A mysterious Hollywood stuntman, mechanic and getaway driver lands himself in trouble when he helps out his neighbour.
Nicolas Winding Refn is fast building a proven track record in working with the best young(ish) actors in cinema. Having previously brought a snarling, bestial Charles Bronson to the screen by way of Tom Hardy, Drive now sees Ryan Gosling's moody, enigmatic cool used to full effect.
There are a number of factors that make the film stand out from the crowd, though that's not to say that it feels completely original in all respects. The 80s flavour that infused Refn's earlier film, Bronson, is very much present and accounted for. As with that picture, the soundtrack is used to augment the atmosphere, but also to surreptitiously signal changes in mood and action in the plot. This is not in the sense that it's an indication of what the reaction should be, more that it sometimes complements, but at others provides a severe contrast with, the more affectionate moments that take place. Stylistically, too, the production harks back a few decades, title fonts presented in hot pink and the anti-hero's costume just as much of an anachronism as the mobsters that he finds himself entangled with.
The movie also has a definite rhythm to it. The first half is packed full with a seemingly ordinary love story, though the mood soon darkens, revealing a much shadier side to both the nameless driver and the film itself. It's this transformation that is the most striking quality of the plot. Gosling morphs from shy young lover to vengeful and ultra-violent in a heartbeat. It's a testament to his skill as a performer that this never feels unnatural, his screen presence providing the impression that he is capable of this kind of brutality, even when sharing tender exchanges with a prospective lover.
The pace is fairly sluggish as flicks that find this kind of popularity go, particularly between the opening sequence and the point at which the atmosphere changes. Prolonged shots and lingering focus on some events of the story are conspicuous in the emphasis placed on them. This not only rounds out the character of the driver, but also sharpens the contradiction between the two distinct halves of the film.
The latter half pulls no punches in the depiction of ferocious and often sadistic bloodshed that ensues. It's a constant battle for the driver to keep his emotions and boundless fury in check. Once again, Gosling comes into his own here, and it's a joy to watch as he uncontrollably trembles with rage confronting each of his antagonists. These instances punctuate the more deliberately paced scenes perfectly and this amplifies the slightly guilty, heart pounding thrill as revenge is exacted.
It's easy to see why this became the sleeper hit it turned out to be and I look forward to the upcoming second collaboration between Refn and Gosling, Only God Forgives, with great anticipation.
The Verdict:
8/10
An incredibly stylish flick that is very successful in its use of pacing. Gosling is superb, showing his darkest side yet and further proving his already considerable worth. Highly recommended.
Two best friends living on the streets of Portland as hustlers embark on a journey of self discovery and find their relationship stumbling along the way.
The beauty of this film lies in its simplicity. That's not to say that there's not much going on, rather that it doesn't hold back. My Own Private Idaho is an open, honest picture that contains little in the way of subtext and it's this that makes it feel so raw and immediate.
The world is populated by a cast of increasingly colourful characters, each seemingly more bereft of a desire to fit in with society than the last. The film holds a consistent focus on the seedier side of city life with both drugs and prostitution having huge parts to play in shaping the lives and decisions of the protagonists, the most interesting of whom is River Phoenix's Mike.
Mike is a troubled man. Whilst he is in no way gullible, he is undeniably vulnerable. His constant pining for the estranged mother that left him behind frequently serves as a trigger for his debilitating narcolepsy. As an aside, narcolepsy as a non-comedic trait is unique in my personal experience of cinema and it adds a real sense of individuality to the journey that Mike takes over the course of the film. The snippets of dreams and memories that visit him as he is incapacitated have an achingly wistful feel to them, a heavy air of bittersweet nostalgia hanging over each recollection and fantasy.
In addition to the characters themselves, the production is also stark in its absence of complication. Intertitles are presented with bright, single-coloured backgrounds. They mark clear breaks in the advance of the plot, at the same time adding to the arty feel of some segments of the film. There is never any room for misinterpretation and it's always clear where we find ourselves, or that we are moving on to a new chapter as the story continues to unfold. This artiness is also very pronounced in the love scenes, with each encounter being dealt with through a series of stills, though not in the traditional sense. Rather than use photographs, each frame is posed in what is clearly real time, as it's sometimes obvious the actors are having great difficulty staying in the more challenging positions. I can only assume this was a stylistic choice and it definitely enhances the already 'rough and ready' feel of the flick.
