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Movie reviews: 'The Protege' aspires to be something bigger than it is

Maggie Q is seen in the film "The Protege." (Arthur Sarkissian Productions) Maggie Q is seen in the film "The Protege." (Arthur Sarkissian Productions)
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THE PROTEGE: 3 STARS

Michael Keaton and Maggie Q are seen in the film "The Protege." (Arthur Sarkissian Productions)

For the second time in as many months Samuel L. Jackson plays a hitman whose family values are as strong, if not stronger, than his instinct to kill. In 鈥淭he Hitman鈥檚 Wife鈥檚 Bodyguard鈥 he found his logical, not biological family. In 鈥淭he Protege,鈥 now in theatres, he鈥檚 a mentor and father figure to a killer played by Maggie Q.

Q is Anna, one of the world鈥檚 most highly trained assassins. She was brought into the life of international intrigue by Moody (Jackson), a blues-guitar playing contract killer.

鈥淚鈥檓 the big bad wolf who comes to get you,鈥 he says, 鈥渨hen someone on earth decides your time is up.鈥

He rescued her in Vietnam in 1991 after her parents were killed by communist soldiers.

鈥淗e didn鈥檛 save my life,鈥 she says, 鈥渉e gave me a life.鈥

When Moody is brutally murdered, Anna loses the one person in her life she can trust. Vowing revenge, she uses her special set of skills to find out who blew away her mentor and father figure.

鈥淚鈥檓 going to find out who killed my friend,鈥 she says, 鈥渁nd I鈥檓 going to end their life and the lives of anyone who stands in my way.鈥

One of those people standing in her way is Rembrandt (Michael Keaton), a rival assassin who works for some very bad, but well-connected people. As the plot thickens, so does the connection between Anna and Rembrandt as her investigation leads her back to where her story began, Vietnam.

鈥淭he Protege鈥 is a glossy revenge flick that covers well-travelled ground. There are exotic locations, elaborate action sequences, complicated alliances and a dark backstory. Richard Wenk鈥檚 screenplay hits on a greatest hits of international assassin tropes and director Martin Campbell, best known for directing the 007 comeback film 鈥淐asino Royale,鈥 knows how to take advantage of those story elements.

So why does 鈥淭he Protege鈥 feel like less than the sum of those parts? Perhaps it鈥檚 because the characters don鈥檛 elevate the material.

Q is a credible action star, ably handling the kinetic stunts. Jackson brings his brand of effortless cool and Keaton is quirky and mysterious and somewhat cavalier about his chosen profession.

鈥淚 could put two in the back of your head,鈥 he says after making love to Anna, 鈥渁nd then go make a sandwich.鈥

Each brings something to the movie, and while Q and Jackson have an easy way about their relationship, the chemistry between Keaton and Q feels forced. An attempt at a fight scene that leads to the bedroom, set to 鈥淭hat Loving Feeling鈥 by Isaac Hayes, falls flat despite the talent on screen.

鈥淭he Protege鈥 aspires to be something bigger than it is. The morality of the business of killing is discussed, generational trauma is hinted at and there is a complicated (and not terribly interesting) conspiracy at play but the movie is at its best when it puts aside its notions of gravitas and concentrates on the primal aspect of the story, Anna鈥檚 quest for revenge.

THE NIGHT HOUSE: 3 STARS

Rebecca Hall appears in a scene from the film "The Night House." (Searchlight Pictures via AP)

鈥淭he Night House,鈥 a new thriller starring Rebecca Hall and now playing in theatres, explores the psychological damage left behind after tragedy and secrets tear a woman apart.

When we first meet upstate New York high school teacher Beth (Hall) she is lost in grief in the aftermath of her husband Owen鈥檚 (Evan Jonigkeit) sudden death. She鈥檚 angry, self-medicating with alcohol to dull the pain.

At night, alone in the beautiful lake house he built for them, she is tormented by ghostly visions. Bloody footprints appear, the stereo snaps on by itself to play 鈥渢heir song鈥 and there are loud knocks at the door, but when she opens the door, there鈥檚 nobody there. During the daylight hours, she鈥檚 left with her grief and a nagging sense that Owen left behind as many secrets as he did memories.

