Few filmmakers want to be pigeonholed in a career of making the same sorts of films time and again. Accordingly, many spread their work over multiple genres, but there are always those one usually can't see directing certain types of movies. For instance, it's unlikely we'll catch Steven Spielberg helming a "Harold & Kumar" type juvenile stoner flick, while I'd bet Woody Allen will never be behind a big budget, special effects laden flick produced by the likes of Jerry Bruckheimer.
While many of his films have been hard-hitting and some have contained hard hits, the combination of David Mamet and the martial arts genre seems like another unlikely cinematic couple. After all, one half is the playwright turned screenwriter and director best known for art house fare such as "Glengarry Glen Ross" and "State and Main," while the other has a reputation for bad writing and acting, but plenty of action, often of the over-the-top variety.
Yet, the two come together in "Redbelt," Mamet's ode of sorts to the samurai legends of old. Like most of his pics, this one is densely woven, with lots of characters and storylines that end up repeatedly bumping into each other. There's also the filmmaker's trademark dialogue, deliberately penned and performed, carefully crafted, and with its own unique but highly identifiable rhythm.
All of which makes the pairing of Mamet and martial arts seem all the more appropriate, as the latter is also about discipline, control, confidence, and, yes, rhythm. And to be fair, this really isn't a martial arts flick per se, especially in the traditional sense. Instead, it's a character study about a man who just so happens to teach and live by the principles of Jiu-jitsu.
Mamet, and thus the film, certainly benefit from the choice of the terrific Chiwetel Ejiofor to play the lead. The talented actor is perfect for the part, capturing and exuding the necessary essence for such a character, even when some of Mamet's peculiar sounding dialogue flows from his mouth. Yes, I know you Mamet aficionados love his work for just that, but you have to admit that it still occasionally comes off as stilted and forced, although there's no denying at least it's different than most of what other Hollywood scribes manage to peck out.
Various Mamet regulars (Joe Mantegna, Ricky Jay, and, of course, Rebecca Pidgeon) show up in various sized roles, but the best surprise comes from Tim Allen as a middle-aged action movie star. Jettisoning the goofy facial expressions, demeanor and other such behavior that have dominated most of his career, the actor delivers a performance that's quite good, with enough edge and rawness to it that it's believable. Other supporting performances from the likes of Max Martini, Emily Mortimer and others are also good.
The only problem is with, of all things, the overall plot. While the plethora of interconnecting characters and storylines certainly maintain one's interest (as a scorecard is nearly needed to keep track of who's who and what's what), and the storytelling style is different enough (that is, except when compared to some of the director's other works) to keep us engaged, all of the posturing ends up being about, well, posturing.
I know that's the point where all of the characters' actions are present for a reason and are leading up to one conclusion, but it's that ending where the film eventually falters. In short, and without giving too much away, it simply becomes the sort of Hollywood film it had eschewed up to that point.
Accordingly, rather than ending with a cumulative bang from everything so carefully planned and leading up to it, the finale goes on and then out with a rote whimper. All of which will likely disappoint the filmmaker's fans, but may just be reassuring to average moviegoers in that the film will have finally turned "normal" to them.
And with the film's theme (and self-defense principle) being that there's no situation in which one cannot escape, that makes the offering all the more of a letdown since the filmmaker ends up painting himself into a conventional corner and doesn't get out. Decent for the first three-quarters and then a wash after that, "Redbelt" rates as a 6 out of 10.
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