Denzel Washington stars in "Safe House."

For so much of the time while watching “Safe House,” the new film (starring and executive produced by) Denzel Washington, I was nervous about whether he was a good guy, bad guy, or some confused muddle of both. I was nervous because, quite frankly, Denzel means that much to me as a filmgoer. Right or wrong, fair or unfair, I expect Denzel Washington to be my Black film hero, providing some insight into our earthly human condition—which, of course, also provides insight into the earthly Black human condition.

In the meantime, while I was figuring out whether he was the hero or anti-hero, “Safe House” had me in the throes of non-stop action—foot chases, car chases, rooftop chases, car crashes, car explosions, gunfire, machine gun fire, assault rifle fire, fist fights, knife fights, fights on top of furniture, fights on the floor, chokings, stomp downs and beat downs of every type. This film is definitely in the hyper action mode of the “Bourne” series (which, by the way, will be extended this year with “The Bourne Legacy” with Jeremy Renner and without Matt Damon.) This tradition carries us through a physical and emotional gauntlet at break-neck speed.

Also, like the “Bourne” series, “Safe House” is all wrapped up with the doings of the CIA and the “national security” apparatus of the United States. I’m still thinking about what it means to have our film heroes wrapped up in these spook-driven storylines that are taut with tension and fights to the death. At their worst, they set up these “intelligence” agencies as all-powerful bogeymen with a global reach to kill and destroy at will, and a special ability to overpower people in Africa, Asia and the Middle East. At their best, they provide a powerful warning about the dangers of a corrupt military-industrial complex perpetuated by moneyed interests.


Placed into this milieu, Denzel plays the part of Tobin Frost, who we learn soon enough, is a feared CIA operative gone rogue and suspected of selling secrets to enemies. Tracked down in Cape Town, South Africa, Frost winds up hunted by both the CIA and a gang of heavily-armed mercenaries. For Denzel, this well-acted role seems a logical follow-up to the rogue narcotics officer he played in “Training Day,” the ex-operative of some type he played in “Man On Fire” and the almost detached drug kingpin he played in “American Gangster.” It might be 2012 but the bread and butter of Hollywood still seems to be cops and robbers, cowboys and Indians and—always—soldiers, even if uniformed in suit and tie.


As far as cop-spook-soldier-spy stories go, “Safe House” is a quality film. (And, before you email, tweet, or send hateration vapors into the atmosphere, I use spook here as the nickname for a spy from the CIA or other spy agencies).


I won’t say how my nervousness turned out. That will ruin the film for you if you haven’t seen it already. Denzel’s young co-star, Ryan Reynolds (“Green Lantern”), rounds out this cop-spook-soldier-spy story with questions about what we want our lives to mean and what we will do for money.


Click here to post a comment or your own review IF YOU ARE ALREADY REGISTERED.

Otherwise, can also post a comment on our Facebook page.

Read and search hundreds of reviews on SeeingBlack.com's Movies/TV channel and archive.

TO SUPPORT SEEINGBLACK.COM, VISIT THE
DONATION PAGE HERE:
http://www.seeingblack.com/donate.shtml

You can order Esther Iverem's critically praised We Gotta Have It: Twenty Years of Seeing Black at the Movies, 1986-2006 (Thunder’s Mouth Press, April 2007)at Amazon.com or purchase at your favorite bookstore. It makes a wonderful gift! Thanks!

Do you shop at Amazon? Please shop through our link and support
SeeingBlack.com!

© Copyright 2006 SeeingBlack.com

Top of Page