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    Movie Review

    Bryan Cranston is the reason to see drug-crime drama The Infiltrator

    Alex Bentley
    Jul 13, 2016 | 9:00 am
    Bryan Cranston is the reason to see drug-crime drama The Infiltrator
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    It’s funny what one iconic role can do for a person’s career. Prior to playing Walter White on Breaking Bad, Bryan Cranston was known for playing the dad on Malcolm in the Middle — and not much else. He had worked steadily since the mid-'80s, mostly in bit parts or forgettable roles.

    But virtually from the moment he started playing a drug kingpin, his career skyrocketed — and his performance in The Infiltrator will only propel it further. He plays Robert Mazur, a real life undercover special agent for the U.S. Customs Service who was involved with the war on drugs in the 1980s.

    When seizing enormously large quantities of drugs or arresting low-level drug dealers proved futile, Mazur and his team decided to go after the drug cartels where it would really hurt: their wallet. Over several years, he wound his way into the inner circles of the cartel and their preferred bank by pretending to be a money launderer with no equal.

    It’s next to impossible to find an original angle for a drug crime movie, but director Brad Furman and his wife, writer Ellen Brown Furman, have done a superb job of making the genre feel fresh again. Whether it’s the use of grainy film stock, which makes it feel like an older movie, or the fleshing out of multiple characters, not just the two or three at the film’s center, the Furmans were extremely thoughtful in each and every detail.

    What’s especially notable about the portrayal of the character of Mazur is how relatively normal he is. After a day full of being undercover with drug dealers and money launderers, he often goes back home to his wife and kids. And except for rare occasions, violence is anathema for him; it’s the rare crime drama where the protagonist impresses more with his brain than with his brawn.

    The cast, in addition to Cranston, is filled with top-notch talent. John Leguizamo plays Emir Abreu, Mazur’s risk-taking partner; Amy Ryan plays Bonni Tischler, Mazur and Abreu’s boss; Diane Kruger plays Kathy Ertz, a Customs agent who ends up playing Mazur’s fake fiancée; and Benjamin Bratt plays Roberto Alcaino, a higher-up in Pablo Escobar’s drug cartel.

    But, of course, it’s Cranston who leads the way. His relatively rare ability to seamlessly go back and forth between drama and comedy serves his character well, as Mazur’s job description requires him to change emotions at the drop of a hat. The fact that you don’t doubt his sincerity for one moment throughout the film is a testament to his skills.

    The Infiltrator confirms two things: Bryan Cranston is a national treasure who only gets better with age. And, there are still plenty of ways to make an effective drug crime drama.

    Combine those two elements, and you get pure gold.

    Bryan Cranston and John Leguizamo in The Infiltrator.

    Bryan Cranston and John Leguizamo in The Infiltrator
    Photo by Liam Daniel / Broad Green Pictures
    Bryan Cranston and John Leguizamo in The Infiltrator.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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