RANSOM
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 7.0 Alternative Scale: *** out of ****
United States, 1996 U.S. Release Date: 11/8/96 (wide) Running Length: 2:01 MPAA Classification: R (Violence, profanity) Theatrical Aspect Ratio: 1.85:1
Cast: Mel Gibson, Renee Russo, Gary Sinese, Delroy Lindo, Lili Taylor, Liev Schreiber, Donnie Wahlberg, Evan Handler, Brawley Nolte Director: Ron Howard Producers: Scott Rudin, Brian Grazer, and Kip Hagopian Screenplay: Richard Price and Alexander Ignon, based on a story by Cyril Hume and Richard Maibaum Cinematography: Piotr Sobocinski Music: James Horner U.S. Distributor: Touchstone Pictures
RANSOM is director Ron Howard's first venture into the action thriller genre, and, although he's working with a solid cast and an auspicious premise, his attempts to emulate suspense maestro Alfred Hitchcock fall short. The reason is simple -- it's impossible to believe that Howard (PARENTHOOD, APOLLO 13), whose name is synonymous with epic adventures and feel-good comedies, would ever allow an innocent child to be murdered. Hitchcock had no such compunctions (see SABOTAGE if you doubt this), and that's a trait that separates his thrillers from this one.
It's pretty unfair, however, to damn RANSOM by saying that it doesn't live up to Hitchcock's standards -- how many movies do, after all? RANSOM isn't a bad thriller, it's just not a great one. There's a little too much pointless running around, a subplot that leads nowhere, and a certain creeping predictability that argues for a shorter running length. On the other hand, strong acting, smart dialogue, and a couple of neat twists counterbalance many of RANSOM's weaknesses.
The script, which is based on a 1956 movie of the same name, has been re-worked by novelist Richard Price (CLOCKERS) to bring it up to date. The film's noir quality is supplied by the camerawork of longtime Kieslowski collaborator Piotr Sobocinski (DECALOGUE, RED). There are numerous instances when Sobocinski's heavy atmospheric contributions are effective in enhancing the grim, almost-claustrophobic mood.
Mel Gibson, in his first role since BRAVEHEART, is Tom Mullen, the CEO of Endeavor Airlines, the world's fourth largest carrier. He's a devoted family man, paying more than lip service to his love for his wife, Kate (Renee Russo), and son, Sean (Brawley Nolte, son of Nick). One day, at a New York City school science fair, Sean is kidnapped by a gang of four (Lili Taylor, Liev Schreiber, Evan Handler, and Donnie Wahlberg). Handcuffed and blindfolded, the boy is held in a small, windowless room. From this hideout, the group's ringleader, corrupt cop Jimmy Shaker (Gary Sinese), makes his $2 million ransom demand. And, while money is the primary issue, the struggle between classes is also involved. Shaker sees himself as striking a blow for the hard-working man against the rich and overprivileged.
Tom calls in the FBI. The agent in charge of the investigation, Hawkins (Delroy Lindo), advises paying the ransom. At first, Tom agrees, but, as time passes and the situation becomes more desperate, he begins to believe that Sean is already dead. Finally, no longer trusting the cops and worried that he's being played for a fool, he makes a stunning decision.
Since there's no way Sean is going to be killed (or a Disney-owned company never would have released the movie), the most compelling questions relate to how he will be recovered and whether anyone will die attempting to save him. Howard wrings a surprising amount of tension out of this cat-and-mouse material. There are times when RANSOM is genuinely gripping, most notably during the scenes in and around Tom's fateful decision. We can also be thankful that Howard spares us a lame whodunit. We know the kidnappers' identities from the beginning, and this eliminates the necessity of peppering the plot with distracting red herrings. The ending could have been steeped in unexpected irony, but the script opts instead for a conventional resolution.
At least one subplot is worthy of a more detailed exploration than it receives. Early in the film, it's revealed that Tom participated in the illegal bribery of union officials to avoid a strike. An accomplice went to jail, but, by denying involvement, Tom kept his hands clean. The kidnappers use this incident to peg him as a "payer", someone who would rather buy his way out of trouble than take a risk. Beyond that, however, little is done with this information, and, eventually, it's forgotten about.
The strength of RANSOM lies in the performances. Mel Gibson is easy to believe as a desperate father who will do anything to get his son back, and who is tormented by the potential consequences of a wrong decision. Renee Russo, who has refined her acting skills since last appearing opposite Gibson (in LETHAL WEAPON 3), holds her own, although her role isn't especially meaty. Gary Sinese fashions a chillingly complex villain who's both ruthless and intelligent. And Delroy Lindo's effective secondary character reminds us of the stakes in Tom's "game".
With recognizable, popular names like Ron Howard and Mel Gibson involved, RANSOM is all-but-guaranteed to bring a huge financial windfall to Touchstone Pictures. Only those who approach this film with expectations of something with a real edge will be disappointed. The movie delivers the kind of mainstream entertainment likely to generate a positive buzz. And, for better or worse, that's the most I've been able to claim for any of 1996's overhyped blockbusters.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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