Respond to these rapid questions in our The Foreigner quiz and we will tell you which The Foreigner character you are. Play it now.
The plodding revenge thriller “The Foreigner” is a dreadful piece of work on every level. Just to name a few examples, Jackie Chan, an action star in his sixties who is having difficulty finding age-appropriate roles, appears only briefly in “The Foreigner,” an adaptation of Stephen Leather’s source novel. In particular, this is disappointing because Chan’s Sparkle Roll Media production company is prominently featured in the film’s opening credits, and he is also prominently featured in the film’s promotional materials. On the other hand, given how unconvincing Chan’s performance as a grieving ex-military man Quan, it’s possible that his absence is for the best.
Quan is defined by his age, as well as his maniacal desire to exact vengeance on those responsible for the death of his daughter, who was killed in a bank explosion by an organization calling itself “the Authentic IRA.” As a result, Chan is heavily made-up, with exaggerated crow’s feet, gigundo, raccoon-like bags around his eyes, and grey streaks in his hair that rival those of Party Giant. He also has a mile-long face and isn’t nearly as energetic or graceful as he has been in recent superior films such as “Chinese Zodiac” and “Railroad Tigers,” which are both excellent. Additionally, Chan disappears for long stretches of time while a group of British and Irish diplomats, police officers, and terrorists talk and debrief, engulfing the audience in a convoluted story of political intrigue. Replace Jason Bourne with Jackie Chan in an unflattering Charles Bronson-type role and you have “The Foreigner.” Take all of the worst aspects of a Robert Ludlum novel—overlong expository dialogue, monotonous and all-too-brief action scenes, and a hero who can never be found when you need him—and combine them into one film.
In “The Foreigner,” much of the action takes place behind closed doors, as Liam Hennessy (Pierce Brosnan), an Irish diplomat and ex-IRA member, battles to keep his decades-long legacy of diplomatic relations with the British alive. As such, he does what any Bourne-style politician would do: he gathers a group of men in a boardroom and yells at them, demanding to know who the Authentic IRA is and what evidence he has against him (including names, dates, and video footage). He wants those guys gone as soon as possible, so turn over every stone, shake every tree, and climb every mountain you can find. Hennessy, an antihero defined by Brosnan’s terrible Irish accent and a forehead covered in liver spots that appear to grow larger with every extreme close-up, spends a lot of time on the phone and drinking Scotch, as the film shows. Also like every other Bourne-style government wonk, he curses his men about how they are always a few steps behind the Authentic Irish Republican Army, and Quan, who has declared a personal war on Hennessy because the Irishman has previously collaborated with the IRA.
But you shouldn’t waste any more time and start this The Foreigner quiz.
We take a moment to consider the anti-Irish and anti-British politics of “The Foreigner.” What is it about a movie that condemns the Irish for having a violent past, despite their recent peaceful collaboration with the British, that we feel is necessary? Why, of all things, is Irish terrorism being discussed in a year in which institutionalized misogyny and White Nationalism have become unavoidable topics of conversation? A number of times in the past, Chan has spoken out against anti-Chinese government demonstrators. As a result, it isn’t a huge leap of logic to imagine that his reactionary real-life politics would lead him to despise terrorists who go on to become political figures in the future. This is the problem, however, that he believes should be exploited for the sake of an action film? Sure, everyone from a disgruntled Thor to a recently resurrected Paul Kersey is out for vengeance this year, but picking on the Irish is like diagnosing a gunshot victim’s cankle as their most pressing problem.
The Foreigner Quiz
A twist is inevitable and one that can be predicted during the first few minutes of this film. A lot of monotonous, uninspired John Rambo/Bronson in “The Mechanic”-style booby traps and makeshift bomb shenanigans culminate in the most unintentionally funny scene of post-explosion firefighting you’re likely to see this year, which takes place after the explosion (these guys are so bad at putting out fires that one guy repeatedly aims his hose at a fire-less roof). Also included is a lengthy and exhausting backstory, none of which benefits from Chan’s abilities as a performer or director Martin Campbell’s abilities as an action filmmaker. Campbell is best known for resurrecting the James Bond franchise with the films “Casino Royale” and “GoldenEye,” both of which were released in 2012. However, it’s likely that he was hired to direct “The Foreigner” because of his penchant for cheesy revenge dramas, particularly the surprisingly good 2010 remake of “Edge of Darkness.” It’s a shame that “The Foreigner” lacks the preposterous, testosterone-fueled violence that distinguished “Edge of Darkness,” perhaps because “Edge of Darkness” screenwriter and meathead cinema poet laureate William Monahan did not adapt “The Foreigner” as well.
Also, you will find out which character are you in this The Foreigner quiz.
As a result, watching “The Foreigner” is a thoroughly demoralizing experience for everyone involved. Wait for characters to take a break from talking about Hennessy’s connections with everyone from old IRA members to, um, newer IRA members in order to do something productive. In the end, however, when Chan does finally get into the action, it is in scenes that overemphasize his character’s inexperience and lack of coordination. Chan, in his role as Quan, trips over himself far too often. Despite the fact that he clearly has some moves, his character is supposed to be old and sluggish. As a result, for every blow Chan delivers, he must be pummeled twice more. Unfortunately, the blows that Chan does deliver are brusque and mechanical in nature. Despite the fact that Campbell films these scenes exceptionally well, the choreography in these scenes is intentionally sloppy. It’s possible that Chan is still figuring out what he can and cannot do in his old age. However, a piece of dreck like “The Foreigner” should be swiftly crossed off his bucket list and never seen again.
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