The Way (2010).

Review #1555: The Way.

Cast: 
Martin Sheen (Thomas Avery), Deborah Kara Unger (Sarah Marie Sinclair), James Nesbitt (Jack Emerson Stanton), Yorick van Wageningen (Joost Michael de Witt), Emilio Estevez (Daniel Avery), and Tchéky Karyo (Captain Henri Sébastien) Written and Directed by Emilio Estevez.

Review: 
"This is a film we believe in. We're proud of it and excited. It was a privilege to be able to make it."

As the old saying goes, the son becomes the father and the father becomes the son. In the case of a film like this, I would say that is adequately appropriate with a feature that stars Martin Sheen directed by his son Emilio. Sheen (born Ramón Estévez before adopting the stage name as an invention to try and make a living with acting, which he described later as one of his great regrets) found his way in acting first from television in the 1960s before finding his way into features through highlights such as Badlands (1973) and Apocalypse Now (1979). As for Emilio, the eldest son, he found interest in working with the camera from a young age, and he aspired to get into acting after graduating high school. He made his debut in 1980 with television before moving into features that led to highlights such as Repo Man (1984), The Breakfast Club (1985) and Young Guns (1988). He moved himself into directing with Wisdom (1986), and he has continued doing a few features alongside work in television from time to time. Estevez was inspired by his own son Taylor and his travel with Sheen across the route through car years prior, with Estevez describing the film as "pro people, pro life — not anti — anything."

This is based on the real life pilgrimage of Camino del Santiago (Way of St. James), where folks follow routes (as there are numerous ones, such as the Camino Frances) to a shrine as a form of spiritual retreat or path for their growth that hundreds of thousands set out to do each year (with an actual office giving out certificates of completion for those who walk on the Camino); various media had been made depicting this journey in some form prior to this film, such as Luis Bunuel's The Milky Way (1969) and the TV program The Naked Pilgrim (2003). Sometimes it is the journey that attracts one more so than the destination. It is an interesting movie that takes a walk for two hours with a small cast headlined by the interest in seeing the result of the son directing the father with honesty and touching interest. It cultivates inspiration for those who seek it without preening for too long in a pilgrimage without becoming an excuse to show off, moving with sensitivity without becoming an excuse for sentimentality or the inverse in cynicism that has a trek reminiscent in some way of The Wizard of Oz (1939) with people that discover something in themselves without needing it spelled out in obviousness. Sheen is exactly the right one to lead the film, settling well on a journey of growth with maturity, going across the road that handles his surroundings with dignity through a 2-hour trek of grief and discovery for himself. The main three that gradually accompany him on the intersecting journey do just fine in their own ways. Unger rolls along with pain and charm wrapped in thorns, while Nesbitt and Wageningen each do well with adding some levity and persistence in curiosity, respectively.  It isn't a great film by any means, but it is a nice little journey that aspires for inspiration and interest in one's fellow man, and it takes a well-versed cast to back it up, which has a small ensemble to go with appearances of actual pilgrims and in one scene Romani people. It maintains enough strength in inspiration to deserve a look, particularly if one if yearns to look for a journey of their own.

Overall, I give it 8 out of 10 stars.

Payback (1999).

Review #1191: Payback.

Cast:
Mel Gibson (Porter), Gregg Henry (Val Resnick), Maria Bello (Rosie), Lucy Liu (Pearl), Deborah Kara Unger (Lynn Porter), David Paymer (Arthur Stegman), Bill Duke (Detective Hicks), Jack Conley (Detective Leary), John Glover (Phil), William Devane (Carter), James Coburn (Justin Fairfax), Kris Kristofferson (Bronson), and Trevor St. John (Johnny Bronson) Directed by Brian Helgeland (#372 - 42)

Review: 
The strangest thing about films can be the ways that it can sometimes transition into numerous forms before a final shift into the form that goes to audiences. This film is a particular example of where a director's vision can verge differently from ultimately made it to the screen. Brian Helgeland was making his directorial debut after meeting up with Gibson on the set of Conspiracy Theory (1997), a film that he had written for. During the post-production stage for that film, Helgeland happened to have the script with him when Gibson inquired about the pages he had with him, for which he read the first act of. A few weeks later, Gibson agreed to finance the film with his production company Icon Productions provided they could shoot within 12 weeks. The film is as adaptation of the 1962 novel The Hunter by Richard Stark (pen-name for David E. Westlake), the first of 24 novels from 1964 to 2008 with the character Parker as the main lead. It had already been adapted a movie in 1967 as Point Blank, featuring Lee Marvin, and other novels had been given film adaptations.

Before I talk about the circumstances that led to Helgeland's dismissal from the film, let's talk about how the movie is first. For a neo-noir, it certainly is a decently entertaining one. It maybe a bit routine in terms of its story and action, but it is a road worth walking onto in part because of its dark charm, which in some ways feels like a guilty pleasure. Gibson is certainly up to task in delivering a character worth following with a subtle grin in a film with oddball people basked in noir types. Henry is fairly adept at showing menace for his time shared with Gibson. Bello does fine with her material, sharing her time with Gibson quite well. Liu (playing a dominatrix) is quite quirky. Paymer plays his role with a good deal of sleazy ooze that is pretty amusing. It is amusing to see Coburn briefly, but interesting to see Kristofferson all of a sudden in the film appear; he isn't really too menacing as the big bad but he is at least neat to watch. The movie moves with a dynamic pace to try and garner up excitement along with a chuckle, and it works out fine for the most part, playing to the noir type handily. It is sometimes a bit wobbly with its plot motivations (and its action violence on occasion), but the final product works out mostly because it manages to distract itself enough to where while you can see where "producer's notes" may have stepped in, you can at least find something to watch without too much disapproval. It has a bit of fun with its aspects of revenge without being too demanding.

Helgeland's version of the film was felt to be too dark for a mainstream audience in terms of story, tone, and look. he was fired from the project, which occurred two days after winning an Academy Award for Best Adapted Screenplay for his work for L.A. Confidential (1997). Thirty percent of the film was re-shot (with new material written by Terry Hayes), with John Myhre (production designer) doing un-credited directorial work. Helgeland would have his version of the film (referred to as Straight Up: The Director's Cut) released on DVD in 2007. His version differs from the theatrical version in several ways, such as a shorter length (90 minutes as opposed to the 101 in the theatrical), a female Bronson un-seen by the audience that is voiced by Sally Kellerman, the removal of the narration by Gibson, and the restoring of the look of the film from a bleached tone to one more normal. Honestly, the look is okay as is (even if sometimes it may seem better in black-and-white by simply taking the color out of the screen manually), but at least there exists two versions to compare. I don't have too much interest in watching the other cut, but if you are curious about what makes a movie go in different directions, I'm sure it is right up your alley. The film as is just fine, not being any kind of big statement as a neo-noir action flick, but it will serve just alright for the tastes of people wanting some entertainment.

Overall, I give it 7 out of 10 stars.