How was your latest drive to the airport? Hopefully a lot less complicated and violent than the one Mark Wahlberg undertakes in his latest outing with frequent collaborator Peter Berg in “Mile 22.”
Working from a wordy, wham-bam script, Berg and Wahlberg tackle the story of a special ops team tasked with transporting a high-value source from the depths of Indocarr City in Southeast Asia onto a military plane bound for the United States, where he’ll claim asylum.
The Berg-Wahlberg canon, which includes “Lone Survivor,” “Deepwater Horizon” and “Patriot’s Day,” is concerned with “based on a true story” heroism. This is their first film together that’s not based on a real-life tale, and it feels like they’ve been raring to cut loose. Rather than meticulous, documentary-style re-creations of true events, the pair are let off the leash to run roughshod over the densely packed script.
Freed from the respectful restraints of nonfiction, Berg goes cinematically hog wild, and it doesn’t exactly work. The film is a riot of nearly incomprehensible editing, a violent melee of intertwining scenes, shots, characters, formats and timelines, straining the limits of coherence and cogency. Just keep telling yourself: They’re going to the airport.
The package they’re transporting is Li Noor (Iko Uwais), a source who claims to have information about a stash of misplaced “fear powder,” a radioactive nuclear bioweapon that will have the effect of “Hiroshima PLUS Nagasaki.” Noor promises the code to the drive upon delivery to the plane.
You don’t cast Uwais, the star of “The Raid” and a master of the brutal Indonesian fighting style silat, without letting him run amok on bad guys. As a performer and fight choreographer, Uwais delivers, with some extremely athletic and imaginative kills, mostly performed while handcuffed. It’s also far and away Uwais’s best acting performance in a film, and he almost makes “Mile 22” worth it.
Perhaps that’s because Uwais is an oasis of calm in the midst of the complete mayhem that is “Mile 22.” Wahlberg’s character, Jimmy Silva, the hot-headed career special ops man, is characterized as highly gifted, with a tragic past. His signature technique appears to be talking people into submission.
Silva commits war crimes of words in the form of extensive, sarcastic, quick monologues about everything from Lincoln to Warren Buffett. Fortunately, the other team members consistently point out his unhinged verbosity, even while dealing with their own chaos.
The script is jam-packed with cynical nuggets about traditional governments, of secretive warfare and existential musings on the elusive nature of heroism. But Berg refuses to give the lines room to breathe, to fully land, instead pummeling the audience with them.
“Mile 22” is an interesting anomaly in the Berg-Wahlberg exploration of heroism, focusing on the darker, shadow side of the archetype. “A killer who looks like a hero, that’s the real weapon of mass destruction,” Silva intones, in the one statement that comes through loud and clear.
Rated R for strong violence and language throughout.