Film This Means War

[Diante Scharsch]

ThisMeans War is a 2012 American romantic comedy spy film directed by McG, produced by Will Smith and starring Reese Witherspoon, Chris Pine, and Tom Hardy. The plot concerns two CIA agents who are best friends and discover that they are dating the same woman.

CIA agent and best friends Franklin "FDR" Foster and Tuck Hansen are deployed to Hong Kong to prevent international criminal Karl Heinrich from acquiring a weapon of mass destruction, but the mission goes awry, resulting in the death of Heinrich's brother, Jonas. Heinrich swears vengeance against them. Upon their return to the United States, their boss, Collins assigns them to desk duty for their protection.

Tuck is divorced with a young son, Joe. After attending one of Joe's karate classes, Tuck attempts to rekindle his connection to his family but is rebuffed by his ex-wife Katie. Tuck sees a commercial for online dating and signs up. He matches with Lauren Scott, a product-testing executive who is dealing with the recent engagement of her ex-boyfriend. Her best friend, Trish, enrolled her in the dating website. FDR insists on being Tuck's back-up for the date and hides nearby, but Tuck and Lauren hit it off.

FDR runs into Lauren at a video store and tries to flirt with her, but she ignores him. Intrigued, FDR gatecrashes one of Lauren's test groups and coerces her into going on a date with him. FDR and Tuck discover that they are seeing the same woman and decide not to tell her that they know each other, letting her instead come to a decision between them.

The date with FDR does not go well at the start, and Lauren storms out. After arguing with FDR, Lauren sees her ex-boyfriend and his fiance approaching. Desperate, Lauren grabs FDR and kisses him. She lies to her ex that she and FDR are together as FDR plays along. FDR demands that Lauren explain what happened; they then talk seriously and hit it off. After dating both men a few times, Lauren feels guilty and gives herself a week to make up her mind.

Both men bug Lauren's phone so they can spy on her when she is on dates with the other one. They overhear her tell Trish that she is going to need to have sex with them both to decide which one is the right one. This leads to both men taking steps to ensure she does not sleep with the other. FDR discovers that Heinrich has arrived in town to kill them. He interrupts Tuck's date with Lauren to warn Tuck about Heinrich, but Tuck doesn't believe him. They engage in an extended fight, and Lauren discovers that they are best friends. She angrily leaves with Trish, but the women are kidnapped by Heinrich and his men, who are pursued by FDR and Tuck.

FDR and Tuck rescue Lauren and Trish after a car chase. On Lauren's advice, they shoot out the headlights on Heinrich's SUV, sending the car rolling towards them. With Lauren standing in the path of the SUV, FDR and Tuck, on opposite sides of the road, urge her to come to their side and she chooses FDR's side, while Heinrich dies when his car crashes. Lauren has decided to be with FDR, and Tuck makes amends with him. Later, Joe is at his karate lesson with Tuck when Katie comes to pick Joe up. Tuck and Katie re-introduce themselves to each other and she invites him out for a meal as a family.

Shortly thereafter, FDR and Tuck go on a mission. They are about to parachute out of a Chinook helicopter when FDR reveals that he will be marrying Lauren and asks Tuck to be his best man. He reveals that he had sex with Katie before she met Tuck but no longer feels guilty because Tuck had sex with Lauren. Tuck reveals that they did not go all the way and angrily tackles FDR out of the helicopter.

In May 1998, it was announced that 20th Century Fox had acquired Marcus Gautesen's spec script This Means War with Martin Lawrence attached to star.[3] The initial story revolved around two best friends who start to feud when a young woman moves into their spare room with their conflict wreaking massive havoc across New York City.[3] According to Entertainment Weekly, "the initial script dates back [...] at least about a decade," with Bradley Cooper, Seth Rogen, and Sam Worthington reportedly turning down the lead role. Going back even further, Martin Lawrence and Chris Rock also declined the part.[4] Screenwriter Larry Doyle claimed to have read the script in 1998, and that in the draft the protagonists were video game designers with access to guided missiles.[5]

