Release Date: March 3rd, 2016 (UK); March 4th, 2016 (US)
Genre: Action; Crime; Thriller
Starring: Gerard Butler, Aaron Eckhart
“Vengeance must always be profound and absolute,” sneers a baddie at the beginning of Babak Najafi’s London Has Fallen, sequel to Olympus Has Fallen. That movie wasn’t particularly good, though it still holds superiority over its younger British sibling, which is a pretty damning indictment of Najafi’s effort. As it transpires, vengeance is neither profound nor absolute. What is absolute is London Has Fallen’s failure to assert any sort of moral vigour, and boy does it try hard. This is a film that begins with an American-led drone strike — the strike lands somewhere in the Middle East and kills a bunch innocent civilians — and then concludes with a lot of western brouhaha. Gerard Butler’s pretty good, mind you.
An early morning jog unhealthily recants Captain America: The Winter Soldier, and London Has Fallen never really recovers. Why we find Special Agent Mike Banning (Butler) out jogging is a mystery anyway — this is a guy with an unpainted nursery room awaiting his handiwork at home. Banning is expecting a child with his wife, played by Radha Mitchell, whose limited screen time only marginally lags behind that awarded to both Angela Bassett and Charlotte Riley. The lack of time for the latter is a real shame given Riley’s sparky attitude imbues the piece with some much-needed freshness late on.
Ah yes: the nursery. We watch as Banning does a bit of home décor, all the while hoping upon hope he won’t get called away from his family to serve President Benjamin Asher (Aaron Eckhart). And why should he be called? It’s not as if Banning is the President’s most trusted right-hand man. Only, he is, though not for long: Banning has his resignation letter typed and ready to send. Finally he will be free to live a comfortable life with his wife and future child. It’ll be grea– wait, hold on. The British Prime Minister just died. Big funeral. All heads of state invited. Damn, so close.
And so we voyage across the pond, fingers crossed that the day will run smoothly. Of course, it turns out the Russian President can’t be bothered showing up because, y’know, Putin joke. Neither David Cameron nor Vladimir Putin are mentioned by name — the British PM is instead referred to as James Wilson, though the Russian President receives no such treatment. Prohibitive legalities taken into consideration, this random-name-generator approach infects proceedings with an early dose of second-handedness that the film really could do without. Elsewhere, it’s a case of broad strokes: the Italian PM is depicted as frisky, the French leader as fashionably late.
In fairness, nobody is buying a ticket to see a screenwriting masterclass, but even the basic story formulation feels lazy. When it isn’t flip-flopping between watery thematic substance and vaguely racist punchlines, we get to sit through Secret Service meetings during which potential terrorist plots are dismissed far too easily. And absolutely everything is telegraphed: ominous brassy horns sound out as Banning details the President’s route through London, foreshadowing trouble with as much subtlety as a jumbo jet taking off. Then there’s the godmother conversation that reveals whose death is pending. This sort of blatancy leaves us with no dramatic handle to cling on to.
There are a few decent things afoot. The London setting works as a familiar backdrop and it’s enjoyable seeing the characters race around the city. One shot especially stands out: as an air raid siren booms, the camera pans back from ground level towards the sky, its focus fully on Banning and Asher as they navigate ghost streets. Props should go to cinematographer Ed Wild and director Najafi for this brief juncture of inspiration. And when the piece refuses to take itself seriously, there is mild fun to be had (including one or two well-conceived action sequences). Rather than ill-judged attempts at joining the political conversation, London Has Fallen should embrace its silliness more. White House Down managed its limitations well, opting for nuttiness over seriousness with some success, and this ought to have following suit.
We do see visual prowess, then, but ultimately there is no escaping the absurd special effects. A river blast looks like something out of a video game cutscene. A bridge collapses in Final Destination style (not London Bridge, oddly). And it doesn’t seem to be a case of hokey-on-purpose, but rather just poor visual integration. There is a disconnect between scene-setting shots, which take on a grainy quality hinting at realism, and silly-looking explosions. On a side note: at one point events fly stateside, to Washington, D.C. and to a White House that looks in tiptop shape following its destruction in Olympus Has Fallen. Somewhere, a plasterer deserves one heck of a raise.
London Has Fallen unmasks the US President as damn competent with a weapon and then reckons it can contribute to the debate over the perils of modern warfare. The entire saga is far too flippant to get away with any of it: not the nervy and misguided faux-justification of terrorism via wheelchair reveal, nor its self-forgiving attitude towards unethical war. American Sniper suffered from a jingoistic eyesore and this evokes a similar blindness — it really doesn’t have a moral leg to stand on. If anything, you leave the cinema severely disliking everybody. Apart from Gerard Butler obviously. Have you seen him batter Jimmy Fallon with a giant hand?
Images credit: IMP Awards, Collider
Images copyright (©): Gramercy Pictures, Lionsgate