I feel bad for some actors. With the life and success of an actor being mostly integrated in their youth, actors are often put out to pasture by the age of fifty. Of course, there are actors and actresses who are widely successful once they reach middle age, but they’re merely the minority in a youth driven film world. If anything, you’ll see older actors getting bit parts or appearing in small independent films where they actually get the screen time to demonstrate the ability they’ve had for years, and will continue to have until death. Perhaps this is why I always have an invested interest in genre films that take in actors who are no longer part of the youth movement; films that let older actors gestate in what is often seen as a youthful setup. A current example of this would be Red. Featuring Morgan Freeman, Bruce Willis, John Malkovich, and Helen Mirren, Red is a box office vehicle for actors who would otherwise never be seen on a poster for a tent pole film. Actually, Willis still has some clout considering his iconic pull as John McClain, but that character is on the way out.
In any event, Red is ironically a film that parallels the real life deconstruction of aging actors. The film follows Frank Moses, a retired CIA agent whose adjustment to life after covert operations is lacking any form of excitement. What we can only conclude as a result from being constantly undercover, Moses lives the retirement life devoid of any friends. Not the smoothest transition, but his loneliness shrinks when he befriends Sarah (Mary-Louise Parker), a phone operator that assists him with his pension. The small talk he generates with her is the closest he’s been to another human being in years, and the enjoyment he gets out of talking with her seems to create a sensation he hasn’t felt likely since his last operation. That is until the CIA, Frank’s former employer, attempts to assassinate him. After dismantling the team that was sent to kill him, Frank heads on a cross country trek to understand the reasons why he’s being hunted, all the while attempting to kindle a romance with Sarah. Knowing he has a tough road ahead of him, Frank assembles a team of former CIA agents who are now in the twilight of their lives. Even if father time is knocking on these agent’s doors, death doesn’t seem readily apparent when they’re running from explosions or starting gun fights. Assisting Frank in his investigation are former agents Joe (Morgan Freeman), Marvin (John Malkovich), and Victoria (Helen Mirren).
All of which have something witty to say in regards to their age as they run down a plot that really isn’t all that interesting. What should be twists, or at least decent revelations, are merely contrivances that don’t possess enough momentum to truly matter. This is not to say the plot doesn’t have its fair share of enjoyable moments, an exchange between Frank and a Russian enemy is one fruitful idea, but the plot itself is like a dinner we’ve had too many times. It has the flavors we like, but they lose their appeal when we’ve tasted them time after time. It’s a good thing the veteran acting squad assembled can look past the stale plot because they’re the real reason to see the film. Willis and Parker make for a great tandem as they pump some romance and cuteness into their underdeveloped relationship. As for Morgan Freeman, well he’s Morgan Freeman. His bellowing voice and smile are enough to make even the tamest of setups seem worthwhile. Despite the charisma that Willis, Parker, and Freeman exude, they pale in comparison to Malkovich and Mirren. The former in Malkovich is arguably the most entertaining aspect of Red. Known for his rather serious, thespian like roles, Malkovich goes for broke as an unhinged ex-agent with a pension for treating his weapons as children. Maybe it’s the novelty of seeing Malkovich run around with a bomb strapped to his chest, but whenever his mentally disturbed character came on screen I became far more interested in the film‘s exploits. The same can be said for Mirren, who looks even sexier when she’s looking down the barrel of a sniper rifle. Seeing her play against type, no matter how predictable it may seem, is always welcome.
In spite of the cast’s attitude and performances, the film still seems to be a wasted opportunity for “older” Hollywood to show executives they have what it takes to remain relevant in a youth oriented business. A better script, preferably one that didn’t pander predictable age jokes to the audience, would be a great start. Yet, what was most auspicious about Red is that it was devoid of any style. Everything (in some respects) was there for what could’ve been a flashy, confident film, but it just looks flat. For a film that’s about old characters being vivacious, it’s disappointing to see that no risks are taken either visually or from a writing standpoint. It simply lacks the life it claims its characters have. Maybe if a director with a vision was behind the lens this review would be going in another direction, but that’s not reality. Instead, veteran actors are left to carry a film with tired legs. It’s a shame that the team behind this production let down the very actors whose reputations demand better.
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