Archive for the Crime Category


Posted in Action, Crime, Drama with tags on September 26, 2015 by Mark Hobin

Sicario photo starrating-3andahalfstars.jpgWelcome to Juarez, a Mexican city along the U.S. border just across the Rio Grande from El Paso, Texas. Juarez is a battleground for drug cartels and one of the most violent places in the world. This is the setting for director Denis Villeneuve’s latest production which details an ever escalating war on drugs.

Sicario relies on a trio of solid performances. Emily Blunt plays Kate Macer, a naive FBI agent enlisted to aid in the capture of a dangerous drug lord. She runs a kidnap rescue team, but soon her talents will be pushed far beyond what she normally does. Right from the beginning, Sicario opens with a nightmarish find. Hidden within the plasterboard walls of a harmless looking home are dozens of corpses sealed in plastic bags. It’s a prelude to the vicious methods of the criminal organizations they wish to stop. Josh Brolin is the task force official in charge of the clandestine U.S. operation. Is he DEA? CIA? Something else? His affiliations aren’t clear as is the mysterious “consultant” they hire played by Benicio Del Toro. This the film’s most juicy role and he clearly relishes the part. Kate Macer is by the book. The rest of this crew, seemingly less so.

If there’s an MVP, it’s Roger Deakins’ cinematography. Once again working with Villeneuve (Prisoners), he extracts the art out of a grim drama. There are comprehensive aerial shots of the desert, a stunning night-vision raid, emotive close-ups in a climatic dinner scene. A convoy stopped to a standstill in a traffic jam at the U.S.-Mexico border is a heart-pounding set piece. Car chases are so cliche. Headless figures hung as a warning from an overpass, is a chilling image that lingers long after the picture is over. Jóhann Jóhannsson’s spare music with it’s punchy tones, is rather effective as well.  This is the same guy responsible for the lush orchestrations of The Theory of Everything. Talk about contrasts. It’s more sound design than melody, but the score mines a truly suspenseful feeling.

Sicario is an experience. An air of hopelessness permeates the atmosphere. This isn’t a detailed investigation. It’s a bleak mood piece that gives the viewer a you-are-there perspective. Director Villeneuve showcases the corrupt measures utilized to combat drug trafficking. Sicario is slang for “hitman” in Mexico and the simple title fits. The drama is minimalist, both in the articulated tale as well as style. As Emily Blunt plunges deeper into this sinister world, she registers confusion and uncertainty. To be honest, I wish the script had allowed her to be a bit more shrewd. Although we the audience can easily identify with her bewilderment. Who is this top secret U.S. Agency that she’s working for now? What has she gotten herself into exactly? And is there even a solution to the horrors of the illegal drug trade? So much ambiguity. We don’t get many answers, but such is life I suppose.


Black Mass

Posted in Biography, Crime, Drama on September 18, 2015 by Mark Hobin

Black Mass photo starrating-3andahalfstars.jpgBlack Mass is the true story of Whitey Bulger, an organized crime boss of the Boston Irish mob faction known as the Winter Hill Gang. Indicted for 19 murders and sentenced to two consecutive life terms plus five years for his offenses on November 14, 2013, he is currently incarcerated. Prior to this, starting in 1975, Bulger served as an FBI informant. He reported on the inner workings of his rivals, the Italian American Patriarca crime family. In exchange, the bureau turned a blind eye to murder. His organization and their illegal doings went unchecked for years. Once Bulger’s relationship with the FBI was finally exposed by the local media, he went into hiding on December 23, 1994. For 12 of the 16 years he was on the lam, Bulger was #2 on the FBI’s Most Wanted Fugitives list, behind only Osama bin Laden.

