Colombiana
USA / France - 2011
Directed by - Olivier Megaton
Starring - Zoe Saldana, Jordi Mollà, Michael Vartan, Cliff Curtis
Color / 108 Min / Rated PG-13
I had mild hopes for Colombiana. It’s another revenger co-written by Luc Besson, whom I felt was on something of a renaissance with his quirky French action movies thanks to 2008's Taken and the surprisingly enjoyable From Paris with Love which came shortly after, but my hopes were dashed about three minutes into Colombiana when the completely absurd chase scene between a gang of hardened drug dealers and a 9-year old girl begins in earnest. The movie asks the viewer to accept that a little kid can not only outfox these hardened criminals armed with handguns and machine pistols, but that she can outrun them too, despite the fact that the crooks have vehicles. Were this film billed as a whimsical action-comedy, I’d happily buy into this fantasy, but this is essentially Nikita redux, told without so much as a hint of a tongue in cheek.
So yes, Zoe Saldana plays Cataleya Restrepo, the little girl all grown up who wants revenge on the drug lord and cronies who killed her mother and father. The resourceful girl makes her way to Chicago where her uncle Emilio (Cliff Curtis) and extended family live. Surprise, surprise -- uncle Emilio is also an underworld figure and trains Cataleya to become a top notch assassin. Yeah. Guess what? Cataleya gets her revenge.
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| Q: How can you fuck up a movie about a hot lady with a gun? A: Colombiana. |
Now that I’ve got that out of the way, I can spew venom on this stupid movie that takes itself way too seriously. Where to start? Let’s talk about the fact that our heroine is in fact a manipulative, selfish cunt who, in her mad pursuit for revenge, gets her entire family slaughtered and ruins the life of her tacked on love interest. That may sound like an extreme depiction on my part, but think about it: As the batshit crazy Cataleya assassinates yet another drug dealer to lure the kingpin out of hiding, uncle Emilio takes her aside and says something to the effect of “Hey! Stop it, goddammit! You’re going to get the rest of your family killed in retaliation for all this!”. He even warns her a second time, and still Cataleya continues going after the cartel. Sure enough, the criminals respond in kind by gunning down everyone Cataleya might have cared about - uncle Emilio… great aunt Jezebel… hell, even old grandpa Jimmy Jack Restrepo gets it.
The only surviving family Cataleya has after this wanton slaughter are her grandpa’s dogs. And what does she do with them? She hides them in a van which the kingpin conveniently selects as an escape vehicle at the film’s climax. Our super-smart hitwoman then implausibly yells out an attack command over a cell phone which prompts the dogs to maul Mr. Drug Dealer to death. Hee hee! Way to condemn those poor animals to death once the police find the car and have them put down, ya silly bitch.
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| This actually looks 100 times better than any stills I've seen of Anne Hathaway as Catwoman... |
I will concede that the action scenes are more than competently directed and the kinetics are there in all the right places, but it’s an exercise in futility when your audience doesn’t give a rat’s ass whether the heroine succeeds or fails. To put in perspective just how much I didn’t like this movie, I stopped it twice to watch other movies. Direct to video action movies. When I’d rather watch a d-list Roddy Piper flick over your big budget action movie, something is very wrong.
Also, I’m subtracting another 10,000 style points for throwing Johnny Cash’s cover of “Hurt” onto the end credits, because A.) the movie had nowhere near the kind of emotional depth to warrant such a song, and B.) didn’t we have enough movies and television shows trying to shoehorn that track into their projects circa 2003-2006? Personally, I think "Pretty Vacant" by the Sex Pistols would have been a more appropriate track to draw a curtain on this movie.
1.5 / 5



there is something fascinating in those b, c, d, z grade direct to video movies that make them more watchable and interesting than a bland, empty major studio movie.
ReplyDeletei'll probably still watch this eventually. did they use any hyper a.d.d. editing techniques?
Hmm... no, I don't think this one is much of an offender of the hyper editing that has been prevalent in so many action movies since the Bournes came about. It's just your typical thud and blunder edit job, which is what I usually prefer for an action movie.
ReplyDeleteHow did she know the bad guy would choose that particular van to escape in? How did she know he would answer his cell phone? How did she know he would put the cell phone on speakerphone, thus allowing the dogs to hear her verbal command?!
ReplyDeleteI found the movie full of such contrivances. Things would happen for no discernible reason other than the plot needed them to for her to succeed.
Another example is when the FBI is raiding her place. She decides to blow a hole in the wall to escape. She times the explosion so it coincides with the FBI blowing up her front door. But why did the FBI do that? Don't they usually just blow off the doorknob or something with a very small, controlled blast? Why blow up the whole door, causing a huge mess (that'll mess with the crime scene)?
Also, why would a jail of all places have air vents big enough for a person to fit into? And if they did, how is it that not a single person that works there know this?
Man, I could go on and on about this kind of thing.
The FBI raid is goofy as hell. First of all, they'd actually need to get a warrant to go in guns blazing like that. Okay, so that's boring. You gloss over that in action movies, I get it. But... breaching charges? Really? Wouldn't you try the battering ram first? Actually, no -- wouldn't you KNOCK first? It's not like they had any solid evidence that their suspect was a hardened professional killer, just the random flower info from conveniently placed janitor dude. The movie is one long series of stupid coincidences.
ReplyDeleteI knew this was going to cack as soon as I saw the trailer and the casting. The whole thing which made TAKEN work for me was the casting of Liam Neeson. Plot wise the film could have been a typical Steven Seagal DTV effort. From the trailer I could tell that this was going to be nothing a soul less exercise in titillation: a hot chick kicking arse.
ReplyDelete