In Theaters: "3 Days to a Kill" and "In Secret"

Kevin Costner and Hailee Steinfeld in "3 Days to Kill." Photo from "3 Days to Kill" Facebook page.

MIX a dash of the cheeky humor of a James Bond film, the weariness of “The Spy Who Came in From the Cold,” one sappy storyline, several likable characters, loads of bad guys, and the copious car chases, shootouts and shoot-em-ups that have become de rigueur for action films of the last 15 years or so and … voila! … the recipe for “3 Days to Kill.”

In Kevin Costner's latest film, opening today in U.S. theaters – should this be described as a comeback or simply a return after sporadic sabbaticals? – he is government spook Ethan Renner. Here's a spy who really does want to come in from the cold. (See video below).

Ethan craves a simple life with his heretofore neglected wife Christine (Connie Nielsen) and daughter Zoey (Hailee Steinfeld). To prove his dedication to the cause, he has agreed to take care of Zoey while Christine takes herself off to London for a job.

Meanwhile, the bad guys are still out there generally menacing society. Only Ethan, of course, can put out of commission a really, really bad, bad guy. Really, really bad, bad guy is a terrorist, of course. Sure, Ethan can have his wish to be with his family, that is if he pulls off one last job for the agency, of course.

Ethan can only have life – literally – if he takes this job, one he'd rather pass on. Conveniently, he has a terminal illness. The one hope for reversal is an experimental drug. This is the carrot that agency bottle-blonde handler Vivi Delay (Amber Heard) dangles in front of Ethan to keep him on the hook. Take the job; get the drug, of course, of course. He has three days to lock this down, hence the title.

“3 Days to Kill” is an action film. To that end, one does not expect sterling dialogue, and one does not get sterling dialogue. Neither should one expect sterling acting, and one does not get sterling acting (it is what it is in what it is) in this effort directed by McG aka Joseph McGinty Nichol, a former video director who rose to real fame on the strength of directing the “Charlie's Angels” films.

Indeed, “3 Days to Kill” is an action film. To that end, the action scenes on the streets of Paris are thrilling and breathtaking, if somewhat familiar. It should be noted that Luc Besson, who knows a thing or thirteen about this business, is a producer of the film. This, no doubt, explains in part its Parisian setting.

Action-film fans have one to love, because this population can't get enough of chases and shootouts. The rest of the moviegoing public should just hold on tight during the loud, bumpy ride.

Oscar Isaac and Elizabeth Olsen in "In Secret." Photo courtesy of Roadside Attractions.

Sustaining more than its share of bumps is another one opening today, “In Secret.” It is in English and is the umpteenth remake of Émile Zola's classic novel, Thérèse Raquin. It concerns love, betrayal and murder in a lower-class milieu of 1860s Paris. (See video below).

Jessica Lange takes on the role of Madame Raquin who forces her niece and the heroine, Thérèse (Elizabeth Olsen), into marrying the girl's first cousin Camille (Tom Felton). Camille is also the son of the Madame. All is as ill as it is going to be until Therese claps eyes on the painterly Laurent LeClaire (Oscar Isaac), Camille's friend and colleague. Then, all gets worse.

“In Secret” is beautifully photographed by Florian Hoffmeister. The demure lighting often clashes with the action. The film is melodramatic and relies too heavily on silence as dialogue. It is the female characters who are at the center of this work. EO's Thérèse is overly worldly, not the seeming innocent that she should be. One believes, however, that she is quite capable of a malevolent act.

JL, trussed up as a brunette with a severe middle part, puts in a solid performance as the odious aunt. Yet, there are moments when she oversells the evil – there's that melodrama – bringing to mind Faye Dunaway in “Mommie Dearest.” “In Secret” also suffers from slow pacing. Not a good thing when the ending is known.

Here's a one for consumers of the period drama.

“3 Days to Kill” is rated PG-13 for intense sequences of violence and action, some sensuality and language; visit http://www.bit.ly/1fFuNXv to learn more about the film.

