Soldiers of Fortune (2012)

Soldiers of Fortune Has Too Many Mixed Fortunes

By Kristin Battestella

I was eager to see this seemingly fun and action packed 2012 ensemble yarn, but Soldiers of Fortune is a disappointing mixed bag of what could have been.

Ex-army Captain Craig McCenzie (Christian Slater) reluctantly joins a special operations mercenary training organization funded by millionaires interested in playing soldier at the highest stakes. Metals magnate Dimidov (Sean Bean), video game developer Sin (Dominic Monaghan), banker Charles Vanderbeer (Charlie Bewley), Texas tycoon Sam Haussmann (James Cromwell), and weapons dealer Grimaud (Ving Rhames) don’t take the training seriously at first, and each has their own motives for joining in the rebellion against ex-CIA agent Carter Mason (Colm Meaney). When their play mission turns into a deadly coup d'état, the team must shape up to make it out alive.

New director Maxim Korostyshevsky and writers Alexandre Coscas, Joe Kelbley (Booking Knights) and Robert Crombie (Ink) open with international intrigue, Taliban infiltration, and bikers, but the onscreen titles telling the audience the when and where do little to explain what’s happening. Between telling Craig’s back story, showing the repeated recruitment attempts, and all the island rebellion whys, Soldiers of Fortune takes too many times to start it’s tale. The tired, down on his luck soldier premise also puts the film off on the wrong foundation, resulting in too much time being spent later on in clarifying who is who. There’s no such time to spare in a 95-minute action caper – Soldiers of Fortune should have focused on the adventure for hire sardonics as its cool with no angry military whip them into shape off kilter. This is supposed to be an action film, not a war allegory, and I don’t really care about Craig’s history in comparison to the irony of millionaires playing soldier who end up really saving the day and writing it off as charity. This could have been a funny, unrealistic bombastic romp or dead serious and heavy in its political statements. Heck, Soldiers of Fortune could have even stayed middle of the road subtle irony wink even, but the picture just feels so aimless and topsy turvy.  Maybe it’s not that original either, but seeing these richy, badass, screw ups already ala Major League had to be more entertaining than Soldiers of Fortune actually turned out to be. I keep thinking of editors who say forget the prologue, open in media res, and cut your first thirty pages. The early training scenes come too easily for the quirky team, and turncoat speculations don’t seem to matter. Despite their charm and likability, the learning the ropes muddled vision and save the island rebellion mission feel like one big macguffin. This askew start and all over the place plotting certainly makes Soldiers of Fortune confusing, and unnecessary flak prevents the ensemble’s potential from blossoming.

Christian Slater is a very unusual choice for the lead here, yes. Though he is physically capable, swift, and believable with the guns and gear, some of the action is a little too preposterous, and it’s tough for one to get over the “It’s Christian Slater! Pump Up the Volume! Kuffs!” feeling. His dialogue and delivery are also uneven. Either this is a poorly written character with undeveloped emotion or Slater is too dry for the part. Craig’s reluctant drill sergeant is neither ruthless nor funny when he’s threatening to kill the next person who answers his cell phone during the obstacle course. He starts out so angry over being unjustly dishonorably discharged but ends up happily joking with the millionaires. Again, hinging Soldiers of Fortune on this flat character was wrong. Can you still have Slater in a military or action movie? Sure, but not as the faulty lead.  Likewise, Freddy Rodriguez (Ugly Betty) is all but useless as Craig’s best bud. You never feel his sidekick is going to amount to anything, and their lack of chemistry adds to the lack of believability here. I mean, Christian Slater has to whip these guys – these guys – into shape. Are you %^&#(*^ kidding me? I don’t love him or hate him and feel uber harsh, but Slater is outclassed in what is a direct to video action yarn.

