I don’t think I’ve ever walked out of a movie theater
feeling quite so upset as I was after London
Has Fallen. I’ve seen a lot of
terrible movies, particularly since I started writing criticism, and I have
seen many instances of racism, jingoism, and bigotry put to the big screen, yet
I don’t think I’ve ever been quite so offended as when I saw London Has Fallen. This movie is not only poorly made and an
affront to the power of modern cinema, it is the most overtly prejudicial film
I think I’ve seen from the last decade, if not longer. This is the kind of film that makes the
United States look bad to the rest of the world and reaffirms our negative international
perception as a blindly hateful and xenophobic people.
A sequel to the problematic yet dull Olympus Has Fallen, London
Has Fallen picks up with the death of the British prime minister, so that
all the leaders of the Western world must attend his funeral. Terrorists attack, killing every world leader
except for the American president (a painfully inept Aaron Eckhart), thanks to his
trusty secret service agent Mike (Gerard Butler). The two spend the next hour running around a
ruined London as Mike mows down bad guys in his wake. And by mow down bad guys, I mean that Mike indiscriminately
kills brown people. The film constantly
signals to us as the audience that the villains, often disguised as police
officers, are the people of Middle Eastern descent, either through focus or
musical cues. And there’s no stopping to
question whether Mike is killing the right people or not; if they are brown and possibly in police uniform, they are going to be shot.
Not that it’s easy to tell who Mike is killing at any given
moment. With the exception of one
decently executed chase scene, the action of this film is nearly
incomprehensible. We often see Mike
shoot off-screen, and there are intermittent cuts to people falling over from
gunshots, but the relation between the two is nebulous at best. A ridiculous number of knife fights are also
blurry, unfocused cinematographic messes, and these are probably the worst moments of the film because they demonstrate Mike’s sociopathy.
Oh yeah, it isn’t enough that Mike kills brown people, but he has to
revel in it, torturing them with stab wounds even after they give him the
information we wants. He asks if they are from "Fuckheadistan" and monologues about how the Western world will still be standing in a thousand years as he beats in the skull of his latest catch. He’s a terrifying
protagonist during these moments, and to call it uncomfortable is an
understatement.
As horrible as much of this is, the film could have
mitigated it by being at least somewhat self-aware of the ridiculousness of its
premise or the blatant issues of its portrayal of a bloodthirsty American
protagonist on an international stage.
No such luck. Every bit of
violence is played straight, as if this is a scenario that could actually
happen and Mike is a realistic American hero.
The closest the film comes to having a sense of humor is that Mike says
the word “fuck” to an asininely childish degree, often punctuating “jokes” with
the word in the hopes that the audience with mistake it for something
funny. The only time a joke was
actually constructed, punch line and all, was an oddly misplaced “call the president gay” gag that
not only wasn’t funny, but also didn’t even make sense given the context or the
tone of the scene. Action movies don't necessarily need great writing, but the rules of comedy need to at least be respected.
Now, I won’t go on to say that London Has Fallen is the worst film I’ve ever seen, since this is
patently untrue, but it is one of the most tone-deaf and embarrassing pieces of
cinema to represent American ideals.
That alone, though, wouldn’t have led me to leave the theater in such a disturbed
state. The people in the theater with me
loved it. There were claps, cheers, and laughs at
extremely inappropriate moments, and I had a real taste of being surrounded by
people who scared me. This is a film
that revels in the indiscriminate killing of people of Middle Eastern descent
without a trace of irony, and if the theater I was in is any indication, this
film’s box office returns will be at least somewhat successful. I sincerely hope I’m wrong.
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