From it’s opening shot (a digital, handheld camera) from a helicopter at night, the reference in Baltasar Kormakur style to that of Michael Mann is clear (such a shot coming straight out of Heat (1995). However, as Contraband continues, while the Mann aesthetic is maintained in part, the film is let down by weak dialogue and some loose narrative. For a director working from the Mann mould far more successfully, see Peter Berg. That is not to say that Kormakur does not have a good understanding of matching style with content, especially when it comes to his use of music.
Despite the problems with the film noted above, Contraband is still a cut above the films that pack out this genre. Mark Wahlberg, always great in supporting roles carries this film better than he has done in the past where he’s been the lead. Although the narrative is a little untidy, it still succeeds it creating moments of genuine tension and while the ending maybe a little to ‘Hollywood’ compared to the rest of the film there is a lot to enjoy here.
