We all remember the bidding war back in February for David Guggenheim's pulse pounding thriller "Safe House". Well Universal won the war, and it looks like the studio is ready to go to battle with none other than Denzel Washington according to Vulture.
Washington is circling the role of Tobin Frost, a seasoned veteran in everything tough and deadly. Frost is a prisoner that a young CIA agent Matt Weston is attempting to escort through a hail of bullets and a plethora of car chases.
My review of "Safe House" which was originally posted in my short time writing for IESB is below. Check it out for some heavy spoilers and details on the non stop wave of action.
I'd like to point out that I mentioned Chris Pine as a good choice to play agent Matt Weston in my script review. According to Deadline Hollywood, Chris Pine actually met for the role at one point. Maybe I'm a casting agent in the making?
Another day, another opportunity for a script review. This time a spec script that just sold last week to Universal Pictures called "Safe House" found its way into my inbox. Of course, I wasted no time downloading the action thriller.
Grabbing my go-to beer, Sam Adams, I headed to Rio De Janeiro from the comfort of my own living room. The script was written by David Guggenheim, if that name rings a bell it is because he is the brother of fellow writer Marc Guggenheim. David and Marc's brother Eric Guggenheim, is also a writer. I really need to look into changing my last name. I tried my best to play the role of "Joe Moviegoer" while reading this script in order to gauge the possible reaction of the general public as I did with my last script review, "The Shadow".
The opening scene jumps right into a young couple waking up after an evening of passion. We're introduced to our main character Matt Weston, and his lovely girlfriend of only six months, Ana. Deep in love, neither character could imagine what lies ahead, and even if they did, they could never prepare for it. Through a phone call on the way to work, we learn that Matt has a sick mother at home and is sending money back to his brother in order to take care of her. As he makes his way into Rio's version of the projects he helps an elderly neighbor with her laundry. His boy scout exterior wont be able to hold up much longer.
Now Guggenheim takes the opportunity to start mixing in the fantastical with the mundane with pinpoint precision. The chatter of a busy apartment is drowned out as Matt enters and closes the front door. Seems like your typical empty apartment until you are told there are eight computer monitors and a lone red phone. When Matt opens the fridge it contains bottles of water, Red Bull, and packets of blood. At this point it is no secret to the reader that Matt is working for a government agency and he has just entered the "Safe House". Matt acts as the "housekeeper" for this particular "Safe House" reporting to what is called a "Lanlord" courtesy of the red phone. The housekeeper's job is to provide a secure location for field officers or assets. It was at this stage I realized I only knew what an asset was due to my many hours of watching "Chuck".
Matt isn't satisfied with his place in what we find out is the CIA. He has been trying to hand reports in to show that he has what it takes to become a field agent, but calling David Barlow on a non-secure line to see if they have been read probably wasn't a good place to start. Barlow doesn't sugarcoat things and reminds Matt he isn't an agent as he hangs up and pulls in to Langley. Guggenheim switches gears now that the foundation has been laid for Matt's character and brings us to a strip club. He now introduces us to Tobin Frost, Matt's polar opposite. A grizzled veteran agent who is meeting with Milan Maxim to buy government intel. What Frost doesn't know, is that Emile Vargas has been hired to take him out.
This is where the action heats up, and by heats up, I mean a volcano of action that doesn't stop erupting until you "Fade Out". Finally realizing he is in trouble, Frost injects something into his arm from the metal briefcase he just acquired. Now the bullets start flying. You can almost see the glass shattering as bullets pelt the car Frost was hoping would deliver him from his attacker. The chase ensues on foot, blood spewing from a wound endured by Frost. More bullets meant for Frost colliding with concrete walls and just missing innocent citizens who are crowded in the streets. The only refuge available is the U.S embassy where Frost is almost immediately recognized and captured. He is brought to Matt's safe house where is is interrogated by none other than a character named Kiefer. I can almost hear the "24" theme song exploding from my television speakers.
Before Kiefer can get too deep into his relentless interrogation, we're talking a car battery and a very wet Frost here, the "Safe House" is attacked by Vargas and a band of not so merry mercs. Bullets swarm and bodies drop, but Matt and Frost manage to escape via car, although Frost's seat in the trunk isn't exactly first class. Eventually Frost makes his way through the backseat and tries to choke Matt out with the seat belt, the two struggle until the car spins of control and wrecks. They both walk away from it and Matt hot wires another vehicle, this time securing Frost in the passenger seat, until they finally stop at a hotel. Matt drags Frost to a soccer stadium next, where they are to pick up the key to the next "Safe House". Frost makes his move and ends up escaping. Matt realizes that he is now being looked at as a terror suspect. From here Matt has to somehow find Frost and take him in along with the intel to clear his name and prove his ability to become an agent.
Guggenheim knows his action and he has the knack for putting you right in the middle of it. The gun fights and chase scenes seem like they are happening right outside your house. The car chases have your mind racing back to the Bourne series. Matt is able to use a Volkswagen, a Jeep, and later a Yugo to his advantage, escaping both mercenaries and police officers. Bodies and explosions are left behind the screeching tires, giving the reader a sense of satisfaction, as if you wouldn't have wanted to read the destruction and mayhem any other way. The carnage ensues everywhere from Matt's "Safe House", which obviously isn't so "safe", to an abandoned building. It's "Wanted" with better character development and a lot more heart. The expanse of guns is also quite impressive, the large amount of weaponry is like something you would find in a video game. Uzis, .9mm, and even a Garrotte, contribute to the slug fest. For those not in the know, which I wasn't until looking this up, a Garotte is a weapon used to strangle somebody. In this case, it was a wire used by Vargas who is on the prowl through the entire run of the script.
Once Matt and Frost cross paths when the "Safe House" is ambushed, it sets up a stylistic action packed version of "Midnight Run", as Matt attempts to bring Frost in to prove he could indeed take on the role of agent. The relationship steadily evolves between Matt and Frost, respect is earned on both sides of the fence as the two battle for their lives while being chased down by the good, the bad, and the ugly. Frost takes on the role of mentor as Matt eventually begins to trust him realizing he might be the only one he actually can trust. Guggenheim takes us on a fulfilling journey presenting an interesting dichotomy between the characters of Matt and Frost, which starts as a rivalry and ends in what can only be described as an understanding among peers.
The writer takes the template of an "ordinary man in extraordinary circumstances" and turns it on it's ear pounding the readers senses with stunning visuals and dialogue that doesn't stray. The script itself was tight, no word is wasted, no page used as filler. I can see this as a compact movie that delivers, similar to "Taken". If I were pitching this idea to a studio I would present it as "Jason Bourne meets Eagle Eye." The role of Matt is perfect for a number of male actors who are taking young Hollywood by storm. Somebody like Chris Pine comes to mind almost immediately, but why wouldn't he? The role of Frost could be perfect for Tim Robbins or a similar actor. Good read, a director can really have some fun with this and so will the audience. Looking forward to whatever comes next from within the walls of David Guggenheim's computer.
Mon, July 12, 2010 
