Skip to main content

The Tiring Inferno


Not long before hitting theatres, a poster was released for the action movie Skyscraper that in art style and design was an homage to the original poster for Die Hard, which celebrated its thirtieth anniversary the weekend Skyscraper opened. And I have to applaud Skyscraper for the honesty in admitting directly with its poster that it was nothing more than a rehash of older better action movies, with only imitation to offer itself.
Skyscraper is the first non-comedy film from director Rawson Marshall Thurber, and it definitely feels like it’s made by people who don’t know the genre they’re working in. Entirely driven by the gimmick of disaster, conspiracy, and danger taking place on the tallest building in the world, it’s not aware that this concept and the action set-pieces that result from it, aren’t at all original.
Veteran FBI officer Will Sawyer (Dwayne Johnson) is hired as the security inspector for “The Pearl”, a recently unveiled record-breaking skyscraper in Hong Kong. But on his first day on the job the tower is besieged by enemies of the Pearl’s architect (Chin Han) who dismantle its safety net and begin to set the building on fire. With his wife (Neve Campbell) and two children living on one of the residential levels, Sawyer goes to drastic measures to rescue his family and stop the terrorists.
In spite of the comparison drawn by the film itself, Skyscraper is less Die Hard and more an unofficial remake of The Towering Inferno, though it steals plenty from both. The plot is really convoluted and its direction is dictated by the next action set-piece, which is where the movie hopes it will impress. The Pearl is a technologically advanced, Modern style tower allowing for some heftier obstacles than in The Towering Inferno, such as spinning blades on the side of the building and a lookout point near the top that can become a house of mirrors for no reason. But these sequences don’t impress. Audiences have seen this kind of stunt-work before and it’s less easy to suspend our disbelief. And when the story doesn’t support these action scenes and can’t stand on its own at all it makes this film about terrorists on a burning skyscraper rather dull.
The film does a strange thing by opening on Sawyer’s backstory during a hostage situation that has the most minimal relevance to the rest of the story. All it does is weakly set up Sawyer’s aversion to guns (he has no problem beating up a lot of people though), his prosthetic leg, and one of the villains’ equally weak motivations. Afterwards, it tries to get into the main action as quickly as possible which opens more than a few very noticeable plot holes. At one point the villains set their eyes on Sawyer specifically as the only person who knows the tower well enough to get them what they want, despite him having just been hired that afternoon. And then there’s just the fact that every character makes stupid choices. For instance, one dying character with a gun decides as his last act not to shoot the villain, but rather to shoot and damage the helicopter so as to strand the terrorists on the burning building, as well as their surviving captives. And in the case of Sawyer, like many a poorly written action movie lead, he always goes for the most extreme option first. Upon realizing his family is trapped in the Pearl, instead of informing the police, firefighters, or other first responders, his immediate course of action is to climb to the top of a nearby building and break in himself using a precarious crane, a sequence which crosses the threshold from cool to silly.
There’s not much investment in the acting either. The evil terrorist leader is one-note, unthreatening, and stereotypically Russian. Han performs capably, but Noah Taylor, as with every movie he’s in, is just waiting to come out as a villain. It’s nice to see Neve Campbell in a movie again, but her role is little more than motivation followed by plot device. And as for Johnson, he’s lacking his usual charm. He plays his character too dramatically and the script and director don’t give him enough opportunity to exercise his strengths as an entertainer. His disability factors into the action in a couple fun ways, but that’s his only unique feature. And if the only interesting facet of Dwayne Johnson’s character is the fact that he’s got an artificial foot, I’d have much rather preferred Adam Hills in the role.
Skyscraper wants to be a tribute to the kind of high adrenaline hyper-masculine action movie of decades past, but only copies the formulas without adding any substance. The result is a movie that even makes Rampage look enjoyable. The Towering Inferno and Die Hard are far better movies. Why would you go to a theatre to be condescended to by this dull reproduction?

Follow me on Twitter: https://twitter.com/Jordan_D_Bosch 

Popular posts from this blog

2001 at 50: What’s so Special about Kubrick’s Space Odyssey

“The cosmic ballet goes on.” These words were uttered by Leonard Nimoy in “Marge vs. the Monorail”, a 1993 episode of The Simpsons. Though intended as a joke, it's a quote that actually is relevant to the legacy and frequent re-evaluation of 2001: A Space Odyssey, fifty years after it’s original release in April of 1968. Indeed, many have rightly defined the moon docking sequence set to Johann Strauss’ Blue Danube as an elegant ballet in the stars. I’m far from the only movie enthusiast who considers Stanley Kubrick’s operatic masterpiece as the pinnacle of science-fiction film. If you look at any list or any book of the greatest movies, you’ll usually find 2001 at the top (alphabetically, but still). Spielberg called it the “Big Bang” of his filmmaking generation, Scorsese lists it among his favourite films, as did Federico Fellini; and directors like Ridley Scott, Alfonso Cuarón, William Friedkin, Terry Gilliam, James Cameron, David Lynch, Christopher Nolan, George Lucas, Darren A…

An Infinity in the Making

Avengers: Infinity War is the best definition of a movie event. No less than eighteen movies, five independent movie series have led up to it. It’s way more than your average summer blockbuster, it’s the climax of a vast interconnected universe that’s been running now for ten years. Marvel couldn’t have picked better people to helm this movie either, as Joe and Anthony Russo have already directed two of the best movies the MCU has offered. And in a number of ways this film meets expectations; in others though, it does fall short. The alien warlord Thanos (Josh Brolin) finally begins his quest for the Infinity Stones, powerful objects that together could cause destruction and manipulation on a galactic level. Adding them to his giant gauntlet, he scourges worlds and civilizations for them, coming into contact with the heroes both on Earth and elsewhere in the galaxy. So each of these heroes we’ve been introduced to over the last decade (minus Ant-Man) have to band together in an effort …

The Top Ten Best Dickens Movies

Today is the 206th birthday of Charles Dickens and I know you’re all celebrating; maybe not by reading one of his novels or stories (after all, they can be very long), but by watching one of the dozens of films made based on his works. So I decided to figure out which ones were the best; which films adapted their stories the most loyally, were closest in spirit, and were just the most skilfully made. It must be made clear though that many of the more well-known Dickens adaptations are miniseries, because the British love making miniseries’ out of every successful book in English literature. Thus you’ll find no mention of the acclaimed BBC versions of Nicholas Nickleby or Little Dorrit on here (though I will highly recommend 2005’s incredible Bleak House series). With that, here are the Top Ten Dickens Movies:
10.Oliver Twist (2005) -I’m not going to pretend that Roman Polanski’s 2005 rendition of the Parish Boy’s Progress isn’t riddled with problems -not the least of which is the fact …