The infamous Whitey Bulger has been the stuff of legend in popular culture. In 2006 actor Jack Nicholson portrayed Frank Costello, an individual loosely based on Bulger, in The Departed. The reference is especially apropos because Black Mass frequently calls Martin Scorsese to mind. Not just the Best Picture winner, but Goodfellas as well. Watch Johnny Depp rebuke an FBI agent for too readily revealing his “secret” family recipe for a marinade. The intensity with which he takes him to task for a seemingly honest remark, evokes Joe Pesci’s iconic “How am I funny?” scene in Goodfellas.

Black Mass is a well acted character piece. Joel Edgerton is important as John Connolly, the FBI agent who strikes up an alliance with Bulger, abetted by their childhood friendship. Also Benedict Cumberbatch as Bulger’s more respectable brother who chose the political world instead. Billy Bulger was President of the Massachusetts Senate for 18 years. Also of note is is Julianne Nicholson as the wife of John Connolly, who wants nothing to do with her husband’s schemes, and Corey Stoll as no-nonsense prosecutor Fred Wyshak. The latter two take nothing parts and turn them into the kind of roles that justify Oscar campaigns.

The only one that comes up a bit short is its star. I’ll admit, this is the most captivating Johnny Depp has been since Finding Neverland. He’s engaging and fully committed to the portrayal. Bulger is a frightening figure, as mean as they come. He’ll choke a friend’s stepdaughter with his bare hands if he thinks she might know too much. Regrettably his performance must still rely on an elaborate Tim Burton-style makeup job to “age” Depp into the role. The thinning blonde hair, brushed back to reveal a bald scalp, the rotten teeth, the ghostly, icy blue eyes aided by contacts. His pale, angular appearance makes him somewhat unrecognizable, but the transformation is distracting. It’s exaggerated, unnatural. He preys upon the innocent like a seething vampire. I remember back in 2012, critics were comparing Johnny Depp in Dark Shadows to Nosferatu. Well it’s happening all over again.

Black Mass is a solid, well-structured crime drama. The production is handsomely mounted. The cinematography is well photographed. The account doesn’t hold back from what a horrible man Bulger truly was. He puts a bullet in the head of a contrite friend in mid apology. It’s got brutal events carefully detailed in a fascinating true life tale of corruption. So what’s the problem? It’s a well presented series of facts, but it’s not much more. The studied approach requires passion. The film’s deliberate pace is so stately, it’s almost lethargic. In short, it lacks momentum and depth. It’s entertaining enough, a gripping character study bolstered by a supporting cast of earnest performances. However Black Mass won’t join the ranks of the greatest crime dramas. Along the way it often recalls them, but it pales in comparison.


Mr. Holmes

Posted in Crime, Drama, Mystery with tags on July 30, 2015 by Mark Hobin

Mr. Holmes photo starrating-2andahalfstars.jpgLet’s set the record straight. Sherlock Holmes is a fictional character that was featured in 4 novels and 56 short stories written by Scottish author Sir Arthur Conan Doyle. Mr. Holmes then is a fabrication that envisions the imaginary sleuth as a 93-year-old reflecting back on how a case ended his career 30 years ago. The thing is, the picture is so meticulous, so deliberate and so…uh…well sluggish that you might be inclined to actually believe that this is the carefully studied profile of an authentic man. This is the latter day experiences of an erudite detective where entertaining embellishments are frowned upon in service of reverent restraint.

Writer-director Bill Condon and actor Ian McKellen have worked together before in Gods And Monsters. There the chronicle also centered on a life story. The difference is then it was director James Whale, an actual person. This time we’re detailing a make-believe guy. Mr. Holmes is a handsomely mounted production to be be sure, but one whose sole joy rests in watching a talented thespian act. Sir Ian McKellen, that English Academy Award nominated star of stage and screen, beautifully embodies the role of the agent in this dignified feature. He has a certain presence, but why so serious? This is a fantasy, not a biography where slavish attention to detail is a must. We could have used a little more fun perhaps. Accompanying McKellen are Laura Linney doing her best Emily Watson impression as his housekeeper and young Milo Parker who evokes Freddie Highmore as her son Roger. The allusions to other actors are in no way meant to negate their fine work here.

