16 Blocks (2006)

Directed by Richard Donner; produced by Randall Emmett, Avi Lerner, Arnold Rifkin, John Thompson, Jim Van Wyck

Jack Mosley (Bruce Willis) is a low-level New York City police detective who’s lost whatever enthusiasm and ability he may have had in regard to his job. His colleagues recognize this, and he’s given such tasks as baby-sitting a crime scene, and escorting prisoners to court. This day, he must take witness Eddie Bunker (Mos Def) to a grand jury just sixteen blocks away. Within minutes, though, he realises that his task is not so mundane, as an attempt is made on his charge’s life, and Mosley finds that even his best friends can’t be trusted. All he can rely on is a petty crook he’d just met, and twenty-five years of police experience he’s mostly forgotten.

From the start, we can dispose of the plot, which is not original, and serves mainly as a platform for the action. Some reviewers have compared 16 Blocks to The Gauntlet (1977), directed by Clint Eastwood. Though both movies feature an attempt by a burned-out but decent cop to deliver a witness against overwhelming odds, the events of the earlier film are almost absurd in their exaggeration, and The Gauntlet is probably best remembered for the prodigious use of ammunition by the police characters. Both movies feature a city bus the hero takes over, and this may contribute to the comparisons.

16 Blocks certainly has its share of contrivance, but is rather more realistic. The action is more down-to-earth, and the reasons for Mosley being considered a target for his colleagues more sensible.

The direction, by veteran Donner (Ladyhawke, Lethal Weapon) is a cut above average, providing plenty of excitement and thrills, but also some good, quieter moments, especially for the two main stars. There are, perhaps, too many scenes involving a trick in which the viewer is misled into thinking people are in one room when they are in another, but by and large Donner delivers effective work. There is also excellent use of New York City locations.

It is, however, the two leads who provide the best reasons for watching 16 Blocks. Willis, whom I don’t favour all that much as an actor, gives one of his best performances here. Noted for playing policemen, or some other type of character with a gun, he is also noted for his roles’ sarcastic lines and smirking delivery. There is none of that here.

Mosley is an alcoholic with a bad leg, fed up with his job and, more so, with himself. He is out of shape – his ‘spare tire’ isn’t typical of Willis’s characters – with any sense of humour he may have had buried by apathy and disdain. I can’t think of a single smart-alecky thing he says and, in fact, the most telling moments for Willis in the part are the silences. There is a good moment in a bar when Mosley realises that he is suddenly in an horrendous situation, and no matter what he does he will probably lose.

Def, known mostly as a hip-hop performer, does very well in 16 Blocks, even if he is hard to understand sometimes. A small-time criminal, his Bunker is a rather nice guy, too loquacious perhaps, whose ambition is to become a baker, specializing in birthday cakes. Willis and Def have a very workable chemistry in the film.

The other actors in 16 Blocks don’t have much to do except for David Morse - who plays Mosley’s former partner and chief opponent – and Jenna Stern (actress Samantha Eggar’s daughter), who portrays Mosley’s supportive sister.

An entertaining action flick, 16 Blocks wisely avoids extraneous sub-plots and concentrates on Willis, Def, gun-play and chases. It should satisfy most adventure fans while providing a modicum of depth that is not out of place.