WilliamMonahan Tagged Articles at Cinematical

Counting out Signs and We Were Soldiers, it's been nearly a decade since Mel Gibson's knocked some skulls (if you're willing to factor in 2000's The Patriot; if not, then exactly a decade since 1999's Payback), and in the trailer for Edge of Darkness -- embedded post-jump -- it looks like old habits die hard.

Gibson plays a Boston detective whose daughter is killed in a hit meant for him. Naturally, he starts knocking on doors and following trails to determine if his daughter had actually been the target all along, and why. Writer William Monahan is no stranger to either Beantown (The Departed) or elaborate conspiracies (Body of Lies), and director Martin Campbell (Casino Royale) already made a BBC miniseries out of the material back in 1985. (No wonder it was reminding me of State of Play, title similarities aside.)

I wasn't sure then why a film with such firepower on paper was being relegated to next January, but it seems to be in stride with the turning tide of this past January's strong performance. Just as The Cabin in the Woods 3-D had been pushed back to the same weekend that My Bloody Valentine 3-D had, I believe that Darkness is being positioned on the same weekend that Taken had for a reason. (Even the poster is not far from that of the righteous-father flick.)

Let's hope Mel McKickass has all the right reasons to warm things up next winter.

I'm still reeling from Body of Lies' remarkable box office flameout. The $70-million, Ridley Scott-directed, heavily-advertised spy thriller starring Leonardo DiCaprio and Russell Crowe opened three weekends ago to third place and 12.8 million dollars, and will struggle to get to $35 million domestic by the end of its theatrical run. What the hell happened? A B-grade Jack Ryan movie with Ben Affleck can make almost four times that, and a film with this sort of pedigree winds up dead on arrival?

The answer, of course, is that The Sum of All Fears isn't the proper point of comparison. Because it turns out that Body of Lies isn't much of a "spy thriller" after all. Writing Part One of this column back in the summer, I mused that Scott and screenwriter William Monahan were going to have a tough time making author David Ignatius's ultra-realistic depiction of CIA grunt work into compelling pop cinema. I was probably right, because they didn't really bother. They responded to the problem by making the film less crackerjack and more political; less exciting, perhaps, but smarter, sadder. In doing so, they threw their lot in with the sorry batch of Iraq War films rather than Jack Ryan. It was a bold choice that resulted in one of the best movies of the year – and a resounding commercial failure.

Politically, Ignatius' novel more or less kept its head down. There was certainly a sense that Roger Ferris, the protagonist played by Leonardo DiCaprio in the film, was frustrated with constant, counterproductive interference by his US-stationed superior Ed Hoffman (Crowe), but the subtext of this, if any, was soft: the problem wasn't any systemic defect but rather just that Hoffman was an insufferable micromanager. The book mostly concentrated on the fascinating (albeit not terribly cinematic) nitty-gritty of CIA field work in the Middle East.

I found myself asking one simple question during Ridley Scott's Body of Lies, a well-shot, big-name intelligence thriller that sees Leonardo DiCaprio's CIA man caught up in action in the Middle East -- namely, what is Body of Lies for? I don't mean that in the sense of asking what it supports or believes in -- although, with the film's mix of Hollywood heroics and sneering cynicism, you're certainly left with that question -- but rather in the sense of asking what it is that Body of Lies means to accomplish or communicate. Part of the film feels like an attempt at a sprawling, globe-trotting story of realpolitik and moral complexity, in the mold of Syriana or Scott's own Black Hawk Down; other parts feel like Dolby-pumped slam-bang action, in the mold of Tony Scott's Spy Game or the Bourne Films. And some of Body of Lies feels like a weird, surreal workplace satire, with DiCaprio's on-the-ground intelligence agent fighting, fussing and feuding with his D.C.-based superior Russell Crowe; if you hate having your boss hover over your shoulder second-guessing you, imagine how it feels to have your boss looking over your shoulder second-guessing you from orbit via satellite.