As a mater of fact, Ian’s McKellen’s scenes with budding star-in-the-making Milo Parker are the highlight of this production. The child has a precocious air that is quite endearing and never grating in the way some youngsters can be encouraged to act. Roger is the inspiration for Holmes to re-remember a mystery from his past: his last assignment. Roger is fascinated by the private investigator and his emotion captures the audience’s interest. Numerous flashbacks recall these details. There’s a lot of jumping around – first to a recent trip to Japan – then 35 years into the past. This for little apparent reason other than to utilize old age makeup on McKellen for the modern setting. Honestly the change isn’t all that dramatic. The real problem is, the case at hand isn’t very interesting. Mr. Holmes has its moments, but if I may quote another English literary character: “Please, sir, I want some more”. There just isn’t enough here to sustain a film. Ultimately it feels more like the studious artifact of bygone history than the fanciful re-imaging of a fictional super sleuth.



Posted in Comedy, Crime, Drama with tags on July 3, 2015 by Mark Hobin

Dope photo starrating-2andahalfstars.jpgMalcolm (Shameik Moore) is a straight A high school geek constantly pushed around at school. His dream is to get into Harvard after graduation. This coming of age story sounds familiar right? OK now let me add that he lives in the Darby-Dixon neighborhood of Inglewood nicknamed “The Bottoms”. He loves 90s hip hop and desses like the 4th member of Bell Biv DeVoe. That’s different because this is 2015. He lives with his single mother (Kimberly Elise) and he’s never known his father. His two best friends are Jib (Tony Revolori) and Diggy (Kiersey Clemons) with whom he has formed a punk band called Awreeoh (pronounced “Oreo” because…oh do I even have to explain it?).

Life is tough for Malcom. He’s picked on by bullies who want his shoes, harassed by neighborhood thugs who want his bike, and belittled by the school counselor (Bruce Beatty) for his Harvard dreams. The playful tone is shattered when the drug dealer’s (rap star A$AP Rocky) party they’re attending, ends in a shower of bullets and a police raid. They escape. However back at school Malcolm discovers several bricks of Molly (MDMA in powder form) and a gun have been stuffed in his backpack. Now he and his friends must find a way to get rid of the drugs without getting killed or locked up.

Dope is one of those movies that really demands a lot from its audience. Smart viewers will think of easier ways out of this mess, but the screenplay doesn’t see it that way. It’s a progression of convoluted occurrences with a hodgepodge of zany gags bolstered by glib racial commentary. Shootings played for laughs and kamikaze disrobings by a sexually promiscuous coke fiend (Chanel Iman) are clumsy attempts at humor. Her filmed outdoor embarrassment becomes a social media meme because well “the Internet”. The script works hard throwing all sorts of random bits at the viewer. It’s a desperate attempt to be funny but the awkward mix of violence and lighthearted shenanigans are tonally off putting.

Dope is highlighted by a game attractive cast. There are moments, mostly in the first half, that had me laughing at its amusing view of nerds in the ‘hood. But the narrative is sloppy. The film vacillates between subverting stereotypes almost as often as it exploits them. I liked Dope when it did the former and not so much when it succumbed to the latter. Malcolm’s college application essay for Harvard is literally spoken at the end as a kind of justification for his actions. It’s a risky (business) move because Malcolm has done many questionable things. Oh and I must fault a script too oblivious to point out that the black male used blackmail.  Talk about a missed opportunity. The author (read screenwriter) has clearly fashioned the moment as a call to stand up and cheer. I suppose life is a series of choices and not everyone is faced with the same ones. Fair enough. Still it’s hard to hang your hat on a movie where the apparent moral is “If you can’t beat ’em, join ’em”.



