Archive for the Crime Category

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.

04-02-15

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.

03-31-15

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

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