This MMA film has to be better than Never Back Down right?
Chiwetel Ejiofor: Mike Terry
Tim Allen: Chet Frank
Emily Mortimer: Laura Black
Alice Braga: Sondra Terry
Joe Mantegna: Jerry Weiss
Rodrigo Santoro: Bruno Silva
Max Martini: Joe Ryan
Ricky Jay: Marty Brown
David Paymer: Richard
Rebecca Pidgeon: Zena Frank
Randy Couture: Dylan Flynn
Written/Directed By: David Mamet
Release Date: May 2, 2008
Running Time: 1 hour and 39 minutes
R for strong language.
David Mamet has always been a better screenwriter than a director. After a strong start at the helm in 1987, mixed results are anticipated from him nowadays. Not everyone agrees when it concerns Mamet’s arcane approach to filmmaking, but generally I enjoy what he brings to the table. Redbelt, his latest effort, is anything but a change of pace for him. It does however combine the best con elements of which Mamet is known, with the reliable underdog story. Additionally, after the horrendous Never Back Down, this is the MMA feature fans deserve.
Mike Terry (Ciwetel Ejiofor) is a Brazilian Jiu-Jitsu practitioner and self-defense instructor who teaches his students what they need to know in order to survive on today’s streets. One of his most promising students is a police officer named Joe (Max Martini), who is working toward a black belt. Mike is in desperate need of money, but he refuses to enter any MMA competitions because it disgraces the meaning of his lessons. His wife Sondra (Alice Braga) wishes he would alter his stance since she is digging in the funds from her business to save her husbands. All of a sudden, an agitated woman enters his place in search of help. Through a series of bizarre circumstances, the window of Mike’s studio becomes broken, and this leads him to a bar where he ends up protecting unguarded movie star Chet Frank (Tim Allen). Could it be that Mike’s run of bad luck has turned, or does Chet have other plans in store?
Casting is an integral aspect of any Mamet venture. I have found that the more unusual the selections, the more enjoyable the substance. This is not always the case. Chiwetel Ejiofor assumes the center ring here as Mike Terry. He is a disciplined trainer, coach, and mentor that adheres to his values and principles. When his wife is constantly reminding him of their money problems, he remains calm, cool, and collected. Ejiofor brings his A-game to the role, and appears comfortably magnetic as a man who maintains his pride and honor in daily life. Ejiofor has churned out a string of stellar performances lately in Inside Man, Children of Men, Talk to Me, and American Gangster. He fits in wonderfully with Mamet regulars like David Paymer, Joe Mantegna, and Ricky Jay.
Tim Allen delivers a rare dramatic turn as Hollywood star Chet Frank. Allen has conveyed a broad potential in my eyes for many years despite sticking close to comedies. His shaky past tells me he could bode well in a few serious parts every now and then. Even when the humor is not as blatant, like in Joe Somebody or Big Trouble, Allen still stays with what feels right. Chet is the exact opposite. His contribution is small, but significant and controlled. He nails the persona with surprising ease, although who knows how much Mamet helped. Emily Mortimer is fantastic as the apprehensive woman that ignites the entire scenario. All of her actions make sense.
In nearly every Mamet film, a MacGuffin is involved. I love those devices. In Redbelt this is one of Terry’s martial arts designs. Mamet’s finest directorial effort to date is The Spanish Prisoner, and Glengarry Glen Ross is surely his paramount of his scripts. He shines brightest when he can mold an idea totally uninteresting or hackneyed, and dazzle the audience into caring. What he accomplishes with Redbelt is revealing the intrigue and relevancy of the MMA world. Make no mistake, both men and women can connect with this. The fight scenes are not important. The character studies are what drives the narrative. Again, viewers must be prepared for a con. Sometimes we can see it happening, while on other occasions, we cannot. In this case it has layers, which are gradually uncovered.
Most reviews cite the ending as the primary flaw. Indeed the events and scenes are somewhat rapidly and hastily accumulated, but that does not prevent it from leaving an impact. Personally, it required some slight polishing, but it evokes Mamet’s preference of creating organization from chaos. Furthermore, Mamet has described this as a samurai film in the vein of Kurosawa. Speaking of themes, he is right on the money. Redbelt gives a subtly noirish, complex, and engrossing glimpse at the unfamiliar territory of Mixed Martial Arts. Though it is certainly not a four-star classic, this stands as one of the more satisfying experiences in a disappointing first half of 2008.
The 411: One thing I adore about films is when the title plays an equally as vital role in the story. Redbelt is just that, and it was fascinating to watch. This is David Mamet’s first film since 2004’s Spartan. This blends all the best elements Mamet has to offer with superb writing, excellent casting, and multifaceted storylines to the trusty old underdog theme. It always works, and even though the final portion could have befitted from some alterations, this was still a highly enthralling drama. Chiwetel Ejiofor, Tim Allen, and Emily Mortimer are outstanding, and here’s hoping Mamet doesn’t wait another four years to direct again. Look for this at a theater near you. It is a nice change of pace from the crowded blockbusters.
