Archive for the Crime Category

Focus

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.

03-04-15

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.

02-04-15

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.”

01-22-15

Inherent Vice

Posted in Comedy, Crime, Drama with tags on December 20, 2014 by Mark Hobin

Inherent Vice photo starrating-2stars.jpgOh Paul Thomas Anderson! It’s getting harder to believe that you were the auteur behind that masterpiece of yours, Boogie Nights. In 2007 you came close with the brilliant There Will Be Blood. At least you’ve always been interesting. Even The Master had that “processing” session that Lancaster Dodd administered on Freddie Quell. Now you’ve gone and released Inherent Vice, a happily incoherent, meandering head trip in the life of an LA private eye.

Doc Sportello (Joaquin Phoenix) is that laid back private investigator. Let’s just say he loses focus pretty easily. He’s visited by his ex-girlfriend Shasta Fay Hepworth (Katherine Waterston) who wants him to investigate a paranoid sounding plot against her current boyfriend, real-estate mogul Mickey Wolfmann (Eric Roberts). Apparently his wife is trying to have him committed to a mental institution. But that’s really only the beginning. Along the way Doc meets a overzealous LAPD detective (Josh Brolin) that injects a spark of life amongst all the sleepy “far out man” attitudes. As Doc’s strange case becomes stranger, the narrative grows foggy. The point becomes less and less clear. That, my dear reader, IS the point. The cast list balloons to include speaking parts for over 25 actors I think. Frankly I lost count. These people intersect, reconnect and, in one particularly indelible scene, have sex. Shasta seemingly leaves the story at one juncture, but her return is, shall we say, (ahem) memorable?

Inherent Vice is an aimless trudge through the fog of a marijuana haze. That’s to be expected with a movie adapted from a novel by Thomas Pynchon. Nobody has ever turned a Pynchon book into a movie before. I mean Gravity’s Rainbow is kind of famous for being un-adaptable, So I’ll give Anderson credit for trying. Some will champion its mystifying merits. Translation: Inherent Vice is an acquired taste.  One’s enjoyment will partially rest on how much you value a plot in a 2 ½ hour film. The atmosphere is so drugged out you could almost get high by association. I couldn’t find much to enjoy in these shenanigans. And that’s all this is. A bunch of half baked gags. Pun intended. Any story that weaves in characters named Puck Beaverton, Japonica Fenway and Bigfoot Bjornsen obviously isn’t meant to taken seriously. Add a cultural 1970s LA milieu which finds room for the Aryan Brotherhood, the Manson family murders, an Asian massage parlor and something called Golden Fang which could be a secretive Chinese syndicate or simply an alliance of wealthy dentists. That tongue in cheek attitude is good for a few scattered laughs I suppose.  Inherent Vice is an “experience” to be sure, but I’ll pass on taking a second hit.

12-18-14

Nightcrawler

Posted in Crime, Drama, Thriller with tags on November 3, 2014 by Mark Hobin

Nightcrawler photo starrating-5stars.jpgWhen film historians look back on the career of Jake Gyllenhaal, his portrayal of Lou Bloom will always be a role that is mentioned. He is nothing less than extraordinary in Nightcrawler. Like on the level of Robert De Niro in Taxi Driver kind of incredible. Now this is a bold pronouncement because as I write this, the movie has only been out three days, but I am confident in making this declaration. He’s that good.

Director Dan Gilroy’s drama is surprisingly complex for a first time director. Heretofore he has been a writer (The Fall, Real Steel, The Bourne Legacy) but none of the aforementioned work could’ve prepared me for the flawless execution of his directorial debut. Based on the title and the release date, Nightcrawler sounds like a horror film about killer earthworms that come out at night to feed on human flesh. It’s funny because I didn’t realize how eerily close in spirit that description really was. Lou Bloom is a petty thief and a loser at the moment. But he’s a driven young man who knows how to take advantage of a situation. While out driving at night looking for opportunities to make money, he comes across some cops assisting people trapped in a flaming car on the side of the road. Also at the scene is Joe Loder (Bill Paxton) a man who videos violent incidents at night for profit – sort of an independent agent for local news programs that need footage. Lou gets an idea. With the money he receives from a stolen bike, he buys a camcorder and a police scanner. His latest scheme is born.

