For close to a quarter century (1979–2002), Mel Gibson had the Midas touch. He starred in two blockbuster franchises (“Mad Max,” “Lethal Weapon”), high-end thrillers (“The Year of Living Dangerously,” “Payback,” “Ransom”), and multiple war dramas (“Gallipoli,” “The Patriot,” “We Were Soldiers”).
The high-water mark of Gibson’s critical recognition and industry rewards was “Braveheart” (1995), the historical epic that took in over $213 million at the global box office and netted him not one but two Oscars.
With “The Passion of the Christ” (2004), the tide began to change. Despite hauling in over $612 million worldwide, “Passion” sharply divided critics and audiences and received accusations of pushing anti-Semitic content. At one point, “Passion” was both the highest-grossing foreign language and “R” rated movie of all time.
Despite the unqualified popularity of “Passion,” it was Gibson’s conservative politics and his outspoken opinions regarding the film industry’s child trafficking and abuse that fanned the growing anti-Gibson flames. Apart from the stinker “Daddy’s Home 2” (2017), no Gibson-starring movie has cracked the $100 million mark in the last 18 years.
Easily the best thing Gibson has done since “Blood Father” (2016), “On the Line” is the first English-language effort from French director Romuald Boulanger, who also wrote and co-produced, and it is one of the most expertly executed crime thrillers in recent memory.
Getting It Together
Before he starts his next show (which also takes place on his birthday), Elvis is reminded by his program director, Sam (Nadia Farès), that his ratings are in the tank and that he better get it together soon. He’s chided and taunted by the 8-to-12 host, Justin (Kevin Dillon), and barely pays attention to the show prep being presented to him by his producer, Mary (Alia Seror-O’Neill).
Minutes before going on air, Mary tells Elvis that a hotly anticipated call-in guest has canceled, causing Elvis to totally lose it. He begins browbeating and berating his call-screener, Dylan (William Moseley), on his first day answering the phones. As Dylan starts to leave in frustration, Elvis says that it’s just a ritual, hazing, and rite of passage that every new employee receives and asks him to come back, which Dylan does.
In Good Company
Bearing much in common with Clint Eastwood’s “Play Misty for Me,” Oliver Stone’s “Talk Radio,” Ron Howard’s “Ransom” (also starring Gibson), and maybe even a little bit of the first “Scream,” “On the Line” shows that it’s a living, breathing nightmare for anyone making a living in the public eye. If you’re someone like Elvis—gruff, dismissive, controversial, polarizing, famous, and wealthy—regularly attracting nut jobs practically comes with the job description.With the exception of the first and last five minutes, the narrative is presented in real time, with Boulanger messing with the audience’s heads in the same manner that “Gary” does with Elvis.
As the narrative progresses, Boulanger keeps upping the ante, tightening the vise grip on our psyche. We know only what Elvis knows; Boulanger has no intention of letting us off hook, much in the same manner as the 1950s’ efforts of Alfred Hitchcock.
Without my giving anything whatsoever away, there are at least two endings, maybe more, and unless you’re clairvoyant, you won’t be able to figure out any of them. Moreover, Boulanger doesn’t offer up any time-wasting or misleading red herrings, something this genre does with numbing regularity.
Everything that happens in the last 15 minutes is the fruit of clues being seeded along the way in the first 30, but you’ll only be able to put it all together once in hindsight or with a second or third watch. This movie practically begs for multiple viewings.
Is “On the Line” going to resuscitate Gibson’s waning career? Probably not. Will it change the minds of his many detractors? No, not even close. It will, however, offer further proof that Gibson loves to work and, on occasion, recapture the spirit of his glory days.
