Spring Break
Movie Reviews
David Coley & Tony Millett
Issue date: 9/17/07 Section: Culture
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New: 'Shoot 'Em Up' shows carrots in a new light
You'll never look at carrots the same way again. That's one thing I can say with certainty about the aptly named "Shoot 'Em Up." Not since the days of Monty Python has fresh produce been such an effective harbinger of doom.
I won't go into great detail about the ways in which Mr. Smith, played by Clive Owen, uses vegetables in his one-man war against a shadowy organization out to kill an infant.
It's one of the fun surprises that pepper this equally violent and ridiculous film. Such devices are clear indicators of the unique tongue-in-cheek style the filmmakers have in mind, even if that style isn't perfectly executed.
In this homage/parody of mindless action films, there isn't one moment of violence that isn't gratuitous. That, of course, is the point of the film, and that's where your own personal taste will come heavily into play. If you can stomach that kind of thing, you're much more apt to enjoy it.
If you really can't sit through body parts getting blown off and blood flying everywhere, you might be out of luck, because you probably won't find much solace in the plot.
It begins with Mr. Smith seeing a pregnant woman being pursued by a thug into an old warehouse.
He protects her long enough to deliver the baby, which he then escapes with when armed mercenaries begin pouring in from every direction.
Smith elicits the help of prostitute Donna (Monica Bellucci) to take care of the child. The main villain, Hertz (Paul Giamatti), keeps sending goon after goon to try to kill the baby. The reason is tied up in an overly-complicated subplot about, ironically, gun control legislation.
This main plotline is very basic and takes up most of the film, consisting primarily of Smith's mission to protect the child, so this political subplot and the accompanying commentary are a little unsatisfying.
It seems tacked on in an attempt to justify the extreme violence of the film. Writer/director Michael Davis' style heavily pervades the entire movie, overshadowing the ideas in a way that almost seems hypocritical.
You'll never look at carrots the same way again. That's one thing I can say with certainty about the aptly named "Shoot 'Em Up." Not since the days of Monty Python has fresh produce been such an effective harbinger of doom.
I won't go into great detail about the ways in which Mr. Smith, played by Clive Owen, uses vegetables in his one-man war against a shadowy organization out to kill an infant.
It's one of the fun surprises that pepper this equally violent and ridiculous film. Such devices are clear indicators of the unique tongue-in-cheek style the filmmakers have in mind, even if that style isn't perfectly executed.
In this homage/parody of mindless action films, there isn't one moment of violence that isn't gratuitous. That, of course, is the point of the film, and that's where your own personal taste will come heavily into play. If you can stomach that kind of thing, you're much more apt to enjoy it.
If you really can't sit through body parts getting blown off and blood flying everywhere, you might be out of luck, because you probably won't find much solace in the plot.
It begins with Mr. Smith seeing a pregnant woman being pursued by a thug into an old warehouse.
He protects her long enough to deliver the baby, which he then escapes with when armed mercenaries begin pouring in from every direction.
Smith elicits the help of prostitute Donna (Monica Bellucci) to take care of the child. The main villain, Hertz (Paul Giamatti), keeps sending goon after goon to try to kill the baby. The reason is tied up in an overly-complicated subplot about, ironically, gun control legislation.
This main plotline is very basic and takes up most of the film, consisting primarily of Smith's mission to protect the child, so this political subplot and the accompanying commentary are a little unsatisfying.
It seems tacked on in an attempt to justify the extreme violence of the film. Writer/director Michael Davis' style heavily pervades the entire movie, overshadowing the ideas in a way that almost seems hypocritical.
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