Posted in Action, Adventure, Comedy, Crime with tags on June 8, 2015 by Mark Hobin

Spy photo starrating-4andahalfstars.jpgCould Melissa McCarthy be the funniest comedian working today? I asked myself this question on October 1, 2011 when she hosted Saturday Night Live for the first time. (Incredibly, She’s already managed to host 3 times in the previous four seasons). The entire episode was gold but it was the “Hidden Valley Ranch Taste Test ” skit that cemented that status. Her interpretation of an overexcited consumer, made the sketch an instant classic. It was her fearless commitment to a character desperate to get her opinion noticed, complete with facial ticks, pushy gestures and obsessively repeated lines that made it so iconic. It was the same ability that nabbed her an Oscar nomination the same year for Best Supporting Actress in Bridemaids. The film was directed by Paul Feig. The two also collaborated on The Heat. Now Spy marks the third time the two have joined forces. I must say the partnership is electric.

McCarthy stars as Susan Cooper, a CIA analyst that has actually chosen desk duty as her preferred career choice. You see, Susan is hopelessly in love with Bradley Fine (Jude Law in his debonair best), the field agent with whom she is partnered. She works at a computer in a dingy rat-infested basement at CIA’s Langley headquarters. As his much needed extra set of eyes when he goes on assignment in the field, she is the whispering voice in his earpiece. Despite her misplaced feelings for Fine, she’s a very perceptive woman. She’s quite effective behind the scenes, extremely good at what she does. As a result, it’s simply a matter of time before she’s forced into international field as a secret agent of the world. Yes, there’s the visual joke that this zaftig woman is playing the role of a James Bond-esque undercover secret agent. However, Susan Cooper is anything but a joke.

Spy manages to be both silly adventure while mocking gender cliches as well. The screenplay is sharp because it gets to present the prejudices of her enemies, only to have them humiliated at every turn by her competence. The story intelligently exploits their low expectations of Susan. It’s surprisingly transgressive. Susan is saddled with embarrassing fake identities that make her look like a crazy cat lady or a frumpy tourist. There’s a a hilarious scene where she’s outfitted with her spy accouterments by the script’s version of Q (Michael McDonald). Instead of the usual high tech gadgets of a sophisticated super spy, her equipment comes disguised as hemorrhoid wipes and stool softeners.

If this was the basis for the comedy, it would’ve been enough. But then we’re introduced to the icy daughter of the target that Fine accidentally killed. Rose Byrne is a hoot as Rayna Boyanov. Her snobby barbs and bitchy attitude make her ice queen of a villain a campy delight – a ruthless Bulgarian beauty with an exaggerated accent and a hairstyle that would make a drag queen envious. Melissa McCarthy and Rose Byrne trade digs as their back and forth verbal game of one-upmanship escalates. Rayna referring to Susan’s chic getup: “The moment I saw you standing there in that abortion of a dress…” versus Susan’s estimation that Rayna’s haute couture looks like “a slutty dolphin-trainer.” Rayna compares Susan to a “sad little Bulgarian clown.” “Thank God, your hair broke your fall” Susan snips after Rayna stumbles. Invective is thrown while the audience gleefully watches, savoring every nasty insult. The pair form a combative team that extends the chronicle into the realm of genius.

As a ridiculous comedy, Spy wholeheartedly delivers the laughs. What deepens this into a tour de force, rests in the way Melissa McCarthy subverts our expectations. She is a heroine to be admired because she is so darn talented. When she fights a lithe knife wielding female assassin in the tight confines of a restaurant kitchen, she demonstrates athleticism by using a frying man to defend herself. The visual sight gag is a spectacle of perfectly timed physical satire and choreography. The understanding is, these athletic specimens may be good, but she is better. Melissa McCarthy has the ability to take even slow parts and make them shine. Add Rose Byrne as the emotionless villain and you have a match made in comedy heaven. If you could bottle their chemistry, you’d have the key ingredient for any successful duo. The rest of the star filled supporting cast (Jason Statham, Miranda Hart, Bobby Cannavale, Allison Janney, Jude Law) are amusing too. They’re just not quite at the level of McCarthy or Rose Byrne. That’s OK. There’s more than enough laughs here to sustain two movies. Spy is the most gut-bustingly funny movie of the year so far. I wouldn’t be surprised if it retains that title.


