Author: Bryant

It’s my belief that the next wave of action movie innovation — or at least excitement — is going to come from France. Luc Besson made the initial pass at this back in the 90s with La Femme Nikita and Leon before a couple of regrettable US failures — but now he’s back in France producing movies like Wasabi and the Taxi series and Haute Tension and so on. The guy has his own little action movie empire over there.

You also have people like Florent Emilio Siri, who directed the brilliant Nid de Guepes; he’s got the director’s chair on the next Bruce Willis flick, Hostage. You’ve got Unleashed, a French production starring Jet Li, Bob Hoskins, and Morgan Freeman — which looks like it’s going to be the best Western Jet Li movie to date. (Written, as it happens, by Luc Besson. He pops up all over the place.)

And then you’ve got the just-released Assault on Precinct 13, a remake of the John Carpenter classic. It was directed by Jean-Francois Richet, who has not done much of anything of note, and it is absolutely smoking hot.

Not perfect or anything. I’m still wondering where the forest in the middle of Detroit came from. But these young punk French directors really seem to like what they’re doing, and Richet has a great feel for the uses of violence as punctuation to a tense scene. His sensibilities are different enough from mainstream Hollywood that when the movie turns a corner and something dire happens, it’s a shock rather than being just another cat leaping out of a closet.

Also he’s very crisp. Come to think of it, I don’t recall any cats jumping out of closets in Assult on Precinct 13. When something loud happens, it’s someone shooting at someone rather than a false alarm. It’s direct and snappy and immediate.

Ethan Hawke and Laurence Fishburne aid and abet this effort. Hawke’s got a nice tense depth to him as the tortured cop, and Fishburne plays the deadly gang lord with that cool Fishburne poise that is so very convincing. The tension between them is the core of the movie — well, besides the action — and it helps immensely that Fishburne makes us believe he doesn’t understand Hawke’s motives; it helps immensely that Hawke makes us believe that he’d see saving Fishburne as a means of redemption.

It’s just a loud action movie, and it did kind of get dropped in the middle of January where bad movies go to die, but if you want to see a good action movie then you ought to catch this one. Five years from now, you’ll be able to talk about how you were into French action directors before they were cool.

You ought, perhaps, to be watching Boston Legal.

Yeah, it’s a David Kelley show. He’s flashy and he goes for the cheesy drama too often and he allows his shows to slip into the precious. What’s worse, this one co-stars William Shatner, the very avatar of kitsch. Can the acting stylings of James Spader overcome these handicaps? Surely not.

But yes, because it’s fucking brilliant. Let me tell you about last Sunday’s episode.

The key plotline all season has been the relationship between Spader and Shatner, both lawyers; Shatner is a partner at the firm. He is becoming senile; the other partners are worried about the effect this will have on the firm, but Shatner is also the best rainmaker they have, so they can’t push him into retirement, and as a partner he can’t be stopped from taking cases. Spader is his only ally, and clearly his closest friend.

Last episode, Shatner took a case on his own, forgoing any assistance so as to prove a point to the partners. (Rene Auberjonois and Candice Bergen, by the by, who are quite good as always.) Spader, at the behest of the partners, asserts himself as second chair and flatters Shatner’s ego until he gives in. They’re defending a doctor who prescribed an unapproved weight-loss medication in order to keep his patient from dying of a coronary. Shatner does a great job, a surprisingly great job, of defending the client.

Then it’s time for his closing. William Shatner stands up, and braces himself, and tells the jury that he is at risk for Alzheimer’s. And then he looks down, and he’s embarrassed, and he pushes his way through it. He tells them that they wouldn’t know what it’s like to be losing it, to be slipping. He meets their eyes and you believe that it’s only because he has to. He tells them about the unapproved prescription drug he’s been taking, and how it feels to get your memory back. He finishes and walks away both relieved of a burden and weighed down by a new one, a burden he has taken voluntarily. It was great acting, lifted above the merely good by the conscious appropriation of Shatner’s typecasting. You come into this show expecting Shatner to play an aging egotistical goofball, and Shatner quietly works from that base to show you how much more there is to the character he’s playing.

It’s going to get too cute for its own good in a season or two, because it’s a David Kelley show and that’s how these always go. It’s almost too cute right now: Al Sharpton’s been a guest star twice, playing himself both times. But man, those first seasons? Those are always a rush, and this one has James Spader and William Shatner, and the older man is focused like a laser on the job of burning away everything we always laughed at about him. And he’s using his own reputation, his own myth of whimsical senility to do it. I’ve never seen anything quite like it.