Battlefield 2 – Bad Company

Battlefield 2 – Bad Company

The word “bad” can hardly be used in the title of a movie that a critic wishes to look forward to, let alone take it seriously and watch it. Bad Company, which is about a high-octane and absurd spy movie as produced by Jerry Bruckheimer and known for his ultimate ‘pretty’ movies, deserves all the brickbats. Not that young viewers with adrenaline-pumping thrills will bother much with the critics.

As actors Oakes (Hopkins) and the rest of his Unit join an undercover mission to buy a bomb on the black market, a ring of dealers is looking to ‘deal’ and a couple of organizations wish to blow up Manhattan in the near future. A key agent is killed the CIA is forced to approach his twin brother, Jake (Rock), who’s a drug- dealing gangster tough at the streets: “I’m wearing my space suit, sir and this is America.”

It’s surely beyond the life of a con artist but just before hell breaks loose, he gets trained and never looks back. And right when the affairs heated up and dead bodies started to fall at an astonishing level of around TV-14 and PG-13, hectares of lands started to get blasted up shooting around 6 people in close quarters. The blood and gore with a sprinkling of ‘fuck you’ and over befitting sexual comments certainly added to the confusion.

The film, however, is able to send some positive messages regarding the importance of marriage, the institution of school and self: sacrifice. In an abstract out of nowhere scene that feels quite unreal, one gets to see how a baffled Jake deals with Helen, who confuses him for his sibling, and wants to get physical. He finds her attractive, but restrains himself as he loves another girl. Well how lovely is that? But, the film makes use of every chance it gets to show skin, and rub the foot of the femme fatale on Jake’s lap.asarray287M

What is more useless than movies with extravagance in choreography and punctuated sequences? Movies flooded with cursing, violence and other teenage incitements should be banned at all costs. There are numerous people who have penned down their thoughts on the 1 Corinthian verse of the third chapter, especially on it being quoted in vain so often. Do not allow Bad Company to spoil good character.

Despite the fact that this mindset is extremely effective in acquiring publicity, it hasn’t earned Ferrin much respect. Clearly when making Unspeakable, Ferrin’s goal was to shock and offend as much as he could, which, as it often is with these kind of people that try too hard for specific aims, just in the end makes him look silly. In fact, films that are truly disturbing or offensive do not set out to achieve such a response – they just are.

Part of Ferrin’s difficulty he has also written the mostly incoherent script is that he continues to lose the plot. Not Wanted shifts from over the top and obnoxious set pieces to crazier ones with a thin strip of story trying to link them but eventually producing a jumbled tale of irrelevance that instills in the viewer a feeling of dismay and dissatisfaction at the end.

Characters are introduced for the sole purpose of performing their sordid task and are then conveniently lost for as long as the scriptwriter requires them to be lost the catatonic sexual child patient for instance only appears in the film when Ferrin gets fed up with her. Most of the time, he appears oblivious to his characters and is more engrossed in depicting the outrages of their lives. The problem, however, is that because we are not invested in them to begin with the dialogue, the circumstances, the actions that they are saying, doing or undergoing seem stale and is a weak and pathetic effort to be edgy for being edge’s sake.

Ferrin’s most terrible blunder, however, was his portrayal of the nominal “hero” of the piece as a psychopathic serial rapist and killer who lost his mind with strangling the teenage daughter that he was raping. This is where quite the bulk of his audience, tilting back, turns from the haggard James Phelleps. One cannot be sympathetic to this insane character on his lone-guy crusade against crime in the most grisly manner as with Reno Miller in Abel Ferrara’s The Driller Killer (1979) which Ferrin would love Unspeakable to be such.

The entirety of Unspeakable contains no one single laudable or relatable figure which means when many of them die in such ugly, horrible ways, we simply don’t want to know and therefore invalidate the purpose for the gag that Ferrin was going for.

People seeking a nostalgia for the no-budget sleaze of the “video nasties” may appreciate the film’s slummy setting and unrelenting despair, but Unspeakable is so poorly made that it is simply a suggestion. The performances seem awful (most of the actors have been in this film only once), cinematography is dark and monotonous and Ferrin seems to just shoot whatever comes to the scene and has no aim of directing it with any finesse.

The lone exceptional mark is, of course, reserved for Nick Smith, who had the difficult task of composing music for the otherwise awful movie, although Smith’s score is quite good and should have been in a better film.

Shockingly, it is the Unspeakable movie’s disregard for quality that will leave audiences feeling shocked. One imagines that with a better cast, a storyline that actually makes sense, and original direction, Unspeakable would be hailed by many as one to be watched just like The Driller Killer. But sadly, there is no Unspeakable’ film, and if you need urban decay, do yourself a favor and go watch Ferrara’s movie. With this regard and the wretchedness of attempting this picture, the holiday can be reserved for those films that are last holdouts or when all the good ones have been viewed.

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