Peter Travers of Rolling Stone found this "action-spiked romcom [...] death-sentenced by a lack of humour, heart and a coherent reason for being. I could say more, but do I really need to?"[15] Roger Ebert of the Chicago Sun-Times considered the film "an incompetent stupid action comedy" that was "so bad it's nothing else but bad" and observed that Witherspoon lacked the "irresistible raw sex appeal" to be "convincing as the woman [Hardy and Pine] go to war over."[16] Richard Roeper of ReelzChannel called the film "one of the worst movies of this or any other year" and mocked Handler, who looked old, "lost," and "haggard" while delivering "her lines in a kind of flat monotone."[17]

Todd McCarthy of The Hollywood Reporter recommended "the whole picture" be "sent back for a reshoot" as it "manages to embarrass its three eminently attractive leading players in every scene" and disapproved of Handler's performance, noting that she "has no sense of creating a character."[18] James Berardinelli of ReelViews dismissed the film as "a 98-minute music video without the music -- all splash and little heart," joking that "we keep hoping the sleazy bad guy will show up and shoot" the main characters.[19]

Claudia Puig of USA Today opined that "silly action sequences grow tedious and rarely blend with the wannabe madcap comedy" and concluded that McG "can't seem to decide whether he's making a spy action flick with romance interspersed or a rom-com peppered with action."[20] Mary Pols of Time criticized the film's "terrible sense of chemistry all the way around" and declared that "even the pairing of Witherspoon and Handler [...] turns out to be a dud."[21] Peter Debruge of Variety thought Tom Hardy and Chris Pine "are too busy trying to out-appeal one another to make the buddy dynamic click" and wondered if "it's the pic's cartoonish tone that keeps them from doing much more than look pretty, trading on the stars' blue eyes and impossibly big lips in lieu of their proved acting ability."[22]

Lisa Schwarzbaum of Entertainment Weekly "enjoyed everything that's all over the place about the finished product" and stated that while it "may have been hammered together by brute Hollywood force, [...] there's this going for it: It's game to throw in anything that'll keep the motor running."[4] Tom Long of The Detroit News characterised the film as "unpretentious goofiness" with "some nice light yuks" and believed "the whole sublimely stupid mess works."[23] Betsy Sharkey of the Los Angeles Times warned that "if you can get past the gross invasion of privacy," there "is some bittersweet fun peppered by bursts of sharp patter," especially from Hardy and Pine, who electrified "the screen almost any time they're sharing it."[24]

Simply, 'rating' film at something other than its marked speed means setting that rated speed (from your example, 320) on their ISO dial and shooting it that way. It's then processed normally. You are in affect over or underexposing the film a bit from what the manufacturer recommended.

How do you know to do this? Either by word-of-mouth or your own experimentation. If somebody that you know gets better results by 'rating' a given film differently (and you've seen the results and trust their methods), then give it a shot.

Many people use a lower speed rating than the manufacturer claims because of different standards on how to measure film speed. In addition, the choice of film developer can have some impact on the speed of the film.

In the Zone System, film speed is rated by measuring the density of the negative with a densitometer. A Zone I exposure (4 stops less exposure than would be given to an 18% middle gray card) should yield a density of .10 over film base and fog (the "clear" part of the film). Zone I is used because development time has little impact on Zone I density.

Rerating a film, up or down, doesn't necessarily involve changing development. Some folks simply prefer the results they get by rerating a film during exposure but processing it at the nominal speed. A common example is Velvia - some folks shoot it at 40 because they believe they get better results, but they have the film processed normally.

Sometimes this is due to differences in metering technique or simply because their meter isn't calibrated the same as others. I shoot Kodachrome differently according to the quality of the light. It tends to go greenish under heavy foliage so I'll overexpose slightly to minimize this effect. I don't bother changing the ASA/ISO dial, tho', because I've been using Kodachrome for so long I'm accustomed to compensating in my head.

Another example: when I use a green filter with chromogenic monochromes like Kodak T400CN I prefer shooting at 250. Not to compensate for the filter factor - I'm already doing that with TTL metering. I simply prefer the results under normal processing.

Rerating film *and* customizing the processing is another matter. For b&w work zonies do it in pursuit of an ideal balance of contrast and tonal range. In color work it's usually done out of necessity when more speed is desired. But some photographers deliberately "push" a film - underexposing it via rerating the speed higher, accompanied by overdevelopment - because they want more contrast or a difference in color saturation.

Rate film at the speed suggested by the manufacturer. Expose according to the rules in most texts remembering that the camera meters for 18% grey and bright scenes may fool it (open up a stop) and dark may fool it too (reverse the process).

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