‘Contraband’ - #3 of 2012

When I tell people I liked Contraband most respond surprised with a confused face asking, “Really?”

Yes, really!

I thought it was a good movie and despite the negative reviews I’m not afraid to say it.  

Besides, most of the reviews for Contraband are downright lazy … they seem totally phoned in by an uncaring reviewer who is so preoccupied with January’s pre-Oscar fever that he/she can’t be bothered to write an actual review.

Even Leonard Maltin resorts to a mere plot summary (which is the laziest form of review ever, trailers accomplish the same thing) and he only offers three sentences of actual criticism:

1. Virtually all the actors go down with the ship, helpless to rise above a ponderous screenplay by Aaron Guzikowski.

2. A good caper movie should be light on its feet, but this one bears the weight of a heavy tread.

3. Contraband left a bad taste in my mouth, which is not what I’d call a ringing endorsement.

In addition, Maltin wishes the actors of Contraband “brighter prospects in 2012” and closes his review by saying, “But it is what I’ve come to expect from major studio releases in January.”

Now… I’m not going to say that Leonard Maltin is wrong on all accounts.  He is certainly correct about January.  It is a notoriously bad time of year for releasing movies… depending.  

Normally January brings us two kinds of films.  1) Great films that premiered in December, in limited venues, just to qualify for the Oscars and therefore given a wider release in January to keep their name in the media for Oscar voters, and 2) Films the studio don’t have much faith in.

Unfortunately, Contraband clearly falls into the latter category… and I believe reviewers allowed the timing of the film’s release to influence their opinions more than the actual film.

Also, to their credit, even the laziest reviewers took the time to point out one clear fault with the movie: the script.  The script was pretty formulaic, predictable, and at times, way over the top.  

However, unlike Maltin, I think the film’s tone and quality of acting saved the script and the overall film.

“Capers” as Maltin describes them, do not need to be light, like Ocean’s Eleven or The Italian Job, they can be heavy like The Spanish Prisoner or Heist.  Besides… I didn’t really think Contraband was trying to be a caper.  Sure there were elements, but there was a lot more going on.  I think the film was trying to be a gritty crime drama that just happened to have a caper-esque side plot.

In addition, the acting in this film was sublime.  Scripts don’t always have to be amazing for an actor to shine.  At some point a poorly crafted screenplay doesn’t matter anymore, as long as the performances are interesting and nuanced.  Mark Wahlberg was great as always.   This was one of Kate Beckinsale’s finer performances.  Ben Foster was fantastic.  And Giovanni Ribisi was at his best.  

Sure, it’s not a perfect film.  But perfect films are few and far between.  But that doesn’t mean Contraband is a total piece of garbage.