Damn straight Sean Bean already knows how to fire a rifle! One expects the Game of Thrones alum to be the angry army guy – he did that, in fact, in Age of Heroes the year prior – but Bean looks great as a suave jet setter with big toys and lots of babes. Dimidov has badass history, international playboy clout, zing, and an insistence for his own room, “Helen and I will take the dining room…” Yes, I am Bean biased.  I totally admit he was my reason for seeing Soldiers of Fortune, and I’ve seriously enjoyed some of his recent, smaller independent material. However, it’s more bemusing to watch him play paintball target practice with a cigar firmly between his teeth than watch Slater try and teach anybody to play soldier. There are some sloppy hints that Dimidov is suspicious and greedy, but it’s another wasted opportunity to not let Sean Bean have a full on good time with his badass image. And let’s not forget about Ving Rhames! I’m not sure what sort of accent he was attempting, but Rhames (Pulp Fiction) is always delightfully slick – and his Grimaud seems to know more about weaponry and tactics than Captain Craig. Zigzag so you can’t be targeted so easily…you don’t say! This is actually the second time in recent memory I’ve seen this simplicity not being utilized on film, and it really makes screenwriters look like they don’t do any basic research. Grimaud’s an armory dealer with morals on both sides, but his gray is never fully developed, and again, only Rhames’ charisma saves the character. I’d believe him as an angry military drill sergeant! Reverse Rhames and Slater and Soldiers of Fortune increases tenfold.

Need more character class? Soldiers of Fortune should have given James Cromwell (L.A. Confidential) more to do as the fun and crusty cowboy Haussmann. He has his bucket list with lots to chew on, but he doesn’t seem to be onscreen enough, nor is Colm Meaney (Deep Space Nine). If he’s the military nemesis to our millionaires, you should see him in more equal screen time. His Mason is also a little too ruthless or over the top, as if it can’t be decided whether he’s a heavy, deadly villain or a lighthearted parody. Dominic Monaghan is his usual fun self, too – and the subtle broken leg humor works. The jabs on who is richer or who has a bigger gun – literally – go a long way, and Soldiers of Fortune should have used this flair instead of resorting to a convenient mishmash. The women are nondescript, and Charles Bewley (The Twilight Saga) is far too cliché as Vanderbeer – the seemingly wimpy banker using this excursion just to prove his street cred. If his quirks aren’t going to be highlighted, then why bother? Despite some attempted but obvious plot twists, I honestly didn’t notice when Vanderbeer wasn’t onscreen. How is the audience supposed to care when the characters themselves gain or lose their conscience or sympathies as needed? Some members of the team seem to die or feel written out as if the writers realized those players were pointless, and Soldiers of Fortune completely misses the boat in utilizing the built in fun of having Bean and Monaghan together again. What, no Lord of the Rings jokes?

Thankfully, sarcastic flashbacks, a touch of panoramic zooms, sweeping angles, and fun editing add smarts and help Soldiers of Fortune wink at the absurd. Onscreen graphics, text, satellite imagery, scope camerawork, and slow motion also add panache. Most of this is quality, but some pieces feel unnecessary or noticeably present just for the expected looking cool. Hip quips also feel misplaced amid what’s supposed to be tragic resistance scenes, and their plight feels somewhat small scale compared to the rest of the colorful action and battle scenes. The sets, locales, and outdoor adventuring do fit the bill, and the spectacle isn’t super chaotic and in your face – although there is a lot of gunfire, blood capsule pops, and old fashioned fake kills. Soldiers of Fortune is rated R, but sometimes it doesn’t feel like it should be. It’s also disappointing that this is a bare bones, featureless DVD. The menu interface advertising the titular and tax deductable adventure is fun, but it seems like the production team sold Soldiers of Fortune short. It has the people, the budget, and the action. What happened?

Miscasting and missed opportunities prevent Soldiers of Fortune from becoming the witty, stylized yarn it could be. The step-by-step clichés and confusing encounters will make your head hurt at the waste. Fans of the cast or contrived action films can have a few hours of good fun with the absurdity here, yes, but Soldiers of Fortune could have been much, much more. 