The drama achieves so much in the span of 117 minutes. It’s a brilliant meditation on an individual who has always lived on the fringes of society. Jake Gyllenhaal is Oscar worthy as the small-time criminal desperate to make a quick buck with his videos of accidents, fires and other violence. But he is not the only fascinating individual. Riz Ahmed is Rick, a destitute man with no job experience who is hired as his assistant, although exploited is a more apt description. Rick’s story is exceptionally emotional for a mere side character. Things change when Lou meets Nina Romina (Rene Russo, the director’s wife) a TV news director. Russo is memorable in a welcome return to her juiciest part since The Thomas Crown Affair. Her career lives and dies by ratings. Violent crime in wealthy suburban areas is her preference and she makes no bones about it. She is a piece of work. In that capacity the script also serves as a scathing attack on sensationalized tabloid news journalism.

First and foremost, Nightcrawler is a compelling character study. Jake Gyllenhaal manages to embody a thoroughly loathsome but intriguing character that you cannot look away from. He’s got nerve. He talks with a calm reserve even when he’s saying something rather disturbing. He’s creepy to make people uneasy and yet he’s driven by a plucky resourcefulness that‘s somewhat admirable. Although let‘s be clear, he’s insane. They should lock him up and throw away the key. The usually robust actor lost 30 lbs to appear more gaunt in the role. He also grew his hair out into an oily mane. Certainly the execution in his performance is his greatest achievement, but his appearance has the effect of physically transforming him into a completely different person. Perhaps Nightcrawler’s greatest accomplishment is to educate us in the ways of a sociopath. He makes us understand how that quiet, nice boy who was so polite, is capable of such evil.

10-31-14

Kill the Messenger

Posted in Biography, Crime, Drama with tags on October 22, 2014 by Mark Hobin

Kill the Messenger photo starrating-3andahalfstars.jpgGary Webb was an American investigative reporter best known for a series of 1996 articles that detailed CIA involvement in cocaine trafficking into the US. He worked for the San Jose Mercury News, a small newspaper that gained significant notoriety that year when he alleged that drug traffickers in Nicaragua had sold and distributed crack cocaine in Los Angeles during the 1980s, and that drug profits were regulated to fund the CIA-supported Contras. He never asserted that the CIA was actively directing the drug dealers, but rather that they were aware the money was being raised and managed to subsidize them.

The resulting fallout was major. This chronicle suggests that the larger papers were embarrassed that they had been scooped on such a significant news story by a much smaller paper: The Washington Post, Los Angeles Times, and the New York Times tried to debunk the link between the Contras and the crack epidemic to discredit Webb. The account also suggest the CIA applied pressure on Webb and his family to remain silent. Webb’s key sources then disappeared mysteriously. Others later contended that Webb had lied about what they had said to him. The San Jose Mercury News backed away from the story, then threw him under the bus.

It’s not a spoiler to say that Kill the Messenger turns Gary Webb into a hero. He is presented as a crusader for accountability that divulged a reality that was too hot to handle. As a reporter he had uncovered what he believed to be unequivocal evidence linking the illegal business of crack cocaine in the U.S to the money used to fund the Nicaraguan Contras. He simply wanted to unveil that truth. It should be noted that there are still some who contend that Gary Webb was a disgraced journalist. However they will not find that point of view here. Peter Landesman’s script is adapted from Gary Webb’s own 1999 book Dark Alliance and Nick Schou’s 2006 book Kill the Messenger. His screenplay critically indicts both the U.S. government as well as the news correspondents of the day. The competing papers launched a smear campaign against him ultimately ending his career. They do not come out good here and your outrage will rest on how those revelations surprise you.

