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Disc #1 -- Contraband
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I Did It
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Broken Seal
Right About There
Oil Cans
Looking For Me, Captain?
Sebastian Leaves
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Under The Radar: The Making Of Contraband
Reality Factor: The Stunts And Action Of Contraband
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Feature Commentary With Director/Producer Baltasar Kormákur And Producer Evan Hayes
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- Chapters
Disc #1 -- Contraband
1. Scene 1 [8:26]
2. Scene 2 [6:19]
3. Scene 3 [4:26]
4. Scene 4 [5:39]
5. Scene 5 [4:20]
6. Scene 6 [5:26]
7. Scene 7 [4:16]
8. Scene 8 [6:40]
9. Scene 9 [4:49]
10. Scene 10 [1:51]
11. Scene 11 [7:37]
12. Scene 12 [5:35]
13. Scene 13 [4:32]
14. Scene 14 [6:10]
15. Scene 15 [5:01]
16. Scene 16 [4:16]
17. Scene 17 [4:41]
18. Scene 18 [5:10]
19. Scene 19 [3:34]
20. Scene 20 [5:30]
- Features
Deleted Scenes
Under the Radar: The Making of Contraband
Reality Factor: The Stunts and Action of Contraband
Feature Commentary with Director/Producer Baltasar Kormákur and Producer Evan Hayes
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Directors
Baltasar Kormákur
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Producers
Tim Bevan
Eric Fellner
Mark Wahlberg
Baltasar Kormákur
Stephen Levinson
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Composers (Music Score)
Clinton Shorter
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Editors
Elisabet Ronaldsdottir
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Screen Writers
Aaron Guzikowski
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Others
Animator - Valdimar Baldvinsson
Animator - Matthias Bjarnason
Art Director - Dennis Bradford
Assistant Costume Designer - Lauren Bott
Casting - Sheila Jaffe
CG Supervisor - Theo Jones
Cinematographer - Barry Ackroyd
Composer (Music Score) - Clinton Shorter
Costume Designer - Jenny Eagan
Costumes Supervisor - Nina Padovano
Costumes Supervisor - Meagan McLaughlin
Department Head Hair - Johnny Villanueva
Department Head Makeup - Ann Masterson
Digital Effects - Framestore Iceland
Executive Producer - Liza Chasin
Executive Producer - Bill Johnson
Executive Producer - Evan Hayes
First Assistant Director - Michele Ziegler
From Screenplay by - Oskar Jonasson
From Screenplay by - Arnaldur Indridason
Hair Styles - Donita Sather
Head Animal Trainer - Sid Yost
Key Hairstylist - Cheryl Daniels
Key Make-up - Leo Corey Castellano
Leadman - Jack Blanchard
Location Manager - Sam Tedesco
Makeup - Krystal Kershaw
Makeup Special Effects - Leo Corey Castellano
Post Production Supervisor - Deborah Harding
Production Coordinator - Robert Mazaraki
Production Coordinator - Jack Sidey
Production Designer - Tony Fanning
Production Supervisor - Peter J. Novak
Production Supervisor - Kate Fasulo
Re-Recording Mixer - Chris Burdon
Script Supervisor - Amy Sanderson
Second Assistant Director - Xanthus Valan
Second Unit Director - Darrin Prescott
Set Decorator - Cindy LaJeunesse
Sound/Sound Designer - Danny Sheehan
Stunts Coordinator - Darrin Prescott
Unit Production Manager - Bill Johnson
Visual Effects Coordinator - Linda Kristjansdottir
Visual Effects Editor - Sigurdur Eythorsson
Visual Effects Executive Producer - Sarah Dowland
Visual Effects Producer - Leslie Hough
Visual Effects Supervisor - Aron Hjartarson
Voice Casting - Vanessa Baker
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Prolific Icelandic actor/director
Baltasar Kormákur injects some fresh energy into a well-worn genre trope in
Contraband, a big-scale Hollywood remake of the popular 2008 thriller
Reykjavik-Rotterdam -- which
Kormákur originally produced and starred in. Though its clichéd conceit of a former criminal battling betrayal and impossible odds while resorting to his old ways for "one last job" may perhaps be the most overused device in the history of crime thrillers, assured direction, a game ensemble cast, and a lean script punctuated by some clever twists elevate
Contraband just enough to make it a brisk, pulpy diversion in a moviegoing season generally dismissed as the multiplex dumping grounds.
When it came to transporting illicit goods under treacherous circumstances, Chris Farraday (
Mark Wahlberg) used to be the best in the business. But all of that changed when he chose to give up his life of crime to start a family with his wife Kate (
Kate Beckinsale). Chris learns that leaving his past behind is easier said than done, however, after Kate's brother Andy (
Caleb Landry Jones) goes to work for ferocious drug lord Tim Briggs (
Giovanni Ribisi) and drops the ball on a major deal. Now, in order to set things right, Chris must smuggle millions of dollars in counterfeit bills from Panama into the United States. And if anything goes wrong, Tim will target his entire family for death. With the help of his best friend Sebastian (
Ben Foster) and a crackerjack crew, Chris heads to Panama for one last job. Later, with time running out and a treacherous maze of desperate criminals to navigate, the job gets more complicated, and Chris must race to reach his family before Tim gets to them first.
No one is likely to mistake
Contraband for a masterpiece of crime cinema, but taken as a lean and efficient crowd-pleaser, it's difficult to deny that
Kormákur's remake delivers on virtually all fronts. By transplanting the setting from the inner city to a creaking cargo ship, the film effectively sidesteps the urban trappings that have become so inherent to this type of story. Working from an original screenplay by
Arnaldur Indrioason and
Óskar Jónasson, writer
Aaron Guzikowski maintains a high level of tension by frequently cutting back to New Orleans to highlight the growing threat to Kate and her two children as Chris races to prevent the situation from spinning out of control. Meanwhile, surprising twists in both New Orleans and Panama ensure we remain riveted to the action, and there are also some unexpected moments of levity that help to smooth over some of the screenplay's rougher edges.
As a desperate family man stuck in dire straits,
Wahlberg makes Chris Farraday a likable character, and
Guzikowski doesn't cut any corners in showing us just why he earned such a legendary reputation as a smuggler. Meanwhile,
Ribisi once again proves that the word "subtlety" simply isn't in his vocabulary as he portrays the kind of criminal scum whose concept of "playing" includes tormenting a defenseless mother and her two frightened children, and
Foster showcases why he's earned his reputation as a go-to supporting player. Likewise, screen vets
J.K. Simmons and
Lukas Haas help to provide much of the comic relief as the hard-nosed captain and nervous criminal accomplice, respectively.
With virtually all of the elements falling into place so effectively, perhaps the only true misstep in
Contraband is
Kormákur's decision to go hyperstylized during a crucial action sequence in Panama. Though it's difficult to deny a director the occasional indulgence -- especially when it's so brief and inconsequential to the main story -- the scene just draws too much attention to itself and feels a bit out of place as a result. Save for that one forgivable nitpick, however,
Contraband is the ideal antidote to the stodgy, awards-season seriousness that dominates January movie screens. ~ Jason Buchanan, Rovi