You are probably saying that you have no interest in this film: it only scored a 6% approval rating on Rotten Tomatoes and it did terrible in the theaters, so why am I even bothering to post on it when, as you all know, I am seriously behind as it is? The film takes an outside approach to the current political and economic troubles plaguing America right now to draw our attention away from ourselves and towards the greater world stage, and it does so very convincingly. Further, it has artistic moments of visual vocabulary expansion that is well worth our time to discuss.
sous rature. Physically speaking, this is exactly what El Mechri does with Will's character, placing his physical features "under erasure," because Will is necessary as a hero and a future founding father but at of the start of the film he is wholly inadequate, and discovering his inadequacies and how he is converted into an adequate hero is the job of the viewer.
|Why are they on a sail boat? It symbolizes the "ship of state," and Zahir's men coming aboard, putting a gun to Martin's head and kidnapping his family (minus Will who is not "on board" with Martin because he "jumped ship," and these are political connotations) is possibly how Will's generation thinks of Israel, not much more than terrorists (Zahir works for Mossad, Israeli Intelligence) and how the current US political administration has painted our long-time ally in its siding with the Arab states instead of our friend (please see Israeli lawmaker states that President Obama has not been a friend to Israel). While Will thinks Zahir is the threat to his family, and he's willing to trust Carrack or at least the police, as events escalate, he realizes that isn't enough and his family is actually safe only with Zahir as well as the world (the terrible things that will happen to global stability if Carrack succeeds in selling the briefcase, symbolic of the selling of Israel to the Arabs).|
The clue is "Godzilla."
|It would be easy to get upset with Martin for having a "second family," but we have to remember that American democracy has many children, not just us, and we are responsible for our political siblings just as we are for those of our own family.|
US Officials Didn't link Libya attack with video like the president and secretary of state). We might be reluctant to be the "Godzilla of the Middle East," The Cold Light Of Day tells us, yet the consequences of not enforcing peace is far worse for America and the world if we don't. This is the call Martin is anxious for Will to pick up and answer, to give himself to because it's the important call and it's not by accident that call is tied to a briefcase.
|In the start of the film, it's almost comical and awkward how lacking in physical skill Will is for an action hero, but this, too is intentional, because at the end of the film, Will has accomplished his will, stopping Carrack. In art, especially action films, the hero has "unlimited free will" (as in Will himself) so if Aaron Cross (Jeremy Renner) wants to slide down a concrete wall without the horizontal velocity crushing him, he can do it, because his physical strength exists in proportion to his inner-strength and virtue as a hero (the stronger the hero's virtue is the greater his strength and stamina, the weaker a hero's/character's virtue, the weaker their strength and will power (please refer to All Points Of Convergence: The Bourne Legacy for more). We saw this in Casino Royale with James Bond (Daniel Craig) at the start of the film being awkward, clumsy and slower than the villain he chased, but by the end, his allegiance to justice and a cause greater than himself has strengthened him to overcome danger threatening him and those he has vowed to protect (please see James Bond: Beyond Boundaries for more). This is the same case with Will in The Cold Light Of Day, the more he dedicates himself to saving his family and doing what is right on the international scale, the stronger Will's will becomes and the more he realizes himself and his potential hence.|
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