Directed by Harold Cronk
Starring – Samuel Hunt, Marritt Patterson, Will Graham
The Plot – Based on Laura Hillenbrand’s bestselling book, the film begins where the previous film concluded, sharing the next amazing chapter of the unbelievable true story of Olympian and World War II hero Louis Zamperini (Hunt). Haunted by nightmares of his torment, Louie sees himself as anything but a hero. Then, he meets Cynthia (Patterson), a young woman who captures his eye-and his heart. Louie’s wrathful quest for revenge drives him deeper into despair, putting the couple on the brink of divorce. Until Cynthia experiences Billy Graham’s 1949 Los Angeles Crusade where she finds faith in God and a renewed commitment to her marriage and her husband
Rated PG-13 for thematic content and related disturbing images
– For a Pure Flix film, this one sure does have a lot of daring material. Usually with these kind of movies, I prepare myself for the kind of provocativeness that comes with singing ‘Old Mcdonald Had a Farm’ in a preschool class, but surprisingly the PG-13 label is tested repeatedly, with an array of spousal abuse and alcoholism that gives the movie actual personal demons that provide our protagonist with plenty of character flaws. I commend the movie for being amongst the most daring from the production company, and hopefully our first R-rated film isn’t far behind.
– Brandon Roberts nostalgic musical compositions. Even during a movie that my interest kept waning in, the musical score served as the shot of much-needed adrenaline to keep me into the grip of the story. What Roberts does is pay homage to the era of Jazz music in the 40’s that paints a vivid portrait of feel-good cinema. On my ears, it reminded me a lot of ‘The Sandlot’, in that it audibly enhances the beauty of the scenery that surrounds us, constantly reminding us of the light-hearted atmosphere that our characters partake in.
– I’m not of the camp who think this film was pointless, in fact I applaud it for telling the story AFTER the heroic event. Most films or franchises rarely ever tell the whole story, refusing to focus on the psychological toll that a haunting event from ones past has on the aftermath of their well-being, but Cronk takes that chance, and while the movie simply doesn’t work for its own reasons, you can’t hate against a director who is hungry to take chances.
– Feels like one long musical montage of Zamperini’s life. Perhaps the biggest offense that this film commits is that it’s trying to tell too much in such a short allowance of time (93 minutes). Particularly in that of the first act, Louie’s life flashes by with little ability to stop and soak in the very meaningful moments of his emotional homecoming, choosing instead to rush to a red light of entertainment that isn’t remotely as compelling. Because of this, this movie is a very difficult sit to get through because it’s all these remote tidbits that never add up to form the outline of this wounded man.
– Flawed production values. It isn’t enough that Zoran Popovic’s uninspiring cinematography hinders much of the style and vibe that the backdrops have going for it, but the camera quality and set designs mirror something of a low-budget dramatization show on television. Louie’s horrific flashback sequences are done in the lightning fast depictions because much of the effect work stumbles from low grade green-screen quality and obvious studio room limitations that remind you that these scenes are taking place anywhere but the actual ocean. This aspect alone constantly reminded me of watching a straight-to-DVD sequel, and it’s in Angelina Jolie’s once lucidly imaginative style that forces us through the biggest of all drop-offs.
– While I have no problems with the performances in this movie, other than the romantic leads having zero chemistry with one another, it’s more so in their demeanor and how they’re directed for why I felt they were both terribly miscast. As Louie, Hunt channels a vibe of arrogance on top of smug facial reactions that make him anything but relatable. Patterson is decent when she’s left to deal with being the eyes and ears of the household, but physically there’s nothing about her appearance that tells me she was the right woman for the job. If my words aren’t enough, wait for the film’s credit sequence, which does Patterson zero favors in the authenticity department.
– Constantly reminds you of the better film you should be watching. I get that this is a movie that takes place as a result of something tragically horrific for the protagonist, but this movie went to the well far too many times with this angle, saving its lone intriguing moments for the reminders of what we as an audience have already been through with a far superior film. Take this out of the film, and you start to find out not only how little this film established in terms of originality, but also how truly boring the diminishing laws of return are when the story’s meat has been removed.
– Forgotten subplots. I’m finding this kind of sloppiness a lot in religious films anymore. A series of storylines will be introduced to the unfolding scenario, usually in the second act, and we never hear anything of their conclusions. For ‘Unbroken’, it’s Louie’s emerging career as a possible professional boxer, or a broken ankle that is never mentioned again. Both of these subplots are given valuable attention and screen time during the film, but are abandoned faster than Louie’s atheist ideals, which I’ll get to in a second.
– For a while, I was convinced that the religious propaganda wasn’t going to pop up in this film. It goes roughly an hour with very minimal mention of anything holy. But the final half hour shoe-horns this angle in so forcefully that it transforms this into an entirely different film all together. Reverend Billy Graham is played in this movie by his real life son, and the last ten minutes are this obviously desperate ploy to speak to us the audience, in place of Louie whom he’s actually speaking to. The camera angles during these scenes are creepy to say the least, positioning Graham front-and-center looking at us to manipulate us into believing that matters of alcoholism and psychological duress will disappear if you believe in Christ. It’s all such an A-to-Z direction in terms of where this movie started, and touched on the very same notes that other Pure Flix films do that make all of their films so predictable.
– Clumsily rendered flashback sequences. The fantasy sequences in question lack even the smallest ounce of nuance and subtlety, reaching for shock factor that simply can’t hold a candle to the more horrific points of Jolie’s original film, that did more in a camp than this film could muster with imagination. Nothing ever feels effective to us the audience, and if we can’t feel Louie’s pain during his most trying moments, then it’s a constant reminder of how tragically flawed a story this easily engaging can’t manage to ever peak our interest.