Kill the Messenger is an interesting tale in two parts. The first half recounts Webb’s discovering the evidence. The second half depicts the aftermath of that story. What makes this so watchable is Jeremy Renner’s portrayal of newspaper reporter Gary Webb. He is really good at getting the audience to like him. We feel the unbearable tension that our hero endures as he is threatened directly and indirectly. The impending sense of doom never seems very far way. We share in his growing fear for his own safety amidst his desire to expose the truth. The best scenes concern him and his family. In particular Rosemarie DeWitt as his wife and Lucas Hedges as his son, provide another facet that gives Gary Webb more depth. They imbue his character with flaws that are somewhat unexpected. After all, we have seen this before. All the President’s Men is an example of the crusading journalist railing against the system. The difference however is where Carl Bernstein and Bob Woodward were celebrated as heroes at the time, Gary Webb was given a much different reception.

10-15-14

The Equalizer

Posted in Action, Crime, Thriller with tags on October 1, 2014 by Mark Hobin

The Equalizer photo starrating-2andahalfstars.jpgThe film adaptation of The Equalizer is a outdated remnant from a bygone era. For starters, the movie is based on an American TV show which debuted way back in the Fall 1985. It ran for four seasons and starred British actor Edward Woodward. However the trappings have more in common with cinematic action hero tropes of the 80s than it does with the less graphic CBS series. The protagonist is a one man army against insurmountable odds. This man possesses a godlike dexterity for fighting. He dismantles the entire East Coast Russian underworld with surprising ease. Stepping into Woodward’s badass shoes is Denzel Washington. Denzel is basically Stallone in Rambo: First Blood Part II or Arnold in Commando. Apparently 1985 was the high point for this sort of thing. Those flicks, like the TV drama, all came out that year.

After a very slow beginning, The Equalizer takes off when a young prostitute named Terri is assaulted by the Russian mobsters who run a human trafficking ring. This gives our lead a reason to, you know like, actually do something. But the way the scenario plays out is by the numbers as well. The plot is so been there, done that. Denzel Washington is Robert McCall, a middle aged retired intelligence officer who helps people in trouble, in particular an underage girl played by Chloë Grace Moretz. Their relationship and McCall’s personality bring to mind Taxi Driver (1976), Léon: The Professional (1994) and even Denzel’s own Man on Fire (2004) at various points in the narrative. It’s hard not to feel director Antoine Fuqua’s effort is cobbled together from the generic story threads of half a dozen other films.

Denzel Washington plays a man of few words. His roles often have a self righteous quality that invests his individuals with an air of moral superiority. He is supposed to register steely resolve but he’s so unexcitable he’s practically catatonic.  After various captives witness his superhuman abilities, they inevitably ask, “Who are you?”  If this was Arnold circa 1985, he’d quip “I’m the Equalizer!” in a thick Austrian accent. But Denzel seems to just quietly ignore the question time and again.  The third time the question is asked, it’s almost comical.  McCall has always meted out harsh justice as a last resort, but by the end, he is simply out for vengeance. The climatic showdown takes place in a Home Depot-like warehouse. He exhibits a cruelly sadistic streak that takes down his enemies in a vigilante revenge fantasy. There’s a way to put someone out of commission efficiently without resorting to sadism but his creative uses for hardware equipment are barbaric. As he preyed upon the villians in the dark, I felt I was watching a slasher film. You know things have gone horribly wrong when you start to feel sorry for the bad guys.

09-28-14

Sin City: A Dame to Kill For

Posted in Crime, Film Noir, Thriller with tags on August 27, 2014 by Mark Hobin

Sin City: A Dame to Kill For photo starrating-1star.jpgIn 1917 artist Marcel Duchamp took a readymade porcelain urinal signed it “R.Mutt” and submitted it for exhibition at the Society of Independent Artists. It was a controversial idea whose influence is still discussed today. Now I’m not here to take Duchamp to task for his questionable objet d’art. Nevertheless it would seem to me that beneath this move there had to exist at least a modicum of contempt either for art or the audience or both. As I sat watching Sin City: A Dame to Kill For, this idea filtered through my mind. Duchamp appropriated a urinal as art much in the same manner that Frank Miller appropriates film noir as a movie.

