knows how to teach his daughter such incredible fighting skills.
Thus begins a surprisingly twisty and deviously fun story of escalating revenge between Statham and local meth kingpin James Franco, the Oscar-nominated actor whose presence is just one example of the fact this movie is way better than it has to be. Homefront is a great way for the adult guys in the family to get away from their own homefronts during the drawn-out holiday weekend.
Oldboy, on the other hand, is an utterly baffling choice for a holiday release. As mentioned above, Josh Brolin stars as Joe Doucette, a hopelessly alcoholic cad who hits on a client’s wife after landing a major business deal and winds up wandering the streets of his city drunk out of his mind before approaching a mysterious Asian woman who’s been following him.
He wakes up naked in a sparsely furnished room with only a Bible, a set of Encyclopedia Britannica and a TV that plays a bizarre mix of infomercials, old kung fu movies and a reality show about famous crimes to keep him occupied. He then learns from the TV show that he’s been accused of raping and murdering his ex-wife while their daughter was at home with them, and then disappearing from the authorities.
He spends the next 20 years in that room, a time span that Lee conveys in riveting fashion using TV reports of the most famous incidents of the past two decades, including 9/11 and President Obama’s inauguration.
He finally escapes and embarks on a quest to seek revenge on his captors and find his now-grown daughter. But things get really weird when a man with a high-pitched European accent calls to tell him he has 48 hours to figure out who captured him and why, or his daughter is going to be killed by his mysterious nemesis. If he can solve the mystery and relate the answers in time, Joe will not only get his daughter back but also $20 million in diamonds and the satisfaction of seeing his captor commit suicide.
Sounds like a real family charmer, doesn’t it? As director, Lee draws incredible performances from Brolin and Elizabeth Olson as a young social worker who offers to help him in his quest, and the complex script certainly should keep audiences riveted. But the big reveal of what’s actually going on is as disturbing as it gets, leaving audiences with a movie that’s akin to Seven and The Silence of the Lambs: a good flick but one that will leave you feeling awful about humanity afterwards.