[yasr_overall_rating]
A family man becomes a vigilante killing machine when his family is violently attacked by robbers.
In “Grand Canyon,” Steve Martin, who plays a successful B-movie Hollywood producer, is watching the cut of a film he is making. The scene is a bus with hostages and shooting. During the screening, Martin abruptly calls it to a halt. The lights come up and he turns to the crew: “Where’s the money shot?” he asks. Puzzled looks. “You know, where the bus driver’s brains get splattered on the windshield?”
In this new version of “Death Wish,” there are lots of “money shots.” In several scenes, the audience, for just a moment, may be tempted to believe the bad man isn’t really dead – a tired old movie cliché if there ever was one – in a feeble attempt to add suspense. Happily, there are no such worn-out techniques in this freshened up remake of the 1974 Charles Bronson classic. The “money shots” in the new “Death Wish” leave no doubt that the bad guys have indeed been dispatched to their maker.
In the original “Death Wish,” which spawned four sequels, Charles Bronson is an architect in New York City. Bruce Willis’ Paul Kersey is an emergency room surgeon in Chicago. The change of occupation is a useful one as it takes the audience closer to the action – in this case, the aftermath of street violence. True to form, Kersey impartially attempts to save both police officers and felons alike that have the misfortune of winding up on his operating table.
In this regard, director Eli Roth wisely chooses to insert social commentary on both sides of the discussion about guns and violence. We are treated to many scenic night aerial shots of downtown Chicago, while voiceovers relay the latest crime statistics. Radio talk show hosts weigh in on the whether the vigilante is good or evil. Scenes of a gun shop, where firearms of all manner can be readily obtained, provide well-deserved satire.
By this time, most filmgoers will be familiar with the set-up for the original and the remake. However, there are some key differences. The home invasion scene in the 1974 version was brutally graphic and extremely unpleasant to watch. In this installment, the mayhem has been toned down. In addition, mercifully for the audience, the worst of things take place off-screen.
Of note and perhaps not surprisingly, is that the criminals depicted in New York City in the 1970s had fewer guns than those on display in modern day Chicago. Nonetheless, the director does not let Kersey get bogged down in tedious, lengthy shootouts just because the bad guys happen to be better armed in the contemporary era. To Roth’s credit, he allows Willis to hit mostly what he aims at, as opposed to spraying bullets and missing intended targets ad infinitum.
Now 62 years old, Willis takes the mantle of Charles Bronson and does not disappoint. Elizabeth Shue provides a crucial, albeit brief presence. Like Hope Lange in the original, we know she is not long for this world.
Camila Marrone, as Kersey’s daughter Jordan, has had a brief movie career to-date. For this outing, she more than fulfills expectations and will likely increase her visibility in the industry as a result. Other notable supporting cast members include Dean Norris – probably best-known for his work in “Breaking Bad,” – and his detective partner Kimberly Elise. The pair tries to solve the vigilante mystery in the same fine fashion as Vincent Gardenia in the original.
After leaving the theater, I had a nagging impression that “Death Wish” was reminding me of another film I couldn’t quite place. Then I realized that it was the Liam Neeson thriller, “Taken.” In the case of “Death Wish,” as the screening audience clapped and cheered, it was clear that society’s frustration with the seemingly endless onslaught of urban violence still resonates over forty years later. And similar to “Taken,” it’s one villain down, many more to go – and let’s get to it. At a breezy 107 minute runtime, there’s not a moment to lose. This 2018 remake brings back the good parts, leaves out the bad and inserts enough surprises to make for an enjoyable and satisfying movie experience.
In theaters Friday, March 2nd
