|Starring||Mark Wahlberg, Michelle Monaghan, J.K. Simmons, Kevin Bacon, John Goodman|
|Release||23 FEB (UK) Certificate 15|
Don’t get me wrong; of course the film has to honour those involved, but a line has to be drawn somewhere. In this instance, Berg rushes towards crossing that line faster than any of his marathon runners. The result is a film that is a tribute more than a tale, showcasing historical importance over telling a story of narrative value. As an example of the overkill employed here – spoiler alert – the film ends not just on a back-slapping, good-job-done slow-motion scene of community camaraderie, but goes on to then give us text-on-screen updates of the real-life characters and THEN shows us interviews with them too. The reason is clear: Berg feels that he has to pay respect to the victims to the point where no one can accuse him trivialising events.
Of course, it's all a question of balance, but never is it more clear that this has been lost along the way than with the film's main 'make-believe' element: Mark Wahlberg's lead role as Tommy Saunders. As an amalgamation of a few key individuals, Saunders provides a key through line from Boston everyman cop, to witness present at the bombing, to valuable investigative resource and finally to active participant in the manhunt, but as a fictional character in a real-life story, he never gets to be the hero that the film so desperately wants him to be.
Quite the opposite, in fact: as we see events fold out through his eyes, Saunders might as well be sitting in the audience with us, so reduced to the unfortunately ineffective role of spectator that he is. This is painfully apparent in scenes such as one towards the end when, while out on patrol, Saunders is alerted to a suspect hiding in a boat in a local's backyard. Berg wrings genuine tension out of the moment when Saunders approaches the boat, gun in hand... but then sirens are heard and the FBI turns up and simply takes over to apprehend the perpetrator. Because, of course, Saunders doesn’t really exist and this is what ACTUALLY happened.
Taking the complications of true-story storytelling out of the equation for a moment, and Berg otherwise crafts a compelling drama, with high-pressure stakes and one genuinely thrilling residential street set-piece consisting of a gun-and-homemade-bomb-fight. Elsewhere though, the film feels at odds with itself. Comedy moments feel tonally out of place, as if contrived to make up for the sentimentality pouring into every other scene, and at one point Mark Wahlberg’s banter with a fellow cop somehow evolves into him giving an eloquent monologue about the strength of character of the Bostonian community.
It all smacks of a film trying to be honest and authentic, but still conscious of handling such a recent tragedy with kid gloves. And you have to wonder that, if it wasn’t for the emotional response to the events that this film depicts, the film itself would be judged more harshly. It might have even bombed.
Ouch. Too soon? Yes, too soon. That’s the point.
|+||Brawl In Cell Block 99 (18)|
|+||The Death Of Stalin (15)|
|+||Happy Death Day (15)|