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How entertaining? ★★★☆☆
Thought provoking? ★★☆☆☆ 23 June 2013
This article is a review of THE EAST.
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“We are The East and this is just the beginning,” Izzy
So says the intimidating voice over from Ellen Page, commencing on images of an oil spill devastating sea life. Fifteen million barrels worth have infected the environment, and the C.E.O. of the corporation responsible has gone unpunished, until now – a group of anarchists are caught on CCTV in his mansion delivering their own (fire)brand of poetic justice. We are then told that the C.E.O. has decided to step down for personal reasons.
Anyone who has watched talented writer-actress Brit Marling’s 2011 double-whammy of the inventive ANOTHER EARTH and SOUND OF MY VOICE should automatically be galvanized at whatever her latest offering might be. THE EAST is a re-team with co-writer and director Zal Batmanglij of the latter. One might argue that all three from Marling are an off-kilter look at reasonably average people, no mater if the subject is tinged with the far-fetched. Jettisoning the (allegorical) use of science fiction, the setting is twenty-somethings reeking revenge on multi-nationals; and incongruously a less satisfying universe is conjured – the two communities, of avaricious amorality and do-gooder determination, are not fleshed out enough, and neither are the characters. More time exploring the issues and the operations of the “The East” might’ve turned this into an intriguing social commentary. As it is, a diverting superficial concoction has sprung devoid of real meat.
So says the intimidating voice over from Ellen Page, commencing on images of an oil spill devastating sea life. Fifteen million barrels worth have infected the environment, and the C.E.O. of the corporation responsible has gone unpunished, until now – a group of anarchists are caught on CCTV in his mansion delivering their own (fire)brand of poetic justice. We are then told that the C.E.O. has decided to step down for personal reasons.
Anyone who has watched talented writer-actress Brit Marling’s 2011 double-whammy of the inventive ANOTHER EARTH and SOUND OF MY VOICE should automatically be galvanized at whatever her latest offering might be. THE EAST is a re-team with co-writer and director Zal Batmanglij of the latter. One might argue that all three from Marling are an off-kilter look at reasonably average people, no mater if the subject is tinged with the far-fetched. Jettisoning the (allegorical) use of science fiction, the setting is twenty-somethings reeking revenge on multi-nationals; and incongruously a less satisfying universe is conjured – the two communities, of avaricious amorality and do-gooder determination, are not fleshed out enough, and neither are the characters. More time exploring the issues and the operations of the “The East” might’ve turned this into an intriguing social commentary. As it is, a diverting superficial concoction has sprung devoid of real meat.
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Getting corporate espionage right has proved an extremely tricky proposition. See for examples:
- Matt Damon-Gus Van Sant frakking misfire PROMISED LAND, or
- Clooney-Swinton almost-great but for the fumbled ending MICHAEL CLAYTON, or
- The preposterous WALL STREET: MONEY NEVER SLEEPS.
There are of course some top-notch efforts:
- The sublime Julia Roberts-Steven Soderbergh ERIN BROCOVICH,
- Paul Newman legal drama THE VERDICT,
- A night of banking firefighting in MARGIN CALL, and
- Of course the eviscerating documentary essay INSIDE JOB.
From phone tapping to the credit crunch, from private data dishing to legal tax avoidance, the world around us is ripe for the cinema of vicarious, cathartic retribution, this time aimed towards corporate immorality, and it is ramping up. Potential awards contender from Martin Scorsese-Leonardo DiCaprio, THE WOLF OF WALL STREET, has just launched its teaser trailer to much excitement. What makes THE EAST differ is that all the other films are about using lawful means of redress. This film wants eye for an eye justice - means and results. And like all good vengeance thrillers, makes you question (at least a little) all perpetrators and methods.
However, there is too much lazy plotting miring the satisfaction of THE EAST. Marling’s Sarah, an ex-FBI agent, is hired by a private contractor to infiltrate The East on behalf of a corporate client to discover the identities of those involved, with the eventual obvious purpose of shutting them down. Sarah is serious, rigorous and listens to religious radio in the car – all meant to distract from the glaringly predictable, the path that undercover movies so often travel along, the lead falling for the targets. It is signposted a mile off and undermines the enjoyment. Then there’s the ridiculous ease at which she insinuates herself into the organisation. And the management of nefarious undertakings, who fall into the crosshairs of The East, seemingly could‘ve actually been dealt with a lot earlier utilising journalistic investigation, rather than the elaborate set-ups.
One is sure that resources were limited in making THE EAST, but more time on characterisation and narrative would’ve been welcome.
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