Adapted from David Ignatius' novel by The Departed screenwriter William Monahan, Body of Lies follows DiCaprio's Roger Ferris through a series of run-and-gun intelligence-gathering missions that start in Iraq and travel the globe in the name of penetrating, and breaking, a terror ring operating on a global level. Ferris works for Ed Hoffman (Russell Crowe, beefy and drawling), who runs his section of the CIA with a true believer's fervor. Speaking to a group of political staff and elected officials, Hoffman tries to get everyone in line by getting everyone scared: "Our world as we know it is much simpler... to put to an end than you might think." Ed knows that in an age of asymmetrical warfare, America's seemingly unsophisticated opponents have big advantages; you can't tap someone's phone if they don't have one, can't crack their e-mail if it doesn't exist.

The water surrounding Edge of Darkness was already rather tepid -- I'm going by the comments here on Cinematical, and the dutiful, but unenthusiastic reporting it's attracted. Were it 1996, and Mel Gibson was still everyone's favorite action star, the buzz would be something else.

But now, the rumors might really start flying. Variety reports that Robert DeNiro has abruptly left the production, which has been shooting since August 18th, though this was his first week on set. The only word came from his spokesperson, and it was good and curt. "Sometimes things don't work out; it's called creative differences." The Boston Herald has a little gossipy tidbit about DeNiro shooting a golf scene, which hardly seems big enough to have led to such unworkable tension. Was it the delay caused by excavating the sand pit? (I'm being sarcastic, of course, because I hate not knowing the truth behind a dry label like "creative differences.") We can speculate all day as to why -- is it actually worse than Analyze That, or what?

Shooting will continue, obviously filming around scenes of DeNiro's character as they run around recasting. Frankly, this could work out for the best -- many last minute casting changes do. But this film hardly needs the hint of scandal, not when the beleaguered Gibson is involved.

There's a lot of cinematic power behind Warner Bros. upcoming political thriller Body of Lies: It's directed by Oscar-winner Ridley Scott (Gladiator), it's written by Oscar-winner William Monahan (The Departed), and it stars reliable talents / big-time movie stars like Leonardo DiCaprio and Russell Crowe. Based on the novel by David Ignatius, Body of Lies tells the story of a journalist who is enlisted by the CIA to help track down a suspected terrorist. That's only the sketchiest of plot synopses, but since I haven't read the book, I'd like to enjoy Body of Lies without knowing the whole story.

And we're very pleased to bring you the very first look at the official one-sheet for Body of Lies. (It's behind the jump!) The film hits theaters on October 10 -- and since it's a Ridley Scott film, you just know I'll be there opening night. If it's half as good as Mr. Scott's last "action" film (the stellar Black Hawk Down), then I'll be a happy guy. (Click here for the poster!)

If you're going to return to the big screen after a long break and a big scandal, it probably helps to have the biggest co-star you can grab. It looks like Mel Gibson has done exactly that with his upcoming Edge of Darkness, because according to Variety, Robert De Niro is in talks to join the cast.

Edge is a big-screen remake of the 1985 BBC miniseries, and it centers on Thomas Craven, a Boston detective, whose 24-year-old daughter is murdered on the front steps of their home. Assuming he was the target, Craven begins investigating the murder, only to discover a startling conspiracy that reaches into high levels of government. Robert De Niro will play an operative sent to clean up the evidence, which probably means he'll engage in fisticuffs with Gibson at some point. The movie is set to begin filming this month in Massachusetts, and has a SAG waiver to continue if a strike occurs.

As I've stated before, I'm really looking forward to seeing Gibson acting again, and I love the idea of him pairing up with De Niro. It's a casting combination that I'm surprised hasn't happened before. I just hope the film, and its performances, can be judged on its own merit and not condemned because of Gibson's past behavior. And with that, I ask you to try and remain civil in the comments!