Sin City: A Dame to Kill For is the disastrous sequel to 2005’s Sin City, a successful neo noir thriller. It beautifully captured the look of a comic book. A Dame to Kill For is stylistically impressive as well. But it’s so utterly bereft of substance, as to offend the basic requirements of storytelling. This perverts the very idea of entertainment.  The narrative’s fetishizing of violence and sex would be downright pernicious if it wasn‘t so ineffectual and awkward.  Miller conveys style and visual aesthetic, but not heart.  Granted, the measure of good taste is subjective. Let’s set aside the extreme level of violence for a moment. There is no story. Just a compilation of shooting, stabbing, slicing and dicing. The misdeeds strung together as a pseudo fable that goes absolutely nowhere. It’s disgusting, reprehensible, vulgar, misogynistic and every other negative word you can use in this day and age to describe something without value.

The characters are shockingly devoid of merit, especially for a drama in these “enlightened“ times. Film noir has always highlighted the femme fatale. However these women have little to do other than display their physical attributes. The narrative unrepentantly parades Jessica Alba, Eva Green Jaime King, and Juno Temple through the production like skewered selections by waiters at a Brazilian BBQ. Women are either prostitutes, strippers, or evil temptresses.  At least one gets to be a good luck charm. Rosario Dawson literally wears what looks like metal saucepan lids over her breasts in one scene. Jamie Chung doesn’t even get to speak. Oh but she displays her knife wielding skills. Can I re-emphasize the violence? The unending obliteration of human beings is gruesome. It’s like watching a chef at Benihana chop up various meats and vegetables for 102 minutes and then calling it a drama. The men aren’t any more carefully drawn either. Their lack of humanity is disheartening. These guys are rotten to the core. Joseph Gordon-Levitt’s character is just a body to destroy. He serves no purpose. For the first 10 minutes, I marveled at the visual style. It’s remarkable, but soon after the ugliness beneath the production seeps through and overstays its welcome fast.

08-27-14

The Internet’s Own Boy: The Story of Aaron Swartz

Posted in Biography, Crime, Documentary with tags on July 20, 2014 by Mark Hobin

The Internet's Own Boy: The Story of Aaron Swartz photo starrating-4stars.jpgBrian Knappenberger directs this fascinating documentary about Aaron Swartz, a computer programming prodigy turned internet activist. A hacker not out for personal gain but rather to promote free access to information. The Internet’s Own Boy is a sympathetic portrait. The narrative is fashioned as the loss of a great mind as a consequence of the U.S. government’s overzealous pursuit of a transgressor. A persecution that was disproportional to the seriousness of his actual crime. JSTOR (short for Journal Storage) is a digital library featuring back issues of academic journals. Aaron was guilty of bulk-downloading a substantial portion of JSTOR’s records using the MIT computer network. Most of the data was available via a paid subscription. Some of the older data was obtainable by anyone for no charge. As the trial approached, Aaron was facing multiple felony charges that could have put him in federal prison. As the case mounted against him, he faced a sentence of up to 35 years in jail and a $1 million fine, if convicted.

The Internet’s Own Boy does a great job at presenting a potentially confusing topic in a straightforward and level headed manner. First the account lays out the case for the truly brilliant mind this young man possessed. In family videos we see him as a child reading at an ability far beyond his years. At 12 he created The Info Network, a user-generated encyclopedia not unlike Wikipedia. In his teens he was instrumental in the creation of the RSS feed, the public domain watchdog group Creative Commons, and the formation of the social news site Reddit. The documentary makes the argument that he was a key player in the defeat of The Stop Online Piracy Act (SOPA). Opponents warned that the proposed legislation’s reach extended much further than mere copyright law. The federal government could block whole internet domains if they saw fit. This, they argued, would ultimately threaten first amendment rights on the Internet. You will marvel at his extraordinarily gifted mind.

