Skip to content

Jude Law, Rachel Weisz and Anthony Hopkins’ “360” on VOD—WTF?

July 16, 2012

It stars Academy Award winners Sir Anthony Hopkins and Rachel Weisz as well as two-time Oscar nominee Jude Law. It’s directed by Fernando Mereilles, who was nominated for Best Director for City of God and guided Weisz to her Best Supporting Actress win for The Constant Gardener. It’s written by Peter Morgan, who’s snagged Best Screenplay nods for The Queen and Frost/Nixon. And it’s available for viewing via Video On Demand in advance of its limited theatrical release next month. So where did 360 take a wrong turn?

The answer is: It didn’t. The business has changed, and smaller movies for grown-ups are getting squeezed off the big screen by shlockbusters in mega-wide release like The Amazing Spider-Man. The days of “direct-to-video” equalling a euphemism for “piece of crap” are gone. This year alone, quality films like Samuel L. Jackson’s The Samaritan, Willem Dafoe’s The Hunter and Bobcat Goldthwait’s God Bless America have premiered On Demand as well as streaming services like’s Instant Video. And 360 may be the best VOD debut yet.

I’ll confess, I’m a sucker for movies about overlapping lives, whether it’s Robert Altman’s Nashville and Short Cuts or Alejandro González Iñárritu’s 21 Grams and Babel. Maybe it’s the budding Buddhist in me, but I love the idea that we’re all interconnected—and it’s an even more powerful concept in the age of the World Wide Web, as Morgan’s script cleverly proves. The story begins—and ends—with an Internet hooker in Vienna, and interweaves plot threads involving an unhappily married couple in London (Law and Weisz), a recovering-alcoholic dad (Hopkins) searching for his presumed-dead daughter in Phoenix, and a freshly paroled sex offender (Ben Foster) struggling to stay on the straight and narrow in Denver. There are stops in Paris and Rio as well, and the only thing linking the story lines beyond chance encouters is the theme of infidelity, which also encompasses a devout Muslim determined to avert an affair with a married coworker in a dentist’s office and a Brazilian woman abandoning her philandering photographer boyfriend in England.

I’m on the record stating Hopkins is the world’s most overrated actor and that no one has ever said, “You know who was great in that movie? Jude Law.” Well, I must admit, I enjoyed both actors’ pained, restrained work here, and while Weisz’s limited role isn’t in the same league as The Constant Gardener, she’s still solid. The film’s best performance belongs to Foster, a fascinating actor in everything from masterpieces like Oren Moverman’s Rampart to genre fare like Jason Statham’s The Mechanic (and his upcoming roles as William S. Burroughs and John Gotti, Jr. should show off his range). His achingly subtle turn here recalls Jackie Earle Haley’s Oscar-nominated tour de force as a pedophile in Little Children. And the lesser-known cast members, among them Lucia Sipsová as the Slovakian prostitute and Marianne Jean-Baptiste (herself an Oscar nominee for Mike Leigh’s Secrets and Lies before getting sidetracked on CBS’ Without a Trace) as Foster’s counselor are equally fine.

Mereilles seamlessly uses split screens to track the multiple stories, making 360 resemble a highbrow episode of 24. And that’s not the only connection to Kiefer Sutherland—his new series, Touch, also attempts to connect seemingly disparate lives around the globe. Yet while that Fox drama is often heavy-handed, Mereilles, Morgan and their flawless ensemble truly have the magic Touch.

Have you seen 360, and was it a slam dunk? Post a comment, and I’ll bring the discussion full circle with a reply!

From → Posts

  1. Arnold Wayne Jones permalink

    Well, I for one HAVE said that about Jude Law… several times.

    • bruceafretts permalink

      Yeah? When? I must’ve missed those movies.

  2. Jude Law was just fine in A.I., even though most people hated the movie. And he wasn’t completely terrible in All The King’s Men.

    Anthony Hopkins, on the other hand, has never been any better than his first shot at Hannibal Lecter. That may be one of my top five movies, and he nailed it. But just about everything since then has been so-so. Including . . . All The King’s Men.

    So, tell me more about VOD? I am considering an Amazon Prime subscription. Is VOD something that’s available just about anywhere? Say even on my PS3 network? Email me if you’d care to answer privately . . .

    • bruceafretts permalink

      You don’t need any special membership to view Instant Video on, and most cable systems carry Video on Demand–they used to call it Pay Per View, but I guess they decided that phrase had negative connotations…

  3. Arnold Wayne Jones permalink

    The first thing I saw him in, Gattaca, he made an impression. And they I was an early advocate of his steam performance in Ripley, while everyone else was praising PSH.

Trackbacks & Pingbacks

  1. Is Mel Gibson’s “Get the Gringo” Unreleasable? « Fretts on Film
  2. Is It Getting Hot in Here…Or Is It Not? « Fretts on Film

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: