Review: ‘Greenland,’ starring Gerard Butler

December 18, 2020

by Carla Hay

Morena Baccarin, Roger Dale Floyd and Gerard Butler in “Greenland” (Photo courtesy of STX)


Directed by Ric Roman Waugh

Culture Representation: Taking place in various parts of North America, the sci-fi action flick “Greenland” features a predominantly white cast (with some African Americans, Latinos and Asians) representing the working-class and middle-class.

Culture Clash: A structural engineer, his wife and their 7-year-old son are selected by the U.S. government to be part of an elite evacuation program during a comet disaster, and this privileged status causes problems for them when they are separated during the chaos.

Culture Audience: “Greenland” will appeal primarily to people who like suspenseful apocalyptic movies that have underlying commentary about society’s conflicts over social classes and privilege.

Gerard Butler in “Greenland” (Photo courtesy of STX)

Out of all the types of apocalyptic disaster stories that can be told, perhaps the most terrifying is some variation of “the sky is falling,” whether it’s from meteors, comets or another deadly force from outer space. In the above-average sci-fi thriller “Greenland” (directed by Ric Roman Waugh and written by Chris Sparling), the threat from outer space is a highly unusual comet that scientists at first think is a natural wonder to behold. But the comet turns out to be the worst kind, because it ends up causing worldwide damage and has the power to wipe out most of Earth’s population. 

It’s a concept that’s been done in movies before, but “Greenland” ramps up the suspense level in realistic ways because it’s not too caught up in trying to scare people with visual effects, which are actually done very well in this film. Instead, “Greenland” focuses on the terror experienced by a family of three who get separated from each other in the chaos of an evacuation. There are added layers of stress because the child in this family is diabetic, and the family is targeted by desperate and envious people who want what this family has: privileged U.S. government clearance to be taken to a secret shelter that was built to withstand the worst disasters and attacks.

Like a lot of disaster movies, “Greenland” starts out with people being blissfully unaware of the catastrophe that’s coming their way. In Florida, structural engineer John Garrity (played by Gerard Butler), who is originally from Scotland, is on the job at a construction site, but he wants to get home as soon as possible because his 7-year-old son Nathan (played by Roger Dale Floyd) is having a party where several people in the neighborhood have been invited. John and his American wife Allison (played by Morena Baccarin), who were separated in the past and are now trying to work on their marriage, are organizing the party.

The big news around the world is that there’s an interstellar comet that is passing by Earth, and it’s expected to be the closest fly-by of a comet in Earth’s history. This highly anticipated sighting is such a big deal that people are having watch parties, and the news has been reporting the latest updates on the comet’s trajectory. The comet is considered so safe that it’s been named Clarke.

However, as soon as John gets home, something strange happens: He gets phone messages by text and by robocalls from the U.S. Department of Homeland Security. These messages order John, Allison and Nathan to report to Robins Air Force Base in Warner Robins, Georgia, because they have been selected for emergency relocation. The messages demand that no one else can accompany this family of three to the Air Force base.

John doesn’t know if these messages are real or some kind of prank. He tells people at the party about the messages, and they’re not sure if the messages are real either. A few of the adults at the party wonder why they didn’t get these messages too. John doesn’t know why he and his family were selected for this special evacuation.

However, it soon becomes obvious that the messages really are from the U.S. government. While the Garrity family and their party guests are in the living room watching the latest comet news on TV, the first sign that the comet is going to be disastrous comes when it’s reported that a fragment of the comet that was supposed to crash in the ocean near Brazil instead landed in Tampa. The shockwaves caused Tampa to burn, and the inferno blast spread all the way to Orlando.

John and Allison decide to quickly pack up some family belongings and go with Nathan by car to Robins Air Force Base, as instructed. There are some moments of high anxiety when a few of the neighbors beg to go with the Garrity family, but John refuses because he correctly assumes that anyone who doesn’t have government clearance will be turned away. However, he promises that he will contact the neighbors after he finds out more details about what’s going on with the evacuation.

Meanwhile, the Garrity family hears on the car radio that more of the comet’s fragments are wiping out entire parts of the world, including Bogotá, Colombia. Scientists are frantically trying to predict where the fragments might land next, in order to evacuate people from those areas. Anxiety then turns to sheer panic.

Word has gotten out that Robins Air Force Base is one of the designated meeting areas for the evacuees who were selected by the U.S. government. And so, when the Garritys arrive at the Air Force base, they see a terrified and angry mob of people who demand to be let in, even though most of them are not supposed to be there. It’s a foreshadowing of the “haves” and “have nots” conflicts that happen during several scenes in the movie.

