Robogeek ponders THE SUM OF ALL FEARS!

Folks, Harry here... When last I intro'd Robogeek, I drug him around like R2 did Goldenrod in AOTC, but this time the gathering of gears and tubes and fluids (too secret to discuss here) has seen a movie that he and I agree on. SUM OF ALL FEARS is a wonderful film. Now this weekend you find yourself with a choice. SUM OF ALL FEARS or UNDERCOVER BROTHER. I loved both. Frankly, my first choice given the news these days would be to go see UNDERCOVER BROTHER. Frankly the sheer amount of news coverage of the Pakistan/India showdown... and alleged fears coming from the CIA about possible low level nuclear eruptions here... the fear of Nuclear Power Plants being targeted... Well, it is just enough for me to say go Laugh. HOWEVER, if you want to confront those fears, to see what is possibly on the otherside of your fears. See this film first. Remember, it exists in its own universe, not the previous universe of JACK RYAN or necessarily in our universe, but rather a fictional universe. Suprisingly, I've read reviews that didn't quite understand that. Here's that sputterin' sparkin' maelstrom of links...

Greetings, citizens! ROBOGEEK here with a review I didn't expect to be writing, about a movie I almost didn't bother to see.

So I saw THE SUM OF ALL FEARS last night. Frankly, I was torn; there was also a sneak of UNDERCOVER BROTHER, which was really tempting (seriously) - but it was a longer drive. And a sick and twisted inner voice told me it'd rather pay to see UB than TSUAF, so I should avail myself of the opportunity to see the latter for free. (Plus, I'd already missed out on an earlier sneak.)

To be perfectly honest, if Buffy and 24 hadn't concluded their (brilliant) seasons last week, I wouldn't have bothered. As it was, I showed up to the theater late, and was lucky to find a seat (both screens were packed).

I haven't particularly cared for any of Paramount's Jack Ryan movies since THE HUNT FOR RED OCTOBER (which I think is pretty damn good), and was far from excited about seeing Ben Affleck take over the role previously inhabited by Alec Baldwin and Harrison Ford. I was also concerned by the substantial changes made from Tom Clancy's remarkable 1991 novel, some of which to accommodate the casting of Affleck. (I couldn't help but ask, Do we really need another franchise ruined by prequels?) So my expectations were modest at best - and that's probably being charitable.

But holy crap! Much to my (pleasant) surprise, TSOAF more than overcame my expectations - as well as the crappy Cinemark Theater's tepid sound - and impressed the hell out of me. It's a rare breed of film: a summer blockbuster with a brain, demonstrating that entertainment and intelligence aren't mutually exclusive, but ideally intertwined. And on top of all that, it slyly suspended my disbelief to the degree that I actually believed Ben Affleck could save the world. Who woulda thunk it?

TSOAF is arguably the best Jack Ryan movie yet, and probably director Phil Alden Robinson's best film. It also emerges as a text-book example of how to jumpstart a flailing franchise - and demonstrates the importance of a good, solid script (this one by Paul Attanasio and Daniel Pyne). What could be another by-the-numbers, uninspired entry into a tired franchise (see the recent James Bond, Star Trek, and Mission Impossible films) is instead both intellectually engaging and emotionally engrossing.

And it is as resonant as it is relevant.

There was a superb article on nuclear terrorism in this Sunday's (5/26/02) New York Times Magazine by Bill Keller, which was prefaced by these stark words on the cover:

"The best reason for thinking that a nuclear terrorist attack won't happen is that it hasn't happened yet, and that is terrible logic. The problem is not that we are not doing enough. It is that there may be no such think as enough. How scared should we be?"

TSOAF is an uncannily timely film - and a scary one. Unfortunately, as is the case for far too many films these days, the ad campaign has given away key plot points that would have best been kept unrevealed (though granted, many people have read the book). If you've seen even one TV spot, you've seen more than you should (esp. if you haven't read the book).

Assuming you have seen at least one TV spot (and paid attention to it), it should not constitute a spoiler to tell you that something Very Big and Very Bad happens. It has potency not because of flashy special effects (no T2 nightmare here), but because of context. Of all the Jack Ryan movies, TSOAF is the most convincing and texturally realistic - even though it contains the most extreme act of cinematic terror this side of INDEPENDENCE DAY. What happens before and after The Event is gripping, especially given the state of the real world we find ourselves in, but also because it is so convincingly rendered. The stark fear that the fate of the world could be in the hands of people with insufficient information on which to base critical decisions... well, that pretty much trumps any horror movie right now, doesn't it?

Chillingly, it isn't at all a leap to consider The Event in TSOAF could actually happen, nor is it a reach to imagine a scenario involving India and Pakistan mirroring the U.S. and Russia in the third act (without the benefit of trusty Jack Ryan).

Some might condemn Paramount for releasing this film now, calling it dangerously alarmist. But I think one can more readily argue that it'd be irresponsible not to release it, especially now. It is the proverbial cautionary tale for our times (and will likely be seen by far more people than will read the New York Times piece, for better or worse).

Oh, and it's also a Very Good Movie.

Robinson's direction is assured and efficient, crafting an expertly entertaining movie based on a sharp, well-engineered script by Attanasio and Pyne. My hat is off to all of them, as well as producer Mace Neufeld, for delivering a consistently engrossing film. This is a solid piece of work that avoids the sort of mistakes that so annoyed me in, say, THIRTEEN DAYS. (Kudos as well to D.P. John Lindley, editor Neil Travis and composer Jerry Goldsmith.)

Front and center, Ben Affleck shines as Jack Ryan in what - a year later - is pretty much the anti-PEARL HARBOR. With this, CHANGING LANES and, hell, JAY AND SILENT BOB STRIKE BACK, I find myself once again a fan of the actor, and genuinely enthused to see him in Mark Steven Johnson's DAREDEVIL next year. He's a genuine leading man, and - gasp! - a good actor again (like we remember from CHASING AMY and GOOD WILL HUNTING).

In addition, there's particularly strong supporting work by Morgan Freeman as C.I.A. Director Cabot, Liev Schrieber as C.I.A. agent John Clark, and Ciarán Hinds as Russian President Nemerov. Bridget Moynahan is also quite good as Dr. Cathy Muller (the future Mrs. Ryan), and James Cromwell is solid as President Fowler. Philip Baker Hall, Bruce McGill, Ron Rifkin, Alan Bates and Colm Feore also deliver nice work, though they have less to do. But all in all, this is a very strong package, cast-wise.

Granted, TSOAF demands the viewer throw out pre-existing Jack Ryan movie continuity, but that's a small price to pay for such refreshingly smart entertainment. New life has been breathed into this franchise, and that's a good (and exciting) thing. Why can't more franchise movies be this good?

(BTW, when's the last time we've had a summer start off with as many genuinely good movies as TSOAF, CQ, ABOUT A BOY, INSOMNIA, and yes, even SPIDER-MAN? I don't expect the rest of the summer to be as good, but I hope it will be. Wouldn't that be a treat?)

- Robogeek

P.S.: Once again, I highly recommend Bill Keller's excellent article "Nuclear Nightmares" from this Sunday's (5/26/02) New York Times Magazine, which is available online at nytimes.com/200 2/05/26/magazine/26NUKES.html