River Phoenix is still sorely missed and his performance here is one of many reasons why. Reeves is not a complete lost cause either, his natural, detached demeanour working well with the role that he plays. Both bring a great deal to a film that comes across as very personal and gives deep insights into the predicaments of those involved, as well as life in general.
The Verdict:
7/10
A raw, yet insightful flick that draws much of its vitality from being both deliberately upfront and rough around the edges in equal measure.
When a debt puts a young man's life in danger, he turns to putting a hit out on his evil mother in order to collect the insurance.
It seems to have been a conscious decision on Matthew McConaughey's part to distance himself from the romantic comedies that have made up the bulk of his output over the last decade or so. Though this doesn't represent his first movement away from those films, Killer Joe certainly marks an extreme, as much in the film itself as the actor.
The strength of the film is in the character of Joe himself. He is enigmatic, but it's clear from the very beginning that he is not a man you want to cross (and not only due to his secondary occupation). McConaughey really shows what he's capable of here and it's a great achievement on his part that the role feels so full, despite the fact that so little is revealed about him through exposition. In addition to some beautifully subtle hints from behind the camera about what kind of person this really is, there are an abundance of equally understated ticks and mannerisms in the performance that sharpen his image considerably further.
Aside from the titular role, there are more than a few other aspects that make for deliberately uncomfortable viewing. In particular, the relationship between Hirsch's Chris and his sister, Dottie (Juno Temple) is unsettling in its intimacy. Like the rest of the first hour, the more disturbing aspects are implied, rather than announced and you're gently coaxed to interpretations that ultimately leave little to the imagination.
As the film gets going, it's unclear in which sort of direction we are headed. Whilst it's apparent that it probably won't end well for all concerned, predictability is not an affliction that the picture is plagued with, though it does a great job of fooling you into thinking that it might be. In the same way that the main character's appearance as a walking cliché belies his shockingly callous nature, the movie lays the foundations of what could easily become something much more ordinary. This sets up the last twenty minutes of the action perfectly and makes for a brutal jolt of a conclusion that reveals the true face of Joe's twisted psyche.
It's not often that this sort of misdirection is so devastatingly effective and the level of depth is impressive. It definitely won't be to everyone's taste, but the combination of expert storytelling and McConaughey's intimidating menace make this almost essential viewing. It's just unfortunate that a side effect of having foundations that seem uninspired is that that's exactly how they feel, uninspired.
The Verdict:
7.5/10
An explosive performance from McConaughey and some twisted imagination make for a subtly intense film that builds to a conclusion that will linger long in the memory.
A nun, while comforting a convicted killer on death row, empathizes with both the killer and his victim's families.
Capital punishment is a touchy subject and it's not often you'll see something that stays objective on the matter. Dead Man Walking is no exception to this, though it does offer more in the way of both sides of the debate than is the norm, encouraging at least some contemplation from each camp through the course of the film.
Mainstream cinema is fairly uniform and vociferous in its support for clemency in these instances, often focusing on cases where the condemned are found to be innocent once the deed has been done to drive their point home. This film is different in that the guilt of Sean Penn's Matthew is never in question. He doesn't protest his complete innocence, though does maintain that he was only present rather than participating in the actual act of killing. This lends itself to an increased emphasis on the discussion over the impending execution itself, regardless of whether the crime was committed or not.
As is to be expected considering the themes at work, the film is heavy on the drama. The bulk of its power is reserved for the last half an hour or so, the scheduled time of the execution drawing ever nearer. Penn's portrayal of the convict's progression from obnoxious defiance to genuine hopeless fear is pretty captivating and he seems to live and breathe the character in every scene. Though it's difficult to identify with him due to the abhorrent nature of the actions for which he finds himself imprisoned, he does inspire pity for both his predicament and that of his family. The movie makes it clear which side it comes down on, but by the same token doesn't shy away from the effect that the violence has had on the families of the victims.
