Directed by: Robert Zemeckis.
Written by: Robert Zemeckis & Christopher Browne based on the book by Philippe Petit.
Starring: Joseph Gordon-Levitt (Philippe Petit), Charlotte Le Bon (Annie), James Badge Dale (Jean-Pierre / J.P.), Ben Kingsley (Papa Rudy), Clément Sibony (Jean-Louis), César Domboy (Jeff / Jean-François), Ben Schwartz (Albert), Steve Valentine (Barry Greenhouse), Mark Camacho (Guy Tozolli), Benedict Samuel (David).
The
actual walk in The Walk – that makes up the last third of the movie or so – is
stunning – one of the best sequences of its kind you will ever see, and demands
to be seen on the biggest screen possible, with the best possible 3-D. Normally,
I don’t 3-D, but the work here is clearly the best in a mainstream movie since
Gravity – and easily ranks among the best
3-D the medium has produced since they’ve gone 3-D crazy in recent
years. It is simply dizzying and awe-inspiring – and if that sounds like
hyperbole, well, it kind of is – but not too much. That alone makes the movie
worth seeing.
That
sequence is so good in fact that you want to overlook much of the rest of the
movie, that is filled with sloppy storytelling, and moments that are trying way
too hard to make things seem more important than they are. The film has a goofy
spirit that I quite liked – anchored by Joseph Gordon-Levitt, who goes
wonderfully over-the-top in every way, especially the accent, in his
performance as Frenchman Philippe Petit, who in 1974 strung a high wire up
between the Twin Towers of the WTC and walked back and forth on it. If you
really want to see Petit’s story, than you should watch the Oscar winning
documentary by James Marsh – Man on Wire from 2008 – which does a much better
job telling his story, and connecting what he did in 1974, with what the Towers
would eventually come to represent. For the most part, The Walk treats
everything like a heist movie – with Petit assembling his crack (and not so
crack) team in the hopes of pulling off his “coup”. He knows he has limited
time – the towers are just about complete, and when they are it will become
impossible to do what he needs to do.
The
film was directed by Robert Zemeckis, who has always been on the cutting edge
of technology, but often the films he makes lag behind their technical
achievement. I’m not a Forrest Gump hater like some, but there’s little doubt
that then the groundbreaking special effects are more impressive than the movie
as whole. Zemeckis also spent far too long working in motion capture animation
– films like The Polar Express, Beowulf and A Christmas Carol – which were
groundbreaking in their own way, if not precisely great. Long ago now are the
days when Zemeckis combined both the groundbreaking visuals with a truly great
story, like Who Framed Roger Rabbit? Personally, I quite liked his last film –
Flight, with its excellent performance by Denzel Washington, but that seemed
more like Zemeckis edging back into live action filmmaking after his decade
immersed in animation.
I’m not sure The Walk is truly groundbreaking – but it is an amazing use of 3-D technology that actually deepens the visuals, and gives them a feel that just cannot be replicated without it. The whole time Petit is on that wire, between the Twin Towers the film is amazing. The rest of it is fairly average – and sometimes worse. Zemeckis takes his time getting to that wire – and to be honest, I got rather impatient at times. I also could have done without Gordon-Levitt’s narration – particularly over the walk itself – but really through the whole movie. It’s a distraction, and not really needed.
So
I’m torn on The Walk. On one hand, I really want everyone to see it, on the
biggest screen imaginable, because the film gives you an experience not quite
like anything else. On the other hand, everything that leads up to that Walk is
mediocre at best. If you could walk into the theater with about 45 minutes to
go, that would probably be ideal. But even if you watch the whole thing, you’ll
have a decent time at the beginning – and be blown away at the end. Not a bad
deal really.
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