One of the fastest growing trends in the film industry is to take a popular
television show from a few decades ago and turn it into a movie. With the
success of "Charlie’s Angels" this movement is bound to continue. S.W.A.T.,
which stands for ‘special weapons and tactics’ was an above average television
that began in 1975. Now, in this nostalgic time we live in the film works
largely because it takes the basic premise of the television show and allows it
the freedom to be its own work. Rather than force a concept that is over twenty
five years old the writers and producers makes this film more fresh and
contemporary than most such remakes. This is an action flick that understands
that that audience requires a solid plot to ground them and hold their interest
between the action sequences. Here, the plot is streamlined, just enough to hold
things together but not one that demands a lot of attention. During a routine
traffic stop a major drug kingpin Alex (Olivier Martinez) is taken into custody.
He offers the sum of one hundred million dollars to anyone that can get him out
of his incarceration. Only an elite S.W.A.T. team stands between this objective
and the law. This team is headed up by Hondo (Samuel L. Jackson), a man that is
sure of his finely honed skills, both in deployment and strategy. Other members
of his team include Street (Colin Farrell, a police officer that recently
wounded a hostage, a young Latina Sanchez (Michelle Rodriguez) and the ultra
cool member Deke (James Todd Smith aka LL Cool J). While several of the
characters share the same names as their television counterparts it is there
that the similarities end. I was a fan of that show back in the day and while
the medium of TV at the time permitted only a superficial and somewhat standard
portrayal of the characters, here each character is afford just enough back
story to flesh it out and actually add to the story. While the story is above
others of this genre it does suffer somewhat from falling into the typical cop
show standard lines. There is the rouge cop, the hot head, the cop that is
devoted to duty and of course a bad guy with no redeeming qualities whatsoever.
Although the film moves along nicely for the most part it is predicable, you
know from seeing other such films what is about to happen. The only difference
here is the action sequences are not so far over the top that the audience would
need a more than healthy does of suspension of belief to enjoy the experience.
I have to admit that I was a bit disappointed in the performances. Most of
the actors have done better in past films of this sort. Jackson is usually
dynamic and full of attitude. Here, he is too restrained for the role. Perhaps
he should have brought a little more of Shaft into the role. Rodriguez is
getting the reputation for the tough chick. While she is physically suited for
such roles she has actual talent as an actress. It would be rewarding to see her
in a role that would showcase this talent. Here, she is confined to the woman
making it in a man’s field, having to be twice as good in order to be perceived
as half as effective. This type of character is a bit worn out by now. I have to
say that LL Cool J, billed here by his real name James Todd Smith is the
breakout performer. It was not so much his character as it is Smith’s ability to
play a role without relying on his rap roots. With all the rap singers trying to
make it in the movies Smith is actually trying to create a career on acting
talent. His use of his real name shows that he wants to be seen apart from his
music career.
It is said that all actors want to direct and all directors want to act. This
saying is proven by the director of this opus, Clark Johnson. He has over twenty
years as an actor, one that has been in many different types of films and
television shows. His move behind the camera was mostly on cop drama television
shows like The Shield, West Wing, NYPD Blue and Homicide: Life on the Street.
While his style here is good his television roots are showing. The film is paced
more for a one hour TV show than a two hour film. Don’t get me wrong; there is
amazing potential here, Johnson as a flair for combining action with exposition
in a very concise manner, the up side of being used to a much shorter running
time. He provides a look into the training of these highly specialized officers,
something I haven’t seen since one of the Dirty Harry flicks. He also pokes fun
at the genre. During one of the training scenes an officer asks why they don’t
roll as they advance, he is told ‘This isn’t a John Woo film’. Its little
touches like this that add a little self deprecating humor to the mix and helps
in the pacing. Johnson has a knack for lighting a film; he pays attention to the
details and appears to respect the intelligence of the audience. He frames the
scenes well and gives the viewers a lot to consider in each frame.
The presentation of the DVD shows the quality we have come to expect from
Columbia/TriStar. The Dolby 5.1 audio get the action across without blowing out
an ear drum. Too many such films push the gain too much but here the sound field
is balanced and set perfectly. The anamorphic 1.85:1 video is for the most part
well done. The color levels are saturated to just the right levels with crisp
demarcations for the blacks. There was some notable edge enhancements that were
not too annoying be there none the less. The extras where novel, there is a
commentary track featuring the main cast and the director. Their banter displays
a free for all approach that many find better than the usual technical jargon. A
second commentary has the writers discussing the creation of the film. A nine
minute featurettes that dissects the standard Hollywood shoot is entertaining as
is the mini feature on the use of sound in the film. Rounding things out are
some deleted scenes and a rather funny blooper reel. If you can get through the
somewhat slow first half this film will provide an evening of enjoyment.
Posted 1/3/04