Several military personnel are on duty to only allow access to people who are on the government clearance list. And those pre-approved people get yellow wristbands to identify them. There are several Air Force planes waiting to take thousands of people to the same shelter, which is in a classified location that is later revealed to be in Greenland.

The Garrity family makes it safely through the checkpoint, but things take a turn for the worse when they find out that Nathan, who is diabetic, accidentally dropped his insulin in the car when he was looking for a blanket. John finds out that he has only about 15 to 20 minutes before the family’s assigned evacuee plane leaves. He also finds out that all the planes are headed to the same place, so that if he can’t be on the same plane as his wife and son, he’ll hopefully be able to reunite with them at the shelter.

John and Allison hastily make a decision that John will go back to the car to get Nathan’s medicine, while Allison will stay with Nathan and board the plane. However, more complications ensue when Allison speaks to a military guard and tells him about their situation and how they can’t leave without John. And that’s when the guard tells her that because Nathan is diabetic, it’s a health liability, and the Garrity family shouldn’t have been approved for the emergency shelter.

The guard and a colleague then tell Allison and Nathan that they can’t get on the plane after all. Allison and Nathan are then forced to go with the guards to another area, where Allison pleads with another military person to let them on the plane because they don’t want to be separated from John. What happens next are several twists and turns to the story, some of which are unpredictable, while other plot developments are a tad cliché.

All of the cast members give very good performances, even though this movie is not on the type of prestige level where it’s going to get any major awards. The filmmakers avoided the stereotype that a lot of American-made disaster movies have: making the male protagonist/hero someone who was born and raised in the United States. Butler, who is Scottish in real life, keep his native accent in the movie. (Butler is one of the producers of “Greenland,” so that probably had a lot to do with the decision to make John Garrity a Scot too.)

Another non-cliché aspect to “Greenland” is that it doesn’t follow the disaster movie formula of having the hero’s love interest be a passive “damsel in distress.” Allison is no ditz who waits around to be rescued. There are moments where Allison steps up in a big way to help save her family. Baccarin’s portrayal shows a lot of authenticity in how real women would act in the same situation, with all the bravery and vulnerability that comes with it.

John and Allison’s son Nathan is thankfully not written as “too precocious to be true” or a “disease of the week” kid. Floyd capably portrays Nathan’s intelligent sensitivity as a kid who just happens to have diabetes. The movie also makes a point of showing how Nathan’s medical condition quickly changed the status of the Garrity family from “desirable” to “undesirable” candidates for evacuation. It speaks to the prejudice that people could encounter in a similar situation where governments decide who in the population will get preferential treatment in a mass evacuation. 

One of the other memorable characters in “Greenland” is Allison’s widower father Dale (played by Scott Glenn), who somewhat mistrusts John because of the problems in John and Allison’s marriage. And there’s a married couple in the story named Judy Vento (played by Hope Davis) and Ralph Vento (played by David Denman), who play a key role in one of the most nerve-wracking parts of the movie.

Throughout the film, director Waugh never lets up on the frantic pace after the comet disaster strikes. (Waugh and Butler previously worked together on the 2019 action film “Angel Has Fallen.”) And when it comes to characters, “Greenland” wisely takes a “less is more” approach, since the story is focused on this family of three and their perspective for the entire film. It’s a departure from the typical disaster movie that has different storylines for a group of strangers. Simply put: “Greenland” is an apocalyptic movie that isn’t going to change the world, but it largely succeeds in being suspenseful, escapist entertainment.

STX released “Greenland” on VOD on December 18, 2020. The movie will be released on digital on January 26, 2021, and on Blu-ray and DVD on February 9, 2021.

2019 Tribeca Film Festival movie review: ‘Framing John DeLorean’

April 30, 2019

by Carla Hay

Framing John DeLorean
Alec Baldwin in “Framing John DeLorean” (Photo courtesy of Sundance Selects)

“Framing John DeLorean”

Directed by Don Argott and Sheena M. Joyce

World premiere at the Tribeca Film Festival in New York City on April 30, 2019.

The title of “Framing John DeLorean” has more than one meaning: It could mean the notorious 1984 trial where disgraced automobile mogul John DeLorean was accused of cocaine trafficking (he claimed that he was the target of a government set-up), or it could mean how DeLorean’s life story is framed in the context of this movie. The way that directors Don Argott and Sheena M. Joyce tell the story combines the elements of a traditional documentary and a docudrama, with Alec Baldwin playing DeLorean.