Star Trek: First Contact

Star Trek: First Contact Superior Next Generation Film

By Kristin Battestella

After an ill-received feature film outing in Star Trek Generations, it seemed the crew of Gene Roddenberry’s second series Star Trek: The Next Generation was not destined to make a successful leap to full length features.  Thankfully, 1996’s Star Trek: First Contact took a page from the original Star Trek, brought a memorable villain front and center, and thus gave TNG its best film outing.

Captain Jean Luc Picard (Patrick Stewart), Commander Riker (Jonathan Frakes, also First Contact’s director), and android Lieutenant Commander Data (Brent Spiner) must again face the Borg-a collective cybernetic enemy that wants to assimilate the human race. The new Enterprise E follow a small Borg sphere back in time to stop the Borg Queen (Alice Krige) from assimilating earth and preventing humanity’s first warp flight. Unfortunately, the crew finds the past is a dismal post apocalyptic time for Earth. Riker, engineer Geordi LaForge (LeVar Burton) and Counselor Deanna Troi (Marina Sirtis) must convince warp drive pioneer Zephram Cochrane (James Cromwell) to continue with his historic flight so humanity will make First Contact as planned.  Picard, however, was once assimilated by the Borg and has troubles all his own in coming face to face with the Borg Queen.

Long time Star Trek fans and newcomers to the Next Generation spin can enjoy First Contact’s tightly woven and multilayered storylines from longtime Trek  penners Rick Berman, Brannon Braga (24, FlashForward), and Ronald D. Moore (Roswell, Battlestar Galatica, Caprica).  When my husband agreed to a viewing without having seen the Emmy winning Next Generation two-part episode ‘The Best of Both Worlds’-which details Picard’s assimilation into the borg Locutus- I did have to explain a few things.  However, the wonderful, personal crew touches highlight any back-story needed, and the swift pacing from director Jonathan Frakes (Clockstoppers, Leverage) gets us into the situation onboard the starship Enterprise.  Using the big budget cinematic time and scope, First Contact is able to delve and deliver even more than the finest points of the TNG series.  Just like Star Trek II: The Wrath of Khan, First Contact excels in taking its television roots to the next level.  In The Borg, TNG’s created a new staple for the franchise, a terrifying- nay rapacious villain that sought to take away our identity and individuality and substitute collective brainwashing and technological terrors.  Knowing the weight of the onscreen enemy as well as his co-stars’ characters and needs, Frakes strikes a balance between several dramatic arcs, action sequences, and dispersed humor while still leaving room for the guest stars and mission at hand to develop and shine. 

Over seven seasons as Captain Picard, Patrick Stewart (X-Men, Robin Hood Men in Tights ) endeared us to the French diplomat with high standards and Shakespearean charm.  In First Contact, Steward adds more dimension to Picard, crafting a captain with a past and a dark side bent on forceful vengeance blinding him to the needs of ship and crew.  Picard is angry, taking matters into his own hands and spearheading the drama of First Contact.  All this and Stewart still gives us some fine wit and tender moments with several crewmembers, too.  Likewise, Brent Spiner (Independence Day, Threshold) gives new dimension to Data.  Spiner wonderfully handles the irony that an android seeking to be more human can find his ambition via a collective of cybernetic drones.  Data’s ability to turn off his emotions chip is also dealt with in delightful scenes, returning us to the personal heart of science fiction-the humanity.  Alice Krige (Sharpe, Sleepwalkers, The Sorcerer’s Apprentice) perfectly matches the big boys with a bizarre mix of class, power, disturbia, and sex appeal.  We’re not supposed to like the Borg Queen, yet Krige captivates us with her allure and uses the basic truths of the collective to her juicy advantage. 