Her friend Claire (Sarah Goldberg) and neighbour Mel (Vondie Curtis-Hall) offer support, but the horrifying visions and aural experiences continue, pushing her to the edge. As she packs up his things, clothes, books, the compiled ephemera of a life, she uncovers evidence that Owen had a hidden life involving the occult and a number of women who look remarkably like Beth.

鈥淭he Night House鈥 is a gothic psychological horror film anchored by Hall鈥檚 remarkable performance. She turns the idea of the grieving widow on its head, playing Beth as indignant and unsympathetic. As she cycles through the stages of grief, focusing on the anger, it鈥檚 gut-wrenching. An early scene with the mother of one of her students complaining about her son鈥檚 poor grade is brutal in its honesty laid bare. She is an open wound and Hall commits to the edgier aspects of the character, allowing the viewer a window into Beth鈥檚 world.

Director David Bruckner builds plenty of atmosphere and a sense of the strange that keeps the off-kilter story afloat despite the script鈥檚 leaps of logic. As Beth鈥檚 inner turmoil escalates the story adds in too many elements that don鈥檛 go anywhere like a mysterious second house in the woods and Beth鈥檚 doppelganger. As the script becomes more and more convoluted the intensity built in the film鈥檚 first half dissipates.

鈥淭he Night House鈥 is a provocative look at grief with a great lead performance, but is undone by a drawn-out approach to the story.

RARE BEASTS: 3 陆 STARS

Billie Piper is seen in the film "Rare Beasts." (Singer Studios)

The opening of 鈥淩are Beasts,鈥 the ambitious new film on VOD starring Billie Piper, who also wrote and directed, is the tail end of the worst date of all time.

Over a dinner and a glass or two of wine TV writer Mandy (Piper) and over-confident Pete (Leo Bill) butt heads, discussing everything from his ultra-traditional view of women as a wives and mothers, to the size of her teeth. It appears he doesn鈥檛 really like women, but can鈥檛 imagine his life without one by his side. Or, at least, in his kitchen and bedroom.

They are oil and water, chalk and cheese. In a rom-com, this would be an example of exactly the kind of misogynist bottom-of-the-barrel person Mandy should shun until Mr. Right comes along, particularly after Mandy snaps back after one of his outbursts, 鈥淭hose are classic rapist remarks.鈥

But 鈥淩are Beasts鈥 is no rom-com. It feels more like a thriller, because Mandy and Pete鈥檚 first meeting is so awful, as time ticks on, you鈥檒l be on the edge of your seat wondering what will happen between them.

Mandy is the insecure single mother of Larch (Toby Woolf) who attempts to tame her negative thoughts with a Stuart Smiley-style mantra, 鈥淓ven though I am scared and angry, I still love and respect myself.鈥

The disastrous date is the beginning of a strained relationship, born out of insecurity and now a small amount of self-loathing.

鈥淚 want to unveil myself one piece at a time,鈥 she says, 鈥渟o that I can talk you through what I physically hate about myself.鈥

Despite their complete incompatibility and Pete鈥檚 claim of finding women 鈥渋ntolerable,鈥 the pair struggle through a relationship, driven by dysfunction. She visits his parents on holiday in Spain and they even discuss marriage.

鈥淩are Beasts鈥 has audacity on its side. Piper populates the film with difficult characters, neurosis and up-close-and-personal shots of Mandy that almost peer inside her head to reveal the character鈥檚 inner chaos. It is confrontational in its treatment of the form鈥攑erhaps we鈥檒l call it a non rom com鈥攁nd its characters, who are almost as disconnected as the storytelling.

Piper bolts through the story, slowing every now and again to focus on memorable scenes, like a party of coke-snorting new mothers, or taking a detour into more darkly whimsical moments. The result is a dizzying, off kilter film that paints a modern picture of feminism while establishing Piper as a fearless (and often quite funny) filmmaker.  

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