Olympus Has Fallen (Antoine Fuqua, 2013)

[tabuno]

Except for some special effects problems and a major plot point weakness by Morgan Freeman's character, this action thriller exceeds its predecessors in much the same way that Casino Royale (2006) updated the James Bond series. Instead of Bruce Willis's somewhat pedestrian everyman entertainment version of action thriller of the classic Die Hard (1988) and to a lesser extent Steven Segal's Asian humbled version of an action thriller of Under Siege (1992), Olympus Has Fallen is more serious and deliberate, especially in its set up. There's a later scene which takes from Under Siege in its deployment of special ops writ large.

The film suffers from the lack of consistency high tech special effects where some scenes look faked and Morgan Freeman's later executive decisions are somewhat questionable considering how serious and focused on authentic protocol tone of the overall movie. However, such weaknesses only slightly tarnish was is a well executed character development and edited opening sequences all the way through the initial Olympus has fallen scene. The script and Gerard Butler's character is also offered commendable platform where instead of Willis's or Segal's over the top action performances, Butler's execution is much more toned down and realistic and refrains from over the top dramatization which lends even more respect to the Office of the Presidency in this movie.

It's hard to watch this movie without considering the current North Korean threats of nuclear war and the insidious and cold-harded Asians cutting down a symbol of American power and prestige. Melissa Leo's performance as Secretary of Defense is on of the most gripping of any scene in the movie. The politically charged musical orchestration is also powerful, reminiscent Dance with Wolves (1990) or Gettysburg (1993).

Overall this action thriller sets a new standard for substantive and focused action that doesn't abuse its stunt work or special effects or or obvious stereotypes. A solid and gripping action thriller of the year.

[Chris Knipp]

This sounds like a truly terrible movie both artistically and politically, and for that reason I hoped to see it and review it when the offerings were very limited. But then all the previews of the San Francisco Film Festival came along, plus this weekend's good releases, TRANCE, TO THE WONDER, and THE COMPANY YOU KEEP, not to mention last weekend THE PLACE BEYOND THE PINES, so it was not necessary to see B-Pictures any more. Obviously OLYMPUS HAS FALLEN feeds US paranoia, but the threat of a North Korean attack is one that high government officials have credibly denied has any substance. The North Koreans have blustered in this way before. Certainly the US and South Korea constantly provoke the North, and the North/Soutn Korean conflict is one that has never been resolved, but there is nothing the North can do about it. Of course anybody can be as paranoid as they want, and such movies as this depend on that for their audience. Or isn't that aspect just to add a little routine spice? Really this is a movie for unsophisticated action movie fans who don't care that it's sub-everything else like it, and very retro.

[tabuno]

Olympus Has Fallen as I've mentioned goes beyond the violent brainless adolescent entertainment of Die Hard to a politically derived emotional connection to the classic evil bent of America's image of North Korea writ large. This movie successfully and effectively taps into our American national pride and evokes almost a virile lashing of hate-filled emotions that urge its audience to shout out with venomous anger at the insult provoking mayhem on the screen. As an art form Olympus Has Fallen captures successfully the raw nature of hate as a result of a visual and auditory attack on our unconscious attachment to our Nation's capital and what each American believes it stands for. Artistically, I believe this movie especially its developing lead up sequences to Olympus falling is among the best political propaganda movie made in its pitch to defending America from vicious, cold-hearted evil. Gerard Butler is great in his action scenes because they rarely go beyond incredibility and exude more of a sense of authenticity than most action thrillers.

[Chris Knipp]

This movie successfully and effectively taps into our American national pride and evokes almost a virile lashing of hate-filled emotions that urge its audience to shout out with venomous anger at the insult provoking mayhem on the screen. As an art form Olympus Has Fallen captures successfully the raw nature of hate as a result of a visual and auditory attack on our unconscious attachment to our Nation's capital and what each American believes it stands for.

And this is good? This is desirable? To evoke hatred of enemies who do not even exist, or at least are totally incapable of carrying out such actions? I can't imagine why you'd say such a thing.