Furious 7

Posted in Action, Crime, Thriller with tags on April 5, 2015 by Mark Hobin

Furious 7 photo starrating-4stars.jpgOver the course of seven films, the raison d’être of the Fast & Furious movies has been car chases, explosions and epic fights. The movies have laid this groundwork. I didn’t make the rules but that is how they must be judged. Using this barometer, I have always found the Fast & Furious franchise to be mildly entertaining. The first one is almost quaint by today’s standards. A variation of Point Break but with cars instead of surfboards. Parts 2-4 were of irregular quality with mixed results. But then the saga got a shot in the arm with parts 5 & 6. They both exceeded expectations. However they still never quite hit that sweet spot where the rightfully lively crossed over into the magnificent. That is until now. With Furious 7, director James Wan has produced a sequel that is so insane, so giddy to just throw the rules out the window, that the merely exciting has now crossed over into the ridiculously sublime. Regardless of your evaluation, this entry is unlike any that has come before. It is completely bonkers and the established drama is all the better for it.

Furious 7 evokes the best camaraderie from the gang. A huge cast is beautifully integrated into a story that has multiple events constantly going on at any given time. In a nod to the original film, Dom (Vin Diesel) and Letty (Michelle Rodriguez) gather with the neighborhood for race wars. Is that Iggy Azalea congratulating Letty for her win? Brian (Paul Walker) adjusts to a quiet family life with his wife Mia (Jordana Brewster) and son. Meanwhile Federal Agent Luke Hobbs (Dwayne Johnson) finds a new villain Deckard Shaw (Jason Statham) hacking away into his computer. Shaw has vowed to take revenge on behalf of his brother Owen (Luke Evans) who now lays in a coma amongst the ruins of a hospital on fire. Shaw is a human killing machine and Hobbs ends up in the hospital with a broken arm after he is hurled out of a second story window. He contacts Dom who vows to take down Shaw for good. Dom assembles the old gang which includes Roman (Tyrese Gibson) and Tej (Ludacris). They embark on a mission to try and locate Shaw using a surveillance system called God’s Eye which can spot anybody from anywhere in the world. The story also has parts for Kurt Russell, Djimon Hounsou, a hacker named Ramsey (Nathalie Emmanuel), Bollywood actor Ali Fazal, martial artist Tony Jaa and MMA fighter Ronda Rousey. Even Lucas Black from Tokyo Drift shows up briefly.

Naturally the plan involves five of our heroes dropping out of a jet plane sitting in their cars equipped with parachutes. In this entry a car behaves more like a spaceship than a vehicle meant for land. The action set piece ends with a bus teetering on the edge of a cliff with Paul Walker inside. Aw heck a cliff never stopped anybody in this. Vin Diesel willingly drives himself off another cliff and he miraculously survives. Oh wait till you see the skyscraper scene in Abu Dhabi. This comes after a lavish party which is possibly the film’s only lull. There’s lots of music video edits and color at least. Then there’s a combat scene where Vin Diesel goes mano a mano with rival Jason Statham. “Thought this was gonna be street fight?” Diesel shouts holding a gun at an unarmed Statham. “You’re damn right it is” he says tossing the gun aside. The quips usually aren’t much more cutting than that, but they’re always perfectly timed and delivered with such confidence that they invariably land like the most eloquently tossed off wit.