Realistic spy fiction is hard. On screen, it's almost never done. The tendency to romanticize espionage is so ingrained in us through decades of James Bond and Bourne and 24 that a warts-and-all depiction of the way intelligence agencies actually operate might not even make sense to much of the moviegoing public. Occasionally, someone will make a minor, based-on-a-true-story attempt – The Good Shepherd with the CIA, for example, or Breach with the FBI – but those are viewed as history lessons, not spy thrillers.

That makes sense. The CIA doesn't exactly have an open-door policy, so it's hard to say for sure, but by all accounts the work of a real-life agent isn't terribly dramatic, or ripe for genre film treatment. Much of it is a bureaucratic nightmare, and the jobs that we view as exotic and exciting – "secret agent," for example – are usually a tedious slog, consisting of years of building connections and forging allies in the hopes of a payoff in the indefinite future. Yeah: all else equal, I'd rather watch Jason Bourne kick some bad guys in the face while searching for his true identity.

I am bracing myself for the negative comments on this one. Variety has announced that Mel Gibson is taking the lead role in Edge of Darkness, the big-screen adaptation of the 1985 BBC miniseries.

It will be Gibson's first acting role since Signs and We Were Soldiers in 2002. He will play a straitlaced police officer whose activist daughter is killed. He takes on investigation of the case, and discovers a trail of corruption that led to his daughter's death. Sounds just up Gibson's alley. He's been a fan of the miniseries for years.

It is being directed by Martin Campbell, who also directed the BBC miniseries, and penned by William Monahan, who was the Oscar-winner behind The Departed. Graham King (also an Oscar winner for The Departed) is producing, alongside Michael Wearing (who produced the BBC original). Filming is set to begin in August, on location in Boston. A solid team all around, and I don't think I've ever seen a bad BBC production.

No, Leonardo DiCaprio isn't joining a sequel of that crappy Codename flick. He is, however, looking to star in a Korean thriller remake -- but it won't be in the vein of those many supernatural thriller re-dos. The Hollywood Reporter has posted that right after Warner Brothers picked up the remake rights to The Chaser for mid-six figures, Leo started looking at the lead, presumably because The Departed helmer William Monahan is in talks to direct.

Should he sign on, Leo will play an "ex-cop who goes on the warpath trying to find a missing girl. The girl, who may or may not be alive, is being used by a serial killer to taunt the police." That whole "may or may not" thing, mixed with taunting, is filling my head with visions of kid digits and horror, but hopefully the taunting is just with some carefully-lettered ransoms or "nyah nyah" taunts.

Not surprisingly, the original is a hit in Korea, which sparked the attention of many, including Vertigo Entertainment's Roy Lee and Doug Davison, who, I quote: "specialize in bringing Asian fare to American audiences." Just as I imagine Michael Clayton gets sick of clean-ups, you gotta wonder how tiring it is to have your whole job revolve around redoing films. They must hate rants about remakes.

Well, it's official. The Writers Guild of America is going on strike tomorrow. Here's hoping the strike ends quickly and that all parties come away happy. And writers? Use this time off to study my choices for the seven best screenplays of the 2000's:

The 40 Year Old Virgin by Judd Apatow & Steve Carell

The blending of improvisation and the written word gives Apatow's two classic comedies -- Knocked Up would be the other -- a feeling of authenticity that is all too rare in today's film world. Apatow takes the strategy of writing for specific performers and their strengths, and it really pays off. Scoff if you want at a sex comedy making the list, but for a movie to be this incredibly funny -- while keeping an oddly touching romance and a spot-on character study afloat -- the screenwriters deserve high praise.

About Schmidt by Alexander Payne & Jim Taylor

One of the saddest comedies ever made, and one of the most truthful and painful portraits of old age. Payne and Taylor specialize in scripts about people on the verge of cracking, depressed souls who tend to find the smallest redemption possible. Payne/Taylor characters never go from Point A to Point B over the course of the screenplay, they go from Point A to Point A.1. The small, gradual changes in their characters are reflective of the way actual humans (as opposed to movie humans) work. Warren Schmidt's personal growth is so minor that it is confined to the last thirty seconds of the film, but when it comes it's an emotional punch in the gut.