It works the same way a "Die Hard" movie works-fast plot, do good hero, nasty bad guys, and jokes. I didn't expect to like this, but ended up captivated. So the bad guy on the loose is on collision course with Owens with his rag-tag friends in his Arizona border town.
#Arnold schwarzenegger movie aftermath professional
They are a professional team led by the ever-enjoyable Forrest Whittaker, but of course they are a bit too professional, and arrogant, and they make constant little mistakes of misjudgment. Who would? In this hyped up against-the-odds yarn, we have some excellent if well-worn clichés. When a bad boy drug lord (a very cute one) is set to be blast through in his Corvette, this sheriff, Ray Owens, won't tolerate it. Because Schwarzenegger is playing a sheriff in a lonely western town. In a way, this is Arnold trying to be a bit like Clint. And Arnold Schwarzenegger is true to form, even joking once about his getting old. It's fast, well done, and appropriately preposterous. It's a comedy, and if not quite a parody of a tough lawman against the odds plot, it pumps up all the clichés nicely. A score by Mark Todd is inescapably bleak, while search and rescue sequences in the aftermath of the crash veer towards being exploitative.The Last Stand (2013) Well, if you take this too seriously you're missing the point. Costuming choices are also interesting, particularly with Schwarzengger’s Russian immigrant. A recurring theme of viewing the action from above is thought-provoking, while jet engines are shown criss-crossing the blue skies, the only note of real colour in the piece. This is a revenge film only in its loosest definition, as Schwarzenegger’s character pursues an apology for his loss from anyone connected with the disaster.ĭoP Pieter Vermeer’s camera affords scant visual relief, emphasising the drab, down-at-heel interiors, from blue-collar homes to steely grey boardrooms. But this grim psychological drama becomes ever more ponderous as the grizzled Roman struggles to accept his loss and a depressed Jake loses his family and moves to a new town with a new name. This entire sequence, and the crippling grief and guilt Jake subsequently shoulders, are Aftermath’s most effective. Meanwhile, in some tautly-edited and -acted scenes entitled ‘Jake’, a collision between two jets takes place when an air traffic controller (McNairy) is momentarily distracted.
Soon he’ll be entering the airport and receiving “the worst news that anyone will ever receive”. As he fixes “welcome” signs to his walls and takes a shower before heading off to the airport, his fate seems foretold. Working as a building site foreman, he’s shown in initial sequences entitled ‘Roman’ (after his character) to be a hard-working immigrant who has just managed to bring his wife, daughter, and unborn grandchild over from Kiev. There’s a stiltedness to Schwarzenegger’s performance – and the direction – which ultimately works in the film’s favour, but complicates the initial buy-in to Aftermath’s world.
While Schwarzenegger is solid – almost literally, his face like granite and his movements stiff – and McNairy is completely committed in this tragic two-hander, Lester’s film is resolutely one-note, an unrelenting trip to personal hells which may struggle to entice audiences on release through Lionsgate Premiere on April 7. The original title, 478, refers to the number of days between the crash and his death.) (The fact Aftermath is based on a real-life German air crash only makes the viewing experience feel more grim in 2002, a mid-air collision in German airspace was blamed on an air traffic controller who was subsequently murdered by a relative of three of the victims. Grey skies, graveyards sludge, snow busted landscapes and broken-down humans populate Elliott Lester’s ( Love Is The Drug) unrelentingly bleak drama, produced by – amongst others – Darren Aronofsky through his Protozoa label. Here, again, Schwarzenegger plays a distraught father, this time a Russian émigré in working-class Columbus, Ohio, who falls into a dangerous depression when his family is killed in a plane collision inadvertently caused by air traffic controller Scoot McNairy.ĭoP Pieter Vermeer’s camera affords scant visual relief, emphasising the drab, down-at-heel interiors, from blue-collar homes to steely grey boardrooms And Aftermath (previously titled 478), from a script by Enemy’s Javier Gullon, digs even more downbeat than last year’s Maggie’s Children. Post-politics, there’s been a gloomy, anguished note to Arnold Schwarzenegger’s film work.
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