In 2016, Chris Pine and Ben Foster came together for a hard-hitting drama about two brothers avenging the wrongful treatment of their mother by a corporate entity. The story, written by Taylor Sheridan of “Yellowstone” and “Sicario,” was so rich and riveting that it waited almost half the film before it informed the viewer what was actually happening. The performances of these two actors felt so genuine. While the audience was thrown into the fray very quickly, it felt like an environment that was well lived-in. These two played off of each other like they truly were kin. That film was called “Hell or High Water.” Now I know it’s not necessarily fair, but I couldn’t help but think of Pine and Foster’s performances in that film when I heard they had been cast together again in “The Contractor.”
In “The Contractor,” Pine and Foster don’t play brothers by blood, but brothers by battle. Both had served their country, bled for the flag, and been chewed up and spit out by the system. The benefits of military service are vast, but all of those benefits go away in a split second if a soldier receives a dishonorable discharge. When Pine’s character is unfairly and dishonorably kicked out of the military for using painkillers to treat his injuries, he must find other means to take care of his family. Ben Foster introduces Pine to Kiefer Sutherland’s character, another former military man who’s now running private ops. Foster swears that everything is legit, and Sutherland even fronts Pine enough funds to keep his family afloat.
The first two thirds of this film does a great job at setting the scene, the tone, and the build-up. Pine’s character is desperate, but when handed a gun and mission, he’s locked in. He and Foster carry out their mission with precision, but things go south, and suddenly the two best friends are alone in a foreign country and being hunted. While what happens next is spoiled in the trailers, I’m not going to discuss it here. All I can say is, when I saw the trailer, I figured the actual film would flesh out the “twist” that occurs. Sadly, it does not.
To me, the film did an excellent job at building to the inevitable event. Once that event occurred, however, the overall quality of the movie took a nosedive. Whether it was the plot (or lack thereof), the fight choreography (or lack thereof), the action cinematography (or lack thereof), or the increasingly wooden or empty performances from actors who we all know can perform with the best of them, the final third of this film did not provide the payoff that the previous two-thirds seemed to promise.
From the get-go, the film had a “made for tv” vibe. The small budget was noticeable at times, but didn’t really affect the film. The writing, courtesy of J. P. Davis, was what really tanked the film. Aside from my clear issues with the plot, the dialogue and scenes didn’t give these stellar actors anything to work with. A quick look on IMDB shows that J.P. David has a handful of acting and writing credits, but nothing to warrant this cast. Likewise, the Director, Tarik Saleh, doesn’t seem to have much of a notable filmography either, outside of directing an episode for “Ray Donovan” and “Westworld.” I’m not sure who owed who some big favors, but the pairing of the writer and director with these high-caliber actors doesn’t make sense in my mind.
When the end of the film arrived, it didn’t feel like a polished film. To me, this almost felt like a rough draft that somehow starred some pretty big names. While I admit, I shouldn’t have had such high hopes to see Pine and Foster perform together again, I would have never been prepared for such a lackluster final product. Truly disappointed, I rate “The Contractor” 1 out of 5 stars.
Rorshach Rating:
Mental Health Moment: The film presents us with a protagonist that faces consequences for illegal drug use to treat a battle wound. Clearly this is unfair treatment, and those consequences affect his family directly. This situation forces our protagonist to make desperate decisions that provide some immediate relief, but ultimately make things much worse. If you find yourself in a desperate position, I urge you to seek help and advice from trained professionals. Even if it is just a help hotline, talking to a stranger can provide you with levels of assistance that you can’t immediately give yourself. It may feel uncomfortable to ask for help. The best of us don’t like feeling vulnerable or helpless. Please believe, however, that there is no shame in asking for help.
If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. We do not own nor claim any rights.
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