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User Reviews (27) More is left out of the film than is in it. We are shown the short tale of a photojournalist who escapes from a horrific massacre; we aren't shown how he does it. We don't know what war this is, it is a stand-in for all of those nameless skirmishes in Latin America. Without ruining any of the actions that take place in the second half of these 8 minutes, I assure you that in these 8 minutes you will feel more intensity, hatred, sadness, and fear than in any other 8 minutes of watching a film. At a point I felt the same intensity of watching a "certain" scene from "The Deer Hunter", at points, this film shares the same mood of the "The Deer Hunter" and "Amores Perros", but at the same time creates it's own mood. This film will start you with open eyes and leave you with eyes of tears. There is nothing bad I can say about this movie because it was never cheesy, never dragging, and never melo-dramatic. And if you are moved deeply by this film I highly recommend "Amores Perros" which is done in the same style. This film, in comparison to any other film of the Hire series is possibly the best. The mark of Alejandro González Iñárritu is without contest the deepest one I've seen to date. It can't be denied that every second of the films matters in one way or another, either it is the feel of the environment, characters or even the state of mind. But since I'm a fan of his work I think I might be a little biased. Shot in a documentary style way in 16mm, it's a great look at the genius of an upcoming director. 8-1/2 /10. I was very surprised after watching the other films from the BMWs films "The Hire", because although all were clever and entertaining, none had the emotional power of this one. Guy Richie's was great but in a humorous way, and more as an homage to BMW's cars. Powder Keg was about as deep and attaching and emotional and real as you can get in a 7 min film. The subject matter here is a real odd choice and it is all the odder when you view it in the context of the other short films in this series which are glossy and sleek generally. With this one though the filming is grainy and the focus is less on the vehicle and more on the dialogue between the two men – again, an odd thing for a film funded by BMW, but here we are. I was actually very open to the idea of something more than just another car chase short film, so I didn't have a problem with it in terms of its concept, just its delivery. You see there isn't anywhere near the grit that this suggests and it feels like it is "doing" gritty rather than being that way by natural of extension of what it is doing and what it is covering. The most surprising thing then is that it was directed by Alejandro González Iñárritu, a director on the rise at the time after Amores Perros. He directs it like it is insightful, brave and challenging but this approach is totally at odds with the clunky nature of the script (such as the thing with the mother at the end) and the fact that the central thing about the short is selling a high-end luxury car. The latter point (about the commercial) I can swallow to a point, but it is the failure to deliver a story that doesn't feel hollow that really hurts me. It hurts the cast too. Skarsgård rolls in his own blood and laments his life of observation the best he can, but he is alone in the core of the film; Owen has a much harder job and he looks uncomfortable and cannot make even the smallest lines work. This piece of garbage is both shallow and immoral. All in all, my only regret with this film is that it's the last one in this excellent series. BMW should be highly commended for allowing what could have been little more than overblown and expensive commercials to be short films in which the centerpiece vehicles sometimes took a back-seat to the characters and their stories instead. I hope to see another series like this again soon. Powder Keg has been promoted heavily on cable. The trailer for the very short film is excellent. The irony of the format of the very short film is that the trailer runs for about 1/10 the time of the whole film! I conclude by giving credit where credit is due. I am sure it is not news when I state that Clive Owen is an amazing actor. In this film he delivers his best performance. The reasoning behind this being his best performance is that his eyes contain so much emotion that you can feel exactly what he is. Also that is a great job on Inaritu's part being able to capture that emotion. An all around amazing 8 minutes. Required viewing. 10/10. In the fifth of the BMW short films call The Hire, The Driver is sent into Columbia to recover a wounded war photographer and pull him out of the country. The photographer laments his role as observer across war after war, looking to the few rolls of film he has of a massacre as being perhaps a way he can do good. Iñárritu directs this short perfectly, using hand-held 16MM cameras to capture a grainy, almost documentary-like feel to the film, and over-exposure for certain shots adds the right amount of dramatic flair to the film. Stellan Skarsgård does a wonderful job as the photographer, and manages to communicate volumes just as much with what he doesn't say as with what he does. Clive Owen has the opportunity to portray a different side to the driver then in the previous films, allowing his normally unflappable character to have an emotional moment beyond what we've seen. The moment at the end of the film between himself and the woman played by Lois Smith is made more pronounced by his inability to effectively communicate his thoughts and feelings, and his abrupt exit punctuates that perfectly. This film was from start to finish a stunning, and powerful story. Gripping, gritty cinematography with fine acting. This time the car was the back-story - not the focal point. While all of the other 4 films in the "Hire" series are fine examples of short film-making, they were pretty much nothing more than Clive Owen's fancy driving of the BMW vehicles with a slight back-story thrown in. This shows once the characters start interacting. The photographer's lamentations are fairly standard things and they are sturdy rather than natural in the writing. His dialogue is made worse though by the even clunkier lines delivered by the Driver, the worse by far being "but Mr Jacobs your photographs have done a lot of good" or something like that – with that line you could see Owen had no idea how to say it and make it work. The short also comes over as being hollow because really it doesn't have much to say at all on the world it is set in, which adds to the feeling of the dialogue being empty which then feeds back onto the film as a whole to make it seem like it is just wearing the clothes of concern for the sake of a short film. The first movie, The Ambush, delivered good action and I thought was good enough to start off the film series. Ang Lee's second short film was less than good with mediocre action scenes and a story that did not make much sense. He said he was going for the comedic approach, my advise to Mr. Lee, don't do comedy again. Now I am brought to this film, done by Alejandro Gonzalez Inaritu, famous for his breakthrough film "Amores