Then the chronicle goes into the details of his crime. Swartz wasn’t interested in leaking classified documents. He was for the uninhibited dissemination of knowledge that could benefit people. The story acknowledges that infiltrating JSTOR’s database wasn’t completely legal. What he planned to do with his massive procurement of 5 million articles is not specifically known. Yet his misdeed ended there. It’s alleged by the prosecution that he intended to release the downloads to the public on peer-to-peer (P2P) networks. Even his friends and colleagues accept that this wasn’t such a far-fetched supposition. One only need read his “Guerilla Open Access Manifesto” to know his opinion toward free and open information.

Aaron Swartz stood for a free and democratic Internet. He was guilty of downloading 5 million scholarly texts from the JSTOR database. However since this material wasn’t of a sensitive nature, nor did he plan to financially gain from the acquisition, the infraction seems negligible at best.  Unfortunately none of the antagonists agreed to appear on camera.  If there’s a villain here it’s the U.S. attorney’s office and specially the chief prosecutor in the case, Stephen Heymann. He doesn’t fare too well at all. His absence doesn’t help him, but it’s hard to say whether it would have served him if he had showed up to defend his questionable motives.  Even hallowed university MIT comes under fire for its failure to speak up in Aaron’s defense despite their supposed commitment to open access.  The end result is a one-sided but emotionally compelling view. It will make you angry but it will also make you profoundly sad. You will mourn this young man who, in the aftermath of the events detailed here, ultimately took his own life.

The Rover

Posted in Crime, Drama, Science Fiction, Western with tags on June 25, 2014 by Mark Hobin

The Rover photo starrating-2stars.jpgIn post-apocalyptic Australia, a drifter (Guy Pearce) hunts down the three 3 thieves that stole his car. That’s it. That’s the whole plot. The Rover is set “ten years after the collapse.”  At least that’s what the title card tells us. It’s all the information we’re given in the sketchy history of an apparent global economic meltdown in the near future. The end credits inform us that our protagonist is Eric, though I don’t recall anyone ever uttering his name. Eric rarely speaks. Instead he effects his way through the story employing pseudo-macho grumbles and growls designed to intimidate all who stand in the way of the aforementioned car. Eric spends most of the 102 minutes tracking this criminal trio, played by Scoot McNairy, David Field and Tawanda Manyimo. We really don’t see much of them except for in the very beginning and at the very end. In time, Eric is joined in his dreary quest by the mentally challenged brother of McNairy’s character. Played by a mumbling Robert Pattinson, the Twilight star becomes sort of a sidekick. Pattinson is good. Sadly the movie is not.

The Rover has a particular disregard for human life. Director David Michôd’s follow up to his brilliant Animal Kingdom is simplistic and dull where that 2010 crime thriller was layered and complex. The Rover is unrelentingly bleak, depressing, savage. I could go on. Any number of various adjectives don’t do justice to this grim tale about life. This post apocalyptic western has been compared to Mad Max. No way. That film was a tightly edited action packed classic compared to this downbeat, depressing, lethargic mood piece. Occasionally the audience is visually assaulted. The lawless world of The Rover is punctuated by some of the most unpredictable bursts of violence I have ever experienced. I’m talking bloody shots of people at point blank range right in the face.

Director David Michôd has a latent contempt for his audience.  There is no story, only the violent pursuit of one man’s bloodthirsty fixation on his stolen car. His search is occasionally disrupted by gunshots that are disproportionately loud to anything else happening on screen. The camera does not turn away from these bursts of noise but rather it lingers on the atrocities with a disgusting gaze. Why this stupid car is so important to Eric is a question that will nag at you for the duration of the entire movie. To be fair, we are finally given an answer for enduring this slog through a nihilistic wasteland. Unfortunately, it simply doesn’t justify everything we had to endure. The show isn’t a complete waste.  At one point, Robert Pattinson’s character finds himself alone in the car singing along to Keri Hilson’s “Pretty Girl Rock.” It’s a bright, shining moment of energy that is completely out of step with the rest of this dull flick. And for that reason it’s the best scene in the entire picture.

06-24-14

Follow

Get every new post delivered to your Inbox.

Join 771 other followers