Furious 7 is the best chapter in the Fast & Furious franchise. This is a fact. It’s not even up for discussion. The production is all about raising the stakes to top the others. It succeeds. It’s bigger, faster, funnier and yes, more touching. Furious 7 has the craziest stunts, the campiest dialogue, and the warmest, most amiable fellowship of any entry yet. The sequels have grown progressively sillier. This has been to the benefit of the series. The way this gang cheats death in this world is closer to the rules that govern cartoons like Wile E. Coyote and The Road Runner. Side Note: Their first Looney Tunes appearance was actually a short called Fast and Furry-ous in 1949. I kid you not. Anyway, it‘s the no holds barred, gleefully outrageous stunts that make this installment so transcendent. Nobody ever said these films were emotionally deep. Yet Furious 7 ends ups being a surprisingly touching tale concerning family – not necessarily people united by blood, but by loyalty and friendship. The camaraderie here is stronger than it has ever been. Furious 7 is a fitting coda not just to the series, but to the life of the late Paul Walker as well. By the end, I challenge you to keep the tears at bay.


Get Hard

Posted in Comedy, Crime with tags on April 2, 2015 by Mark Hobin

Get Hard photo starrating-1andahalfstars.jpgComedy Is Not Pretty! was a 1979 album by Steve Martin. But he might as well been talking about the directorial debut effort from writer Etan Cohen. And I use “effort” in the loosest definition of the word. The plot concerns a filthy rich stockbroker named James King (Ferrell) who is arrested for embezzlement. His gold digging fiancée (Alison Brie) also happens to be the boss‘ daughter. Her father Martin Barrow (Craig T. Nelson ) was going to make James a partner in his company Barrow Funds. Despite his assertions to the contrary, the judge finds James guilty and sentences him to ten years at San Quentin, with only 30 days to get his affairs in order. During this time he relies on his boss to prove his innocence. Meanwhile James contacts his car washer, Darnell Lewis (Kevin Hart) to teach him how to toughen up so that he will be able to survive in prison.

In Get Hard, Ferrell and Hart are the worst comedy duo since Clooney and O’Donnell in Batman & Robin. It doesn’t help that the premise is artificially fabricated for laughs without a lick of sense. Rather than trying to prove James’ innocence, Darnell just decides to prepare him for prison life by transforming his luxurious estate into a prison. This leads to a lot of really lame bits that simply rely on the stars’ personas to nail the joke. Instead of exploiting conventions, the screenplay wallows in them never rising above hackneyed stereotypes that were already tired in the 80s. The scene at an outdoor L.A. cafe with an all-gay clientele is the nadir. No wait, make that the moment that follows in the restaurant’s bathroom.  It reminded me that Ryan O’Neal and John Hurt did a forgotten buddy comedy in 1982 called Partners. That was bad. This is worse.

Ok I’ll admit there are a few scattered jokes that are amusing. At their engagement party, James’ fiancée introduces John Mayer as the surprise entertainment and her father leans over to her and asks, “Who’s John Mayer?“ In another bit, Kevin Hart impersonates several personalities in a prison exercise yard. As he jumps around in a frenzy changing his voice and demeanor to suit various characters, I saw talent.

Will Ferrell and Kevin Hart can be funny but you’d never know it from this lazily written time waster. Even the title is a double entendre that sounds like a 5th grader made it up. Ok hold up. That’s not fair, I’m underestimating the wit of a 10 year old. Get Hard is based on the stale conceit that if you combine a tall uptight white guy with a short streetwise black guy then laughs will follow. This is a bloated vehicle for two stars to just act silly and film what happens. A paper thin premise is stretched to fill 100 minutes that has fewer chuckles than a visit to the dentist. In this case, multiplying two positives actually equals a negative.