“In Secret” is rated R for sexual content and brief violent images; visit http://www.bit.ly/1p1AqXQ to learn more about the film.

Day 11 NYFF: Escaping (Cults) and Embracing (Politics)

Esteban Lamothe as Roque in "The Student."Photo from 49th New York Film Festival.

THE Student (“El Estudiante”) could also be titled “The Political Education of Roque.”

In the film, which has its second and last screening tomorrow at the 49th New York Film Festival, Esteban Lamothe is in fine form as Roque, the student of the title who enrolls in a nondescript public college in Buenos Aires. Roque has three things on his mind and none is his studies.

Roque is content to exist in the sex, drugs and rock ‘n’ roll scene until he attends a rally where the fascinating Paula (Romina Paula) is among the speakers. She is a child of revolutionaries who has been involved in various causes since she was very young. Roque is even more fascinated by Paula after he enrolls in her class. It is through Paula’s class that he gains entrée into her political circle at the university.

In an interview after the press screening of his arch political drama, first-time director Santiago Mitre said for many Argentines the public university is the entry point into politics. At this university, like in many societies, there are many political factions.

The factions are all fighting for the same thing: control. A very few members are true believers. Most, however, talk a good game about throwing off the shackles of Peronism, demanding that students be taught the (whose?) truth and fighting for better student services, etc. In the final analysis, though, they are supremely self-interested. Roque, the son of a Peronist, throws in with a group espousing other theories. It doesn’t matter, for allegiance is pliable and ephemeral.

Much of the action in “The Student” takes place in bars, restaurants and coffeehouses. Doubtless, politics makes one thirsty and hungry. Politics also inspires loquaciousness, though the dialogue is snappy and engaging. To increase the tension and drama around this excessive jawing, SM relies on a soundtrack more appropriate for a thriller or horror film, infusing “The Student” with an undercurrent of whimsy and vaingloriousness.

Roque rises quickly in the ranks, owing to his facility for organizing people and fomenting dissent and protest. Professor Alberto Acevedo and student adviser
(Ricardo Felix) also sees this potential and exploits Roque’s talents.

John Hawkes, Elizabeth Olsen, Louisa Krause and Christopher Abbott in "Martha Marcy May Marlene." Photo courtesy of Fox Searchlight Pictures.

In politics, Argentine-style, someone you idolize, respect and trust can betray you at the worst possible moment in the name of expediency. A comrade-in-arms may even attempt to manipulate you after his betrayal, thinking he can play you for a fool for a second time. Sound familiar? Is this the case only in Argentina? The political machinations have universal relevance, SM discovered, from audiences in various countries around the world – Chile, Greece, Israel, among them. It is in such circumstances that Roque gets the bulk of his education.

Though “The Student” could have easily been 30 minutes shorter, it is engrossing until the end, which comes on a sort of exclamation point.

“The Student” is in Spanish with English subtitles.

Disconnecting and deprogramming are at the center of “Martha Marcy May Marlene,” Sean Durkin’s thriller debuting at NYFF tonight.

The film follows the story of Martha (Elizabeth Olsen) who has escaped from a cult in the Catskill Mountains and is recovering at the home of her sister, Lucy (Sarah Paulson). Martha may need more than the love she is receiving in the bosom of her family because she believes members of the cult, led by Patrick (John Hawkes), are still watching her. (See trailer below).



The film, which won the best director award in the drama category for SD at the 2011 Sundance Film Festival, is scheduled for a limited release in the United States on 21 Oct.

Other screenings and events today at NYFF include “Pigs and Battleships,” “HBO Films Directors Dialogues: Abel Ferrara,” “To Union or Not to Union: Casting & Working with Actors in Low Budget Indies,” and “Intentions of Murder.”

Visit http://www.filmlinc.com/nyff2011/schedule to learn more about the 49th New York Film Festival: including schedule, repeat screenings, ticket and venue information.