16 Blocks Review
Posted by Chad Webb on 03.06.2006
The route taken in these 16 Blocks is bumpy at times, but persistently smooth.
Bruce Willis: Jack Mosley
Mos Def: Eddie Bunker
David Morse: Frank Nugent
Jenna Stern: Diana Mosley
Casey sander: Captain Gruber
Cylk Cozart: Jimmy Mulvey
David Zayas: Robert Torres
Directed By: Richard Donner
Release Date: March 3, 2006
Running Time: 105 minutes
Rated PG-13 for violence, intense sequences of action, and some strong language.
16 Blocks brought to mind a quote by English statesman Anthony Eden, and he said, "Corruption has never been compulsory", but certain characters in the film think otherwise. A line from the 2001 crime thriller Exit Wounds says "Sometimes you have to walk in the darkness, to bring the truth to light" in regards to police corruption. It is a very serious and controversial issue in today's society, and police corruption is what 16 Blocks revolves around. Dirty cops are everywhere in movies, but few films dig deep beneath the surface to explore the problem for what it is. It's one of my favorite subjects, and having graduated with a degree in criminal justice, it's a topic that is always lingering on my mind. That is not to say 16 Blocks fails in any way, because is survives throughout as a sturdy and agile enjoyable little treat for February.
As detective Jack Mosley (Bruce Willis) winds down from a hard day, he is given a last minute assignment from his boss. His obligation is to transport petty criminal Eddie Bunker (Mos Def) down the courthouse where a grand jury awaits him so he can testify about New York City's most fraudulent cops. Before they know it, their trip is packed with many obstacles, as a posse of crooked officers, led by Detective Frank Nugent (David Morse) follows and hunts them in hot pursuit through every nook and cranny of the city. Both Eddie and Jack have things going against them. Eddie has certain knowledge that could get him killed, and Jack is an alcoholic with a bum leg nagging him. Together this unlikely pair must use each other's strengths to escape the cops tracking them, and arrive safely at the courthouse to bring justice to the city.
It is no surprise to see Bruce Willis as the rebel cop, who has nothing in his favor, and must defy all the odds to reach his goal. Who cares if this is his favorite role to play because Al Pacino does the exact same thing as a grizzled out veteran in particular fields. Willis has mastered this role with a preciseness of fortitude and just plain old convincing performances. Only Bruce Willis can embody the appearance of a sloppy, drunk, balding police officer, which has long passed his prime. Much like a professional wrestler "selling" an injury in the ring, Willis carries his bum leg perfectly throughout the film. On an interesting note, he used a rock in his shoe to give the correct impression of a limp.
Improving his acting abilities with every role is Mos Def, who tremendously uses an abnormal, yet detailed accent to further augment the authenticity of his character. His sporadic, but comical anecdotes are suitable and stylish as a young criminal, who is in over his head farther than he can imagine. In many ways, the choice of Mos Def for this role could have been precarious, but he creeps into every scene cautiously, unloading forceful blows of charisma. It is easy to imagine a criminal such as Eddie Bunker, who is verbose, naïve, and charming, while still taking time to perfect his cake baking.
The role of a villain is what David Morse was born for with his vindictive, yet sometimes sympathetic words and actions. Not all of his films are critical successes or box office hits, but he periodically shows up to flex his iniquitous muscles. Traveling back in time to 1996, the similarities between Detective Frank Nugent and Major Tom Baxter in The Rock are detectable.
After a three-year hiatus following the deplorable Timeline, Director Richard Donner returns with an action film involving cops, car chases, and gun fights. Did you sense the sarcasm there? This does not exactly mark new territory for the expert of escapist entertainment like the Lethal Weapon series, but it is safe and unmemorable, which is more his speed. Perhaps I am too harsh, but one cannot forget his string of forgettables like Assassins, Conspiracy Theory, and Maverick. Don't get me wrong, those mild hits might be quality viewing material for a rainy day, but this filmmaker has proven his genius before with The Goonies and The Omen. Donner's forte is planting the audience down on the city streets with concentrated action, swift dialogue, and random splashes of humor.
From the start, one can plainly see that this film strives on realism, especially after the sight of Mosley's desk in disarray with the clutter of important papers scattered everywhere. If a film is attempting to be as authentic as possible, it needs to be consistent, and that is where 16 Blocks slides down the hill only to rest on the average ledge. One sequence of gunfire at the beginning was constructed superbly with one of the assailants getting pummeled as he exits his truck by an anonymous passing car. However, towards the conclusion there is one portion that left me disappointed, and that involved a bus that had newspapers blocking the windows so that no one could see where they were going. Even thought the bus hits things as it moves, for that moment, the film felt ridiculous.
The foundation of 16 Blocks relied on the chemistry between Mos Def and Bruce Willis. Remarkably, the two appeared to be relaxed and assertive with some fascinating concluding scenes. When the movie was over, I thought the film was wonderful, but as time passed, I knew that this was just another mundane crime flick that will remain on the Wal-Mart rack for $9.99. The action is accurate and engaging, the script is suspenseful and even witty, but the result is like a sparkler, which is exciting for a couple minutes, but monotonous after you start thinking straight.
The 411: This is not a bad movie, and you now what, to some it might be worth buying, but I can name multiple other actiony crime films that would look better on your DVD shelf. Willis is the same as he always is, Mos Def is an exciting new face, but I was not stimulated as much as I could have been by Richard Donner. If you want my opinion, go see this in the theater, and have a good time with this decent distraction.