Posted in Comedy, Crime, Drama with tags on March 4, 2015 by Mark Hobin

Focus photo starrating-2stars.jpgSeasoned con man Nicky Spurgeon (Will Smith) takes inexperienced protégé Jess Barrett (Margot Robbie) under his wing to teach her the art of the grift. You’d think the fact that Smith is Robbie’s senior by two decades might give them a more father-daughter relationship but you’d be wrong. Robbie is stunning and Smith is still famous so naturally the two are fated to fall in love. Or do they? The problem with Focus is that you never quite believe anything that is happening on the screen. It’s one of those “who’s cheating who” type deceptions. There’s genuine skill in creating the perfect con that the best films (The Sting, Dirty Rotten Scoundrels, Catch Me If You Can) understand. There is a delicate balance between a grounded tale and a twisty fraud. Unfortunately this chronicle is so artificial, there’s nothing to count on. The many eye-rolling moments kill interest in this deception.

Focus is a glossy bit of entertainment, but it’s all a con. It’s crucial to your enjoyment that you enjoy the sexual chemistry that Smith and Robbie are trying so hard to ignite. Robbie is game but Smith lacks the suave demeanor required to really pull this off. He’s no Cary Grant. He’s not even Jim Carrey. There was a time where Smith could pull off charming. He had it in Hitch. But he doesn’t even exude the warmth necessary to even like him as a human being. Smith comes across as more smug – coolly detached to everyone and everything. He’s more in love with himself than his beautiful young co-star. With the romance falling flat there’s just the haphazardly constructed “big job” in the second half to hold our interest. A keen viewer will disregard everything in this subterfuge with a discerning eye. The story never earns our trust. It fails to engage – with one notable exception. Early on Nicky meets a compulsive gambler while attending a football game. B. D. Wong plays the wealthy businessman with fiendish glee. Their escalating back and forth double or nothing betting is the single most delightful scene in the entire film. For a brief moment, the movie comes alive. Too bad it loses focus.


Blue Ruin

Posted in Crime, Drama, Thriller on February 7, 2015 by Mark Hobin

Blue Ruin photo starrating-3andahalfstars.jpgBlue Ruin had been on my “movies to see” list for the better part of a year. The American independent debuted at the Directors’ Fortnight section at the Cannes Film festival in 2013. It later toured the festival circuit where it racked up accolades in the form of positive word-of-mouth.  It got an extremely limited theatrical release coupled with a simultaneous video on demand (VOD) release in April 2014. DVD release followed in July 2014.

Dwight Evans is a sad sack of a man. He starts off looking like a homeless vagrant. Perhaps a “beach bum” is a more poetic way of describing his situation. He sleeps in a “blue ruin” of a car – a broken down old Pontiac Bonneville. Actor Macon Blair is Dwight, an unknown lead chosen because of his longtime friendship with the director since childhood. That’s not to say the unassuming fellow isn’t well cast because those unpolished qualities perfectly define this character. As the chronicle develops we realize there is much more to this man than meets the eye. For long stretches of this efficient 90 minute thriller, it’s virtually dialogue free. Blair is given some horrific news and he decides to act on this information. He’s a shell of a man, and so we can’t help but care.

A straightforward account of getting even is all this is but it’s imbued with such humanity. We are emotionally wrapped up in the stakes. How will Dwight accomplish what he wants? Can he get away with it? Will he survive? Much has been written about this classic tale of revenge from movie pundits. Some going so far as to mention director Jeremy Saulnier in the same breath as the Coen Brothers. There’s certainly a similarity with the Coens’ debut Blood Simple – that is, extracting dark comedy from a criminal plot. His plan goes horribly wrong in every way that a plan can go wrong. For example, he slashes the tires of his enemy’s car then realizes he must steal that car after leaving his keys at the scene of the crime. That’s tragic, but it’s also funny. when Dwight can’t hit a target that is only 2 feet away, it can relieve some of the tension, even in the most intense situations. The production strikes a nice balance between the two.

