After a ferry is bombed in New Orleans, an A.T.F. agent joins a unique investigation using experimental surveillance technology to find the bomber, but soon finds himself becoming obsessed with one of the victims.
Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
In a violent post-apocalyptic society, a drifter, Eli, has been wandering westward across North America for the last thirty years. He finds solace in a unique book which he carries on his person and guards closely, whilst surviving by hunting small animals and seeking goods in destroyed houses and vehicles to trade in villages for water and supplies. When he reaches a village ruled by the powerful mobster, Carnegie, the man views Eli's impressive fighting skills and offers Eli a place within his gang. Carnegie presses his blind lover Claudia to send her daughter, Solara, to at least convince Eli to spend the night by sleeping with him. However, Eli proves to be the better man when he gently declines her advances. The girl sees Eli's book, and when Carnegie finds out he beats her mother until she reveals what she saw. Carnegie sends his gang into the wasteland to take the book from Eli, but the man proves to be a formidable foe as he makes it more than clear that if they want the book,... Written by
Harry Jankel, London, England
When Eli and Solara are approaching George and Martha's house, the sounds of their footsteps do not match their feet. See more »
Young Woman Hijacker:
Please, don't hurt me. Here, take anything you want. You want some food? Take it.
I'm not gonna hurt you.
Young Woman Hijacker:
Yeah? That's what the last guy said. Could... could you help me? The wheel came off. I can't fix it. Maybe if I... if I could... but I can't.
You know the only good thing about no soap... is that you can smell hijackers a mile off!
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Aside from the title, there are no opening credits. See more »
Post-apocalyptic "Eli" covers up weak plot with solid development and action
Everybody's talking about what happens after the apocalypse these days. "The Book of Eli" is sort of the boiling point of this science-fiction concept, a combination of last year's "The Road" and George Miller's "The Road Warrior." America is a post-apocalyptic wasteland and Denzel Washington is the only self-sufficient badass. So originality is not exactly "Eli's" calling card, but it clearly establishes its ruinous world and the Hughes brothers ("From Hell") take good care of its characters while supplying top-notch action.
Washington stars as our stolid protagonist, Eli, journeying westward with his canteen, a large machete, a couple guns and a special leather-bound book. He lives on an Earth that was fried 30 years before by the sun because of a war that ripped a hole through the ozone layer. Sun-goggled bikers run amok pillaging, killing and raping passers-by, yet Eli is morally sound and focused on keeping his book safe no matter what so he can deliver it somewhere out west.
Although written by a first-time screenwriter and former PC Gamer editor, Gary Whitta, "Eli" impressively creates its world between the sunglasses/goggles due to the sun's power, trading of goods because money's obsolete and the constant examining of hands to determine if someone is jittery from eating too much human flesh. Whitta also places Eli squarely in the story. He's a good but dangerous man who's not afraid to kill, and as he sits idly by as a couple gets attacked, it's abundantly clear that this is a world where compassion is secondary to survival and self-interest.
Where the plot comes in is "Eli's" weak link. It doesn't try too hard to hide just what exactly the book is and that sort of dissolves some of the film's mystique. The plot is essentially Eli wants to protect it and take it west and he has a run in with Carnegie (Gary Oldman), an older man who runs a small town and desires it for selfish power-related reasons. Along the way, anyone who threatens to lay a hand on Eli gets sliced up or shot. In the two or three fight scenes where he takes down numerous guys at once, you can't help but wonder why after he kills the first few guys, the others don't run the hell away, especially considering people are otherwise in self-preservation mode living in a wasteland (and they know nothing of the book).
The Hughes brothers make those scenes worthwhile, however. There's a style and grace to their action scenes -- they create a sort of a moving tableau in some scenes and execute a wide range of tempos in the action sequences to make them more intense. When Carnegie's men encounter Eli and the young woman (Mila Kunis) that he inspires who follows him at the home of some old folks (cameos by famous Brits Frances De La Tour and Michael Gambon), they place the camera in the middle of the action and sweep along with the gunfire (part- digitally) from one side to the other. It's very cool and is an example of one way the Hugheses keep the focus away from the plot's shaky skeleton. I only have beef with their excessive slow-motion walking-toward-the-camera shots and showing a bit too much of the cloudy green-gray sky.
Some people are going to be more surprised and impressed with the film's big reveal than others, but anyone with a love of action and that post-apocalyptic context will find something to make "Eli" a worthwhile watch regardless of plot weakness. Washington is slightly under-utilized but he's an ideal fit. He brings an intensity in his demeanor that makes him an intriguing character and the film does a good job of making his character more central than anything else.
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