Watch trailer: 13 Hours is Michael Bay’s Black Hawk Down

29 Jul 2015 | Author: | No comments yet »

’13 Hours’ Trailer: Is Michael Bay’s Benghazi Action Pic The Next ‘American Sniper’?.

The red band trailer features plenty of Bay’s hallmark explosions and actions scenes, though with a decidedly more serious tone in its depiction of the 2012 attacks in Libya.Michael Bay is notorious for mounting massive-scaled blockbusters crammed wall to wall with explosions, twisted metal, swaggering heroes and supermodels.Krasinski is one of six members of a security team made up of elite ex-military operators who fought to defend the American diplomatic compound in Benghazi from an attack of Islamist militants on Sept. 11, 2012 — the 11th anniversary of the 9/11 attacks. The trailer for the film is still packed with plenty of Bay trademarks, such as action and pyrotechnic virtuosity, not to mention men of action and duty, but the tone is dead serious in a way that even Bay’s previous war film based around true events, “Pearl Harbor,” wasn’t.

It is not surprising that Paramount/Viacom Inc. would choose the opening weekend of Mission: Impossible Rogue Nation to unveil the first trailer for their early 2016 release 13 Hours: The Secret Soldiers of Benghazi. The trailer builds, with palpable tension, to an explosion-filled crescendo of violence that is a far cry from many of the gritty, realistic war films of recent years.

On September 11, 2012, some 150 Islamic militants attacked two areas of the compound with rocket-propelled grenades, heavy machine guns and vehicle-mounted artillery. Chuck Hogan, co-creator of FX’s “The Strain” and a novelist, wrote the screenplay for “13 Hours.” The film stars James Badge Dale, John Krasinski and Pablo Schreiber, and it is due to hit theaters Jan. 15. In fact, parts of the trailer make the movie look like Bad Boys 3 if Bay replaced Will Smith and Martin Lawrence with a lumbersexual Jim Halpert and five other bearded giants, and then took out all the humor and levity. Foreign Service Information Management Officer Sean Smith were killed in the attacks. 13 Hours is told from the perspective of the ex-military elites who, without any support from the U.S. military, were charged with liberating the compound during the battle.

But that won’t mean that this film won’t be something of a lightning rod basically a month away from the Iowa caucuses which will basically kick off the primary election process for the 2016 presidential race. And, as someone who plans on voting for Bernie Sanders in the primary and then presumably Hillary Clinton in the general election, to that I say: good.

I don’t care if I end up agreeing with the points that may be made in Michael Bay’s 13 Hours, and I will try my hardest not to care about how the likes of Big Hollywood tries to spin its likely success as having greater political meaning than it does (remember when Fahrenheit 9/11 totally swung the election to John Kerry?). I can only presume from Bay’s politics (The Island was an “abortion = holocaust” parable, Bad Boys II cheerfully embraces the abuse-of-authority of its reckless cop heroes, and the Transformers sequels are Neocon fables) that it won’t exactly be The Nation‘s favorite action picture. The amount of insanely high quality special effects-infused action spectacle that is utterly taken for granted in the Transformers films is a little mind boggling, akin to we critics and fans writing off the audio/visual wonders to be found in the Star Wars prequels just because we don’t like Jar Jar Binks. That his films are, as a whole, often less successful than those filmmakers shouldn’t negate the sheer “make it look easy” action artistry on display.

So when Michael Bay decides to make a movie based on a real-life war story, one rife with indirect political connotations to boot, I get very excited. He’s very good at what he does best, and I’m interested to see him play in an environment that reins in some of his quirkier, self-sabotaging impulses.

It’s obviously a less primal portrait, and I am presuming that the narrative won’t be pretzeled into a somewhat generic action story narrative (complete with a anthesis supervillain picking off Chris Kyle’s friends) as was Clint Eastwood’s adaptation. No one should be expecting a $108m Fri-Mon opening weekend or a $350m domestic total come next year, but the $37m debut of Peter Berg’s Lone Survivor (and eventual $125m final) seems a good guess this far out.

But then they probably know that the Academy is going to have a tough time rewarding a politically volatile movie (and potentially indirectly anti-Hillary Clinton propaganda) in the middle of an elections season from the director who made the last four Transformers movie. I’m more thrilled by the movie in theory than by anything offered in the trailer, but I imagine that the trailer will play just fine for those who want a movie about American heroes saving American lives during the embassy siege of 9/11/12.

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