In addition to the death row inmate, there's a lot made of the decisions and challenges faced by Sarandon's Sister Helen, a nun who is drawn into the situation after receiving a letter from Matthew. Caught between her revulsion at the crimes perpetrated and her beliefs, she is often left with an unenviable task. The religious aspect of the film could easily have been an issue if overplayed, as ultimately it's not what the movie is really about. However, it's played in such a way as to be a definite presence, but not so much that it distracts the attention from the point that is intended to be made. This is one of the film's great successes and also broadens the appeal to some extent.
As dramas go, you know what you're going to get from this kind of film. It can be considered somewhat of a genre flick in that it won't deliver any great surprises, but the final few scenes elevate the picture above many others of its type and leave a lasting impression.
The Verdict:
7/10
An excellent performance from Penn and a very strong final third make for a great drama that offers food for thought on a divisive subject.
This movie focuses on the attempts of a psychiatrist to prevent one of his patients from committing suicide while trying to maintain his own grip on reality.
Films of this ilk are few and far between, but those that I have seen range from the successful to the downright jaw-dropping. Stay nestles somewhere between these two in terms of quality and uses the strength of its atmosphere to full effect.
Conveying a sense of disconnection with the world in which the characters find themselves can be achieved in a variety of ways, but the most powerful and effective is in the editing. This also helps a great deal in avoiding audience bewilderment, as it's clear when a shift in reality is taking place. This particular film is stunningly edited at times, seamless transitions between different locales and events being achieved through a variety of inventive methods. Usually it's a craft whose success can be marked by it going unnoticed, but in instances such as these, the more self-aware it is, the better. It's difficult to convey how well constructed the film is without giving away any major plot points, which in this case more so than many others, would really be of detriment to the experience.
There's an impressive amount of plot covered in a relatively short space of time in this flick. Rather than resulting in any feeling of being rushed, it's written in such a way that this only adds to the sense of claustrophobia that characterises the picture. From gentle beginnings it soon plunges us into a world that, although tangled and sometimes confusing, is never completely out of reach of understanding. The main roles also do a lot to assist in this respect.
Ryan Gosling is very near the top of my list of favourite actors. He has the ability to light up a room, but also to suck the life right out of it should the need arise, sometimes even in the same scene. He certainly does much more of the latter in this instance and lifts the film at least somewhat beyond what it may have been able to accomplish without his considerable gravitas. His desperation is in turns both mysterious and moving, driving the plot with no small amount of brooding purpose. There are no bad showings to be found here, but Gosling routinely steals the scenes of which he is a part, leaving others in his shadow.
The pace of the film is more or less perfectly judged. The manner in which it gradually reaches its conclusion is handled with timely precision, revealing just enough at the right times to bring clarity to the situation piece by piece. This is absolutely essential to the movie's success and the gathering pace was enough to have me on the edge of my seat more than once.
Making a film that borders on the challenging, whilst also being capable of sustaining a high level of entertainment is a difficult task. It's pulled off with great aptitude here and I'm sure it's one that I'll be feeling the urge to see again before too long.
The Verdict:
7.5/10
A masterfully constructed film that is characterised by a heavy, claustrophobic atmosphere, and a brilliantly magnetic performance from Gosling.
A woman struggles to recover from a brutal attack by setting out on a mission for revenge.
I like a good revenge flick, but in all honesty, they do tend to prioritise style over substance in the majority of cases. The Brave One differentiates itself in this regard and, though it often likes to think it's more profound than it actually is, there's a lot more on offer than the average movie killing spree.
This is much more of a character study than an action film, or even a thriller. The focus is very much held over Foster's character, Erica, and her struggle to go on living after the loss of the person closest to her in horrific circumstances. This feeds into an exploration of some difficult moral questions, though it does occasionally feel like this ground is already well trodden. What sets is apart is the perceived weakness of the character and the idea that anyone can be pushed to these kinds of extremes given the right conditions.