Writer/director Jeremy Saulnier understands the viewer should sympathize with the “hero” in order for us to be invested in his plight. You can appreciate Dwight’s emotionally damaged vagabond. I’m not so sure we should be rooting for him, but we do. He has suffered deeply. Now he is tormented by deep sorrow and so he has our sympathy. Yet his quest is made more captivating in the way it’s told, giving the audience pieces to make us root for the protagonist without really knowing everything. Even by the end, we never really know the complete story, just enough to understand what’s happening in the moment. Bursts of violence are used. Blue Ruin occasionally falls victim to excess. More restraint in the bloodshed department would’ve been appreciated. An extended scene where Macon digs an arrow out of his leg is gratuitous in its desire to shock. Storytelling is a craft. Blue Ruin does indeed have an artistic way of telling an uncomplicated tale. It doesn’t revolutionize the genre. It’s a simple saga, artfully told.


A Most Violent Year

Posted in Action, Crime, Drama, Thriller with tags on January 23, 2015 by Mark Hobin

A Most Violent Year photo starrating-4stars.jpgA Most Violent Year is similarly titled in the same deceptive way that There Will Be Blood was named. Yes it concerns violent acts but it’s nowhere near as bloody as the crime dramas of Martin Scorsese for example. The setting is New York City 1981.  Abel Morales (Oscar Isaac) seeks to expand a struggling oil delivery company. There has been a rash of attacks on his drivers. Thieves are hijacking trucks and stealing the oil. Meanwhile he is trying to secure a loan that will help him grow the business.

There’s a familiarity woven into the production. Abel Morales is a character Al Pacino would have portrayed in the 70s. As his wife Anna Morales, Jessica Chastain is channeling early 80s Michelle Pfeiffer style if not the personality. Alright, I’ll admit I’m alluding to Scarface here, but The Godfather is a reference as well. The production kind of suggests the mob mentality of those films but they’re not a good comparison. A Most Violent Year is actually rather elegant. Oscar Isaac resists the impulse to be a hoodlum, despite the temptation. He understands the mobster lifestyle is the road to hell and opts for legally working within the system to rise above the mire of that behavior. He’s steely calm in the face of crisis. His Brooklyn born wife is another story. Jessica Chastain is more gangster than he is. She’s fantastic in this role. I mean we already know the actress can inhabit a part like few of her generation but she steals the spotlight here. Her delivery of lines like “This was very disrespectful” to David Oyelowo’s district attorney conveys so much with just a wave of her finger. In another sequence, the couple accidentally hit a deer in their car on the way home one evening. Chastain owns that scene too.

That’s not to say that Isaac isn’t her equal. As Abel Morales, he’s a charismatic guy that embodies the idea that “success and prosperity are attainable through hard work, determination, and initiative.” There’s an occasion early in A Most Violent Year when businessman Abel is conferring with one of his drivers Julian (Elyes Gabel). The Spanish speaking man starts to talk in his native tongue and Abel corrects him. “In English” he insists. Later he’s trying to get information from Julian’s wife and the exchange is completely in Spanish. It’s a telling moment. Abel has the ability to speak Spanish but he chooses not to unless it’s absolutely necessary. He has fully bought into the American way of life and assimilated into its culture.

A Most Violent Year is an interesting take on the American Dream. Columbian born Abel Morales is not the stereotypical all American boy next door. With his wavy black hair and dark eyes he rocks a camel-hair topcoat with a suave personality to match. Plus he’s got the work ethic that says he’s going places.  The wardrobe is key – so well dressed. The only thing that rivals Abel’s succession of double breasted suits, is Chastain’s seemingly endless wardrobe of outfits. Just try and watch the couple engage a potential investor at dinner and NOT stare at Anna’s plunging neckline. It complements her personality. What I’m really saying is I love the mood of A Most Violent Year. Along with a haunting score by Alex Ebert, Director J.C. Chandor weaves a deep tale of the American Dream that authentically portrays the time period as if it was genuinely filmed in 1981. Chandor has directed 3 critically acclaimed movies to date, and for my money, this is his most entertaining. If he’s reading, “Keep up the great work!  I can’t wait to see what you do next.”



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