One of the reasons why the Paranormal Activity franchise has been such a success, is because it takes our safest place – our home – and infiltrates it, making us vulnerable in the environment where we feel more secure. It’s a fear that Babak Najafi has also tapped in to in London Has Fallen – the sequel to the surprisingly entertaining Olympus Has Fallen, released in 2013. In this instance, it’s those we feel we can trust most; be it policeman, the military or even ambulance workers, and making them terrorists, breeding a suspense and intensity as we never know who to trust, as even those employed to serve and protect us, are fighting against us.
The terrorists are all in disguise as civil servants, acting as part of an epic operation – and personal revenge plot – from notorious arms dealer and internal fugitive Barkawi (Alon Aboutboui), seeking vengeance on the leaders of the Western world, when a drone strike killed members of his family in Pakistan. When the British Prime Minister dies in his sleep, a host of leaders set over to London for the State funeral, including, of course, the US President Benjamin Asher (Aaron Eckhart). With any situation such as this, which poses a high security risk, he travels with his loyal, diligent security guard Mike Banning (Gerard Butler) – though the father-to-be anticipates this to be his final endeavour, with a resignation letter forthcoming. But when the attack occurs, suddenly the only thing he cares about is whether or not he’ll be around to see the birth of his child at all.
London Has Fallen is, given the current climate and war on terror, a little irresponsible at times. Though certainly highlighting pertinent themes, this title can also be accused of perpetuating a fear and stereotype. On the other hand, cinema has a duty to respond to the world around it, and tackle issues that genuinely exist, it can’t always be tales of giant robots fighting in the sea. Except in this instance, given the escapist nature of this overstated blockbuster, injecting any semblance of realism into the fictitious narrative can prove to be detrimental to our experience. Plus, the line, “go back to fuckheadistan of wherever you’re from” is a touch unnecessary.
But at least the antagonists, no matter how reprehensible they may be, are given a face and identity, and vitally, a motive – which is more than can be said of Michael Bay’s 13 Hours, for instance. They remain as archetypal villains, and while their actions are disgusting, of course, they are given a (very slight) sense of humanity, as we gather they are taking revenge for an attack from America which also saw innocent people killed – again, a relevant issue to say the least.
Thankfully, however, London Has Fallen just remains on the right side of farcicality, always unbelievable enough that we are able to treat this as a mere piece of cinema, and nothing overtly political. Had this been any more raw or naturalistic it would be almost unbearable to watch, but the exaggeration and theatricalities serve the piece well. That said, there is something quite staggeringly – and surprisingly – accurate about the geography on show. Usually with these films they take a right turn off Big Ben and find themselves in Soho, but this stays rather authentic, so fair play.
On a negative note, however, it’s all quite singular, narratively speaking, and even though London is being blown to pieces, world leaders are dying left, right and centre – and countless civilians are losing their lives – we care solely, and strictly, for the President of the United States of America. As long as he’s okay, that’s all that matters. Of course we need to have that focus and entry point, but the damage being caused is carelessly disregarded somewhat, as we worry only for his safety. We don’t get a true sense for the scope of the attack as a result.
London Has Fallen hasn’t quite got that same sense of adventure and irreverence that made the preceding endeavour so entertaining either. There’s something a little more sombre about this piece, and it serves only in highlighting that a third entry into this franchise would be entirely superfluous – because this one is already teetering on the edge.