Early on in the movie, it’s mentioned that there have been several failed attempts over the years to make the DeLorean story into a narrative feature film. “Framing John DeLorean” almost looks like another attempt to make that narrative feature film, but within this documentary. Not only does the movie use a lot of re-enactment footage with Baldwin and other actors, but “Framing John DeLorean” also shows the behind-the-scenes making of that re-enactment footage, such as Baldwin getting his prosthetics and makeup done, the crew preparing sets for filming, and the actors getting direction. In on-camera interviews, Baldwin also shares a lot of his thoughts about what he thinks of DeLorean, and even reveals that DeLorean (who died in 2005 at the age of 80) once personally called him to ask Baldwin to play him in one of the DeLorean biopics that ended up not getting made. In fact, Baldwin has so much screen time in this movie that it could have been subtitled “Featuring Alec Baldwin Giving His Take on DeLorean.”

Re-enactment footage is tricky to navigate in a documentary. It’s also a choice that has been divisive among documentarians; some don’t have a problem with re-enactment footage, while others think that using actors and scripted dialogue in a documentary undermines the integrity of the project. In the case of “Framing John DeLorean,” people will either love or hate the re-enactment footage, which can be distracting or can enhance the storytelling. How you personally feel about Baldwin will also affect how you feel about his prominent presence in the film.

As for the investigative journalism in the documentary, the filmmakers do a pretty good job of gathering archival footage that documents DeLorean’s rise to the top of the automotive industry to his fall from grace. He became a powerful executive at General Motors (GM)—where he helped develop the Pontiac GTO, among other famous cars—but his flamboyant, playboy lifestyle and public criticism of GM management led to his ouster from the company. In 1973, he founded the ill-fated DeLorean Motor Company (DMC) that lost millions in investment money through bad decisions and what the U.S. government later revealed was a Ponzi scheme cooked up by DeLorean. The disgraced mogul had legal issues for years over fraud investigations, and his finances never recovered. When DeLorean died in his modest New Jersey apartment, he was essentially broke.

“Framing John DeLorean” also has new interviews with past DeLorean associates, including William T. Collins, a former Pontiac engineer whom DeLorean recruited to be DMC’s chief engineer. (Josh Charles plays Collins in the re-enactment footage.) Collins, who quit DMC after he started to suspect that DeLorean was mishandling funds, is the person credited with designing the famous DeLorean sports car that was immortalized as a time machine in the “Back to the Future” films. (“Back to the Future” co-writer Bob Gale is interviewed in this documentary.) Former supermodel Cristina Ferrare, DeLorean’s third ex-wife, who was married to him from 1973 to 1985, is not interviewed in the movie, and has declined to publicly talk about DeLorean for years. Morena Baccarin of “Gotham” and “Deadpool” fame plays Ferrare in the re-enactment footage.

However, the film has revealing interviews with DeLorean’s adopted son Zack and daughter Kathryn (whose mother is Ferrare), who were pre-teen children at the time of their father’s scandal. The kids are a stark reminder of the collateral damage that DeLorean’s actions left on his family. The scruffy and sarcastic Zack (who looks like he’s down on his luck, based on his small, run-down apartment) is full of foul-mouthed bitterness and has mixed feelings about his legacy as a DeLorean. He says he loved his father but hates how his father’s greed ruined his family’s life. Zack talks about how people are surprised that he’s living barely above poverty level, and when he sees the famous DeLorean sports car, he doesn’t know how to describe how he feels, but it’s clear that it’s a mixture of pride and shame.

Kathryn seems to be coping better (emotionally and financially) with the aftermath of the scandal than her brother is. She says a lot of her healing came from getting therapy. Just like her brother, Kathryn went through some trauma. She recalls being bullied and ostracized for many years of her life simply because of who her father was. While Zack has lingering resentment over his family name, Kathryn seems to have come to terms with embracing her family name and forgiving her father. She talks about becoming involved in the DeLorean fan community, and she shares fond memories of bringing her father to a DeLorean fan convention that displayed DMC cars, and how the adulation he got at the show boosted his confidence. Kathryn also confirms that her mother doesn’t like to talk about DeLorean, even to her own kids, because she’s “moved on with her life.” (Ferrare went on to have a successful career as a TV host. In 1985, she married her current husband, TV executive Anthony Thomopoulos, and they have two daughters together.)

Although some people might complain that “Framing John DeLorean” doesn’t know whether it wants to be a documentary or a docudrama, in the end, the overall storytelling works in this movie, and it could serve as a useful resource if a biopic is ever made about DeLorean’s life.

IFC Films/Sundance Selects will release “Framing John DeLorean” in select U.S. theaters on June 7, 2019.

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