Directed by Peter Berg
Starring – Mark Wahlberg, Lauren Cohan, John Malkovich
The Plot – In a visceral modern thriller from the director of Lone Survivor, Wahlberg stars as James Silva, an operative of the CIA’s most highly-prized and least-understood unit. Aided by a top-secret tactical command team, Silva must retrieve and transport an asset who holds life-threatening information to Mile 22 for extraction before the enemy closes in.
Rated R for strong violence and adult language throughout
– Crisp, pulse-setting sound mixing. While I’ve never been a fan of being put into an action sequence visually, I more than appreciate the decision in popping up these stunning shots of ammunition and explosions that feel like they’re happening all around us. If there’s any reason to spend a little extra and see this in X-D or IMAX, do it because of the full throttling of sound that never relents.
– Brutally violent fight choreography. I definitely have my problems with the documentation of this, which I will get to later, but the fight work from star and choreographer Iko Uwais. Fresh off of his success in ‘The Raid’ series of films, Uwais continues to captivate American audiences with his fast-paced, innovative measures of violence that place him second to none in modern day stunt work. While it is slightly silly that this group is protecting the most dangerous guy in the van, I can never get enough of Iko doing what he was born to do; take names and kick ass.
– At least from a psychological toll level, this feels like the first special forces film that articulately depicts the mentality of an employee who’s been in the business for too long. Wahlberg and Cohan’s character’s in particular are loose cannons, exploding on even the smallest instance of grief that comes their way. There’s plenty of problems in the performance department here, but the portrayal of this career feels like the most honest telling of anything that takes place during the film, and I greatly commend Berg for instilling this heroes job is anything but rewarding.
– Peter, what happened? It’s hard to believe that this is the same guy that directed ‘Deepwater Horizon’, ‘Patriots Day’, and ‘Lone Survivor’, because ‘Mile 22’ is a convoluted mess of storytelling. The movie constantly feels like it is telling three different stories at the exact same time, inter-cutting back and forth between different time periods and characters without any kind of indication we’re headed that way. In addition to this, it feels like the dialogue never takes a single second of breather, blowing through valuable lines of exposition that will leave you stranded if you’re not fully committed to paying attention 100%.
– Hyperactive editing. The fight sequences in this film could be incredible if they were given the chance to grow, and not be chopped down each time this violent cut kicks in. This gives the film an overwhelming feeling of attention deficit disorder that will put your eyes through the gauntlet of physical torture, every couple seconds. Most of the fight detection in non-existent because of the angles being so tight in their capture, but the bigger toll comes in the form of these violent cuts that add nothing of versatility to the creativity behind documenting an intense sequence.
– Detestable characters. When I say that I didn’t like a single character from this movie, I’m not embellishing in the slightest. Wahlberg’s character might be my least favorite of 2018, for annoying tone of voice and motor-mouth dialogue delivery that he constantly puts us through. This is his impression of a guy with mental instability, but I call it Wahlberg turned up to eleven. In addition to him, Ronda Rousey plays a bully (Original, I know), and Cohan is doing her best to one-up the guys in her unique methods of using the F-bomb. With protagonists like these, who needs enema’s?
– Minimal character development. The only kind of character exposition throughout this whole 90 minute film is for Wahlberg’s character, and it’s during the opening credits. This is every bit as lazy as it is ineffective at intriguing audiences into his rare condition. Beyond this, you’re out of luck if you seek any kind of depth to these people without personalities. The film outlines them as unimportant, thus so should we, and that lack of care spoke volumes in my lack of concern, once the bodies started dropping.
– This film takes something as harmless as rubber bands, and makes them offensive by depiction. Wahlberg’s character has autism, so to keep him focused he keeps a yellow rubber band on his wrist that he snaps each time he feels stressed or overcome with anger. This is very much a real life technique with autism patients, but I don’t need to be reminded of it each and every single scene. Because they couldn’t just have him snap it in frame, his wrist gets its own frame of film each time he goes to reach for this relief, cutting in between important scenes that test our attention and patience at even the ten minute mark of the movie.
– Erratic without those moments of downtime to pace it all out. There is a three act structure within this mess of a screenplay, as small and ineffective as the second act is, but this presentation of disjointed scenes and derivative male pissing contests, makes it all run together as one continuous act that is in a race to reach the finish line. Bored isn’t the proper word, but rather dejected for how this film takes what feels like 22 miles of ideas and fleshes them out into a film that barely hits the hour-and-a-half mark.
– The only scene of value for me happened at the very end of the movie, when a twist is thrown in too late to even matter. This does set-up what Berg and Wahlberg are hoping will be a trilogy of films for this franchise, but will inevitably fade away because in their building of another film they forget to properly end this one. Character outcomes are left to speculation, and this inescapable feeling of regret from a bombshell that could’ve saved the movie, happens far too late to be anything but forgettable.