I very much doubt your positive spin given the Metacritc rating of 41 and my understanding of the content of the film but not having seen it I cannot comment further. I'd be putting myself in a class with the kind of people who come out to picket a movie they haven't watched yet.

[tabuno]

While Chris Knipp may be correct about the "threat of a North Korean attack is one that high government officials have credibly denied has any substance" to the United States, the threat to both South Korea and Japan 625 miles away from North Korea is quite deadly and real. I would wonder what the reaction of Olympus Has Fallen will be in South Korea, Japan, and even China when and if it is released there? Is the brilliance or terribleness of this movie based, in part, on cultural or geographical considerations?

[Chris Knipp]

Maybe, but maybe they won't show it in those places. It's just meant to stimulate jingoism wherever it's shown, but that's not the main purpose: it's just ill thought out entertainment, sounds like to me.

Nearly everything that happens in Olympus Has Fallen is ludicrous, yet because the fate of the president and the nation hangs in the balance, the crisis is treated with the gravitas of Paul Scofield at the West End. The combination all but pumps laughing gas into the theater, as Trevor Morris’ score pounds with percussion, director Antoine Fuqua cuts away to a fraying American flag, and a rogue North Korean ideologue drives the country to the brink of nuclear holocaust. The one and only consolation for audiences is that the end of the world would never, ever happen this way.

--Scott Tobias, AV Club. Sorry, my friend, but I trust him more than you. He sees more movies.

[tabuno]

And this is good? This is desirable? To evoke hatred of enemies who do not even exist, or at least are totally incapable of carrying out such actions? I can't imagine why you'd say such a thing.

I very much doubt your positive spin given the Metacritc rating of 41 and my understanding of the content of the film but not having seen it I cannot comment further. I'd be putting myself in a class with the kind of people who come out to picket a movie they haven't watched yet.

If Hilter's Nazi Germany made a propaganda movie that was captivating, interesting, entertaining, compelling with a strong storyline and drama that resonating with its German audience in sold out theaters with rave reviews from that Country's movie critics, would such movie be great or just a lot of bullshit and crap? Do with the victors, go the spoils of any war? Do not those who conquer rewrite history to their own advantage? So what standard of art evaluation of movies do we adhere to? Is it dependent on the political views or historical accuracy (of who does the research) of the viewer? Or are there more consistent, universal features of movies that aren't dependent on such subjective, relativistic political philosophies?

[Chris Knipp]

No, I don't think so. Some things are terrible in any language, some are great in any language.

Olympus Has Fallen as I've mentioned goes beyond the violent brainless adolescent entertainment of Die Hard to a politically derived emotional connection to the classic evil bent of America's image of North Korea writ large

What makes brainless adolescent entertainment more mature and sophisticated by injecting rabid political fear-mongering into it? Korean and Japanese movies are more accurately historical, in general. Though they make some pretty crude stuff, it rarely ventures into politics, I'm thinking, for filler.

[Chris Knipp]

If Hilter's Nazi Germany made a propaganda movie that was captivating, interesting, entertaining, compelling with a strong storyline and drama that resonating with its German audience in sold out theaters with rave reviews from that Country's movie critics, would such movie be great or just a lot of bullshit and crap?

We recognize that Leni von Rifenstahl's Nazi propaganda movies, notably her TRIUMPH OF THE WILL, are superb filmmaking, despite the fact that they are Nazi propaganda. But to consider OLYMPUS in the same breath with Leni is absurd, I'm quite sure. I did see the trailer. THE TRIMPH OF THE WILL is a masterpiece. Likewise even in Israel they play and enjoy Wagner's music because it is wonderful, despite his racist ideas.

But this comparison and issue is also mistaken because OLYMPUS is not a propaganda movie. It is an action movie.

[Johann]

Yes. Context is everything.
This (bad) movie is an action film.

What a waste of talent.
I don't even want to see it.
Who does?
The White House is targeted.
How original!