Whilst this is not a film that revels in violence on a stylistic level, it can certainly be said to do so on a cathartic level. The lingering focus on some events is consistently coupled with Erica's reactions, attempting to give us further insight into her internal struggle to grasp the nature and meaning of what she has become. However, this isn't always the case, and the movie shies away from some moments, preferring to deal with the aftermath, rather than the act itself. There are also some nice subtle touches at these points, her moral justification sometimes giving way to behaviours more akin to a serial killer.
On the negative side of things, the first twenty minutes or so can be a bit of a slog. The plot goes to great lengths in trying to emphasise how close Erica and her husband to be, David, are. This comes across a little heavy-handed at times and is arguably unnecessary, given how the rest of the story plays out. The opposite is true of her relationship with Howard's Detective Mercer. They go from being strangers to the closest of friends in what seems like minutes. Aside from these concerns, the plot generally holds up quite well, though I am inclined to point out that this must be the unluckiest woman in New York considering all the dangerous situations she seems to find herself in as the flick gets going.
As for the stars, I'm a big fan of Jodie Foster and she gives a good performance here. Plenty of versatility is required for the role as the character develops and she handles it with ease. The shift from paranoid and traumatised to strong and fearless is measured well and there are many subtle nuances required to keep the arc feeling natural, all of which she communicates with unobtrusive skill.
As a whole, it's an enjoyable film, though a little on the clumsy side at certain points. The most interesting aspects are by far the themes of overcoming great loss and coming out the other side. The moral ambiguity also throws up some philosophical considerations and dodges more than a few Hollywood tropes along the way. Well worth the time.
The Verdict:
7/10
A revenge flick with a difference. Relatively stale moral wrangling is tempered by some intriguing character study that stands up to scrutiny well.
Kids show host Rainbow Randolph is fired in disgrace while his replacement, Sheldon Mopes, aka Smoochy the Rhino, finds himself a rising star. Unfortunately for Sheldon, the kid's TV business isn't all child's play.
Offbeat comedies are largely a matter of taste for the most part, and a film's success can be decided by its sense of humour. Death to Smoochy, though not hilarious, has enough going for it to be worth a watch, but is left stranded by a plot that is very rough around the edges indeed.
Children's TV isn't a subject that's broached very often in movies and it gives this a sense of freshness that otherwise may have been absent. The idea of juxtaposing the rose-tinted view of the world of kid's shows of this type with corruption and violent gangsters is a good one, but it never really gets dark enough to make the contrast powerful. Too often it becomes a farcical crime caper, taking vague stabs at charm along the way. These moments mostly fall horribly flat, but are at least few and far between.
The plot is riddled with holes and nonsensical progression, but this is obviously not intended to be the focus. It all serves as a backdrop for the comedy, which is mostly successful, but rarely raises more than a chuckle. Story certainly seems to have been a secondary consideration here, conspicuous by the obvious absence of thought that went into it, and detracting much from what the movie could have been. Having said that, the flick has a fair few good points to counter all this.
It's a solid cast, Robin Williams stealing the limelight with his embittered, borderline psychotic, ousted TV star. It's a character that gives him a great deal of scope to show his impressive range, moving seamlessly between calm, rage and the desperation of a broken man. Ed Norton's talents are sorely underused, but he does what he can. The lack of substance in his role is clearly apparent and wide-eyed naivety is about the extent of what you can expect. That and a fluffy pink rhino costume.
Overall, it certainly doesn't leave you feeling like time has been wasted, but more a nagging sense of disappointment provided by an opportunity missed. Had the two extremes that are at play been realised to their full potential, it could easily have been a very memorable film. As it is, it's a curious little stopover, but not one that I'll feel the urge to revisit any time soon.
The Verdict:
6/10
A few solid laughs to be had, but let down badly by the clear lack of investment in putting together a cohesive plot. It could have been so much more, but there's just about enough here to merit a visit, if not just for the wonderfully off-kilter Robin Williams.