Further guest stars add to First Contact’s multi-dimensional explorations.  Emmy winner Alfre Woodard (The Practice, Miss Evers’ Boys, Hill Street Blues) is exceptional as Lily, a 21st century human caught in between Picard and his battle with the Borg.  This is not the stereotypical hot girl enjoying the fish out of water spaceship fun.  Woodard keeps Lily pissy, strong, and no less lovely with stature and intelligence.  Of several great scenes in First Contact, Lily and Picard’s Moby Dick debate may be the finest in the film.  It is simplistic to equate a ship captain’s revenge to the famed Ahab, yes; but the allusion connects the past and future humans together in a touching, universal theme.  The irony that the space faring and advanced Picard has read the book-since his society does not define human value purely by the accumulation of wealth- and Lily in her desolate, post-war life has not adds to the importance of humanity’s art and individualism in this dangerous mission against the Borg.  Of course, James Cromwell (Babe, L.A. Confidential, The Queen) shines as conflicted engineer Zepfram Cochrane.  Trek history regards the legend with the highest honors, statues, and status, yet the Enterprise crew meets the man here.  And Cochrane is indeed simply a man who drinks, likes girls, and listens to rock and roll.  Cromwell is excellent as the cynical drunkard who is suddenly confronted with the mantle of greatness he has not yet achieved.  The relatable mix of anger, fear of failure, and humor keep Cochrane endearing.  It’s man versus himself at its finest.    

The rest of the Next Generation cast has precious little time to strut their stuff, but the gang is A okay nonetheless.  Each crewmember has a personal moment to shine, with lovely exchanges between Michael Dorn (borrowed from his subsequent move to Star Trek: Deep Space Nine) as Worf and Gates McFadden (Mad About You) as Doctor Beverly Crusher.  Frakes (North and South, Falcon Crest) and LeVar Burton (Reading Rainbow, Roots) have their witty moments humoring Cochrane, and Dwight Schultz (The A-Team) even has a spot as bumbling Lieutenant Reginald Barclay.  Marina Sirtis (Crash, Gargoyles) has a bizarre, comedic drinking scene, too, before getting serious for the big finish. We should know better since he’s a red-shirted Lieutenant, but Neal McDonough (Desperate Housewives, Boomtown) is also a lot of fun as new helmsman Hawk.  

Despite its years and the subsequent better visually designed Trek material, First Contact looks dang good.  The Enterprise E’s design and graphics look like the natural progression between The Next Generation and later series and films.  The glowing, claustrophobic, dark, and even spooky and suspenseful Borg also look wonderfully deadly and dangerous.  You can’t let them touch and assimilate you, yet one can walk among the creepy, zombie like drones until perceived as a threat.   Earth’s post World War III shabby and shanty bleakness is fittingly drab against the Enterprise’s stylized Dixon Hill holodeck glamour, and of course, the upside down spacewalk sequence still looks great.  Yes, everybody’s older and perhaps some things are better looking or too far changed from the style of the series- but advances in film production are understandable.  The fine action and effects of First Contact accent and complete the characters at hand.  The late Oscar winner Jerry Goldsmith’s (The Omen, Mulan) traditional Star Trek music themes also keep things familiar and relatable by swelling at all the right moments-be they personal or spectacle.

Star Trek audiences surely know and love First Contact.  Completists will also take to the sub par follow-ups Insurrection and Nemesis, but The Next Generation is best left on the big screen here. Newer fans from the 2009 reboot should also give this stylized leap a chance- as should non-Trek science fiction viewers.  Understandably, audiences who don’t like the TNG cast will have a tough time here, or maybe the humor and quick pace is out of place for some.  Thankfully, the overall development and far-reaching science fiction themes go beyond the mythos of Star Trek.  Even non-sf fans can find the depths and drama they’re looking for in First Contact.  With only a few moments of innuendo, genre family audiences can certainly spend the night here, too.  Trek lovers can enjoy the Special Collectors Edition DVD for plenty of behind the scenes, commentaries, trailers, and more or upgrade to the new blu-ray release.  For families looking for a quick fix, rental and streaming options are available as well. Introduce yourself to The Next Generation or love it all over again with  Star Trek - First Contact.