Perros" which I also had the pleasure of viewing. If you have not seen this movie I highly recommend it due to the fact that it leaves you feeling three different emotions for three different vignettes. A movie hasn't moved me in that way in a long time. This is a vulgar and contemptible short film that exploits the misery of a country to draw attention to an automobile. There is one cheap-shot after another which adds up to nothing. Oh. But wait. Isn't that BMW amazing? It survived! The fifth "The Hire" movie is an impressive little short. It's impressive because of the story, that is helped by its gritty atmosphere. The third installment was the best so far, intriguing story and beautiful filming style. Then there was Guy Ritchie's film Star. It was, I thought, quite funny and the second best. Then we have the last one: Powder Keg by Alejandro Gonzales Inarritu, (remember that name), director of the critically acclaimed Amores Perros. His movie is inspired on the actual event of the massacre of Aguas Blancas which happened in Mexico's guerilla zone. The rest of the story is enitrely fictional and concerns a photographer who captures the event and becomes wounded when he is discovered by the militia. Clive Owen's driver character is sent to get him out of the war zone. Alejandro's script manages to create a story far more deep than all previous BMW films. The photographer's character starts to develop when he says he would like to have time to play with his kids, which he doesn't have because the life of a war photographer is very demanding and he hasn't had the chance to start a family which he regrets. He then laments what he has witnessed in the 15 wars he is covered by telling of the dying people that have that died at his feet begging for help. He is unable to help them and all he can do is take their picture as all he is after all is a witness. He then says he wishes on of his pictures would help change something so all the time he has dedicated to his career are worth something. Then we learn about his mother who influenced him to become a photographer by telling him 'to see'. We later learn the mother is blind. All this in about five minutes in the most natural way. The film is shot with energy and the style alone can evoke emotion even with the little dialogue it has. 'This is not a political movie but a movie about love between a man and his mother' says director Alejandro Gonzales Inarritu and it is true. Even if the characters never are in the same scene together. Alejandro Gonzales Inarritu is a genius, the other four directors have a chance here to learn a thing or two about movie-making. This short film occurs in January 13, 2001, where a Times war photographer -Harvey Jacobs (Stellan Skarsgård)- is wounded while witnessing a massacre at Nuevo Colon by terrorists. In a desperate effort, the United Nations sends a vehicle to get him out, a BMW driven by Clive Owen. I hope this isn't the end for this fine series. The movie and its story know to impress and it has some wonderful dialog, altogether with a powerful ending is what makes this movie a bit of a must see. A wonderful conclusion to the series, and a must view. It's free and available on bmwfilms.com right now, so what are you waiting for? Powder Keg is most unlike the other BMW films. It's as different in its way as Star was. Where Star was humorous and light, Powder Keg is dark and bloody. The first of the films that deserves and R Rating, it has profanity and violence unlike the others; sensitive viewers beware. That said, its story is well written. The photographer's sense of frustration over not having done enough to help those he photographs, the oppressive presence of armed militia everywhere, the desperate need to make the border against overwhelming forces, and most of all, the bloody back seat of the vehicle, all paint a picture of doom and gloom for the characters. The scene at the end with the mother explains the earlier comment by the photographer, "My mother taught me to see." The driver's feelings of loss and failure, assuaged not at all by delivering the dog tags, is well acted out. Clive Owen of the PBS Mystery series Second Sight stars as the 'Driver'. We don't know anything about him as well. Powder Keg concludes the BMW short film series "The Hire" by adding a very human element to the enigmatic and elusive series title character played by Clive Owen. Director/co-writer Alejandro González Iñárritu departs from the pattern established by the previous 4 directors and makes the driver more of a background character, focusing instead on a war photographer who, after snapping a shocking series of photographs, is on the run and grievously injured. He takes the time to reflect on his life and what he's done-or not done-with it, and why he started taking pictures in the first place. "Powder Keg" follows The Driver, played by Clive Owen who is always portrayed in the other films as a hard-boiled merc with a soft side somewhere. In this film, his soft side is his care for human life. He knows his passenger may be dying from a gun shot wound but he doesn't want him to because he believes his passenger is key to preserving human life. On the flipside, his dying passenger believes that his sole purpose in life, as a war photographer, has been to photograph death. He believes he has never saved anyone and his pictures do nothing more but "Sell a few more papers" The atmosphere is wonderful and typically Mexican style like. It really reminded me of "Man on Fire". It's gritty and sets the perfect mood for the story. The great cinematography is from 2 times Academy Award winner Robert Richardson and the music is from the talented composer Harry Gregson-Williams. I applaud the BMW funders for trying to make some of their short films be "about" something and for not just making glossy action shorts (although they made those too!) but this film just doesn't work at all. Viewed on its own it is clunky, overly well-meaning and labours throughout its short run-time; however viewed alongside the other shorts, it stands out as odd all the more and frankly doesn't fit in with the overall concept of the films. I wanted it to work because it is the most "worthy" of the shorts, but to be honest the best I can say about it is that it "meant well". It's really difficult to make an effective short film, but director Alejandro Inarritu does a very good job. Yes, we've seen the plot before (though not so truncated), but the cinematography is grainy, jerky, and alive. You get a sense of the menace and desperation of the people of this unnamed place in fast glances out the window of the, yes, BMW. The real hero of the film is actually the photographer's mother (Lois Smith) who really made a spectacular performance. I've seen the film about five times and I am still touched by her performance. Great Film 9/10. Tears could not be held back when viewing this BMW film. The first film was a groundbreaking car chase by the "master" John Frankenheimer. The second was probably the most beautiful car chase ever filmed by Crouching Tiger and Ice Storm filmmaker Ang Lee. The third didn't really effect me as much as the others but it still held it's place. 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