by Steve Habrat
Over the years, actor Matthew McConaughey became known as the guy who starred in all those fuzzy romantic comedies that your mother and girlfriend loved. Every so often, he’d jump into a disposable action movie like Reign of Fire or Sahara, or surprise you with his dark turn in the underrated horror movie Frailty, but you couldn’t help but peg him as that romantic comedy dude who was always chasing around Kate Hudson or Sarah Jessica Parker. Recently, McConaughey has broken from his usual roles and started accepting beefier parts that really showcase his talents as an actor. One of these roles would be the title character in director Jeff Nichols’s critically acclaimed drama Mud, which debuted a Cannes in 2012 and then enjoyed a quiet limited release in 2013. Hailed as one of the standouts of 2013, Mud is a surprisingly candid coming-of-age drama that features strong emotional turns from McConaughey and Reese Witherspoon, an actress that has kept a relatively low profile since her Academy Award winning role in Walk the Line. While Mud is certainly a down-to-earth Southern tale about love found and love lost, the film feels a bit too familiar in places, something that ultimately holds it back from tru greatness..
Mud introduces us to Ellis (played by Tye Sheridan) and Neckbone (Jacob Lofland), two preteens battling boredom in De Witt, Arkansas. One day, Neckbone takes Ellis out to an island on the Mississippi River where he has discovered a rickety boat stuck high up in a tree. Ellis and Neckbone intend to make their discovery a new hangout location, but they are shocked when they discover that there happens to be a man living in the boat. The man introduces himself as Mud (played by Matthew McConaughey), a shaggy drifter who claims to be hiding out on the island and in desperate need of some food. Mud tells the boys that if they’ll bring him so food, he’ll allow the boys to have the boat when he leaves the island. Ellis and Neckbone agree to help the mystery man out, but they soon learn from police department that Mud is, in fact, a fugitive on the run from the law. When the boys return to the island, they learn that Mud killed a man for severely injuring his girlfriend, Juniper (played by Reese Witherspoon). Mud explains that he is waiting to be reunited with Juniper and that he is on the island to avoid a slew of bounty hunters that are looking for him. Fascinated by Mud’s story, the boys decide to help Mud in his quest to be reunited for Juniper, but soon, the bounty hunters arrive looking to make Mud pay for what he has done.
While the tale of the shaggy-haired outlaw waiting for his ladylove is the surface story of Mud, the film’s true story belongs to the kids. A good majority of the film follows Ellis as he experiences his first love and watches his home life fall apart. We catch glimpses of his parents duking it out with each other at the kitchen table as Ellis sneaks away to meet up with Neckbone. He spies on them for only a moment before fleeing off to that island to hide from the world inside that tree boat. In town, he crushes on an older girl, May Pearl (played by Bonnie Sturdivant), who may not be taking their developing relationship as seriously as Ellis takes it. Nichols, who also wrote the film, isn’t shy about telling Ellis’s story in a realistic manner, addressing the fears of change and the sting of heartbreak in a serious tone. Despite not mincing words, this side of Mud is extremely gentle. It’s never cold-hearted or cynical, even when things seem to be at their lowest for poor Ellis and Mud. The darker side of the story manifests in Mud’s looming confrontation with the bounty hunters. They beat Juniper in the hopes of learning Mud’s whereabouts and they strike in a swarm to guarantee that our outlaw hero has absolutely no chance of escape. This certainly ups the sense of dread and it does make us fear for Mud’s safety as the final confrontation nears.
The main attraction of Mud is the undoubtedly performances, especially the ones from McConaughey and Witherspoon. McConaughey is absolutely fantastic as the lovesick outlaw with a heart of gold. The relationship he develops with Ellis is incredibly sweet, sparking hope in the young boys eyes and igniting a sense of adventure that allows him to escape his rocky home life. Witherspoon’s Juniper is a flirty free spirit who questions her affection for the marooned Mud. Sheridan is the film’s heart and soul as Ellis, a seemingly tough teen with a soft center. Lofland plays it even rougher and tougher as Neckbone, a foul-mouthed teen who means well enough. Also present are Sam Shepard as Tom Blankenship, Ellis’s mysterious neighbor who has ties to Mud and ends up being an essential ally in his fight to stay alive. Nichols regular Michael Shannon gives a small but sweet performance as Galen, Neckbone’s scuba-diving uncle. Overall, while it certainly doesn’t reinvent the wheel and it does end up feeling quite a bit like several other rundown dramas of recent memory, Mud is still a sensitive and ultimately optimistic drama bustling with performances that are alive with everyday emotion.
Mud is available on Blu-ray and DVD.
by Steve Habrat
In 2004, funnyman Will Ferrell introduced the world to Ron Burgundy, the inappropriate goofball of a news anchor in the beloved comedy Anchorman: The Legend of Ron Burgundy. The mustachioed moron was so popular with audiences that they almost instantly started begging for a second helping of Mr. Burgundy’s antics. After almost ten years of waiting, fans finally have their follow-up. Truth be told, I was never a big fan of the scotch-swilling Mr. Burgundy and his equally obnoxious Channel 4 crew members, even though I tried so hard to see what everyone thought was so funny about them. They spouted off random and inconsistent jokes that never seemed to rise above mild chuckles, yet everyone roared on with delight and stared at me like I slapped an infant when I said I wasn’t a very big fan of Anchorman. Now we have director Adam McKay’s Anchorman 2: The Legend Continues, and I’m sad to report that this crew of comedians couldn’t win me over on their second round. In addition to just not being very funny, Anchorman 2 is a dull and, frankly, boring comedy that simply recycles a large chunks of the worn-out jokes that were used the first time around.
Anchorman 2 picks up in the early 80s, with news anchor Ron Burgundy (played by Ferrell) and his wife, Veronica Corningstone (played by Christina Applegate), staring a promotion in the eye. It turns out that their boss and idol, Mack Tannen (played by Harrison Ford), is stepping down from his position as a nightly news anchor, leaving the position open to Ron and Veronica. After a tense meeting with Tannen, the job is offered to Veronica, which makes her the first woman to host a nightly news program. In a surprise move, Tannen decides to fire Ron for years of imbecilic behavior on the air, leaving the cocky newsman distraught and humiliated. Things get worse for Ron after he storms out on his marriage and ends up hosting a show at Sea World. After loosing his job at Sea World, Ron is approached by Freddie Sharp (played by Dylan Baker), who works for an up-and-coming 24-hour news network run by Kench Allenby (played by Josh Lawson) and Linda Jackson (played by Meagan Good). Ron accepts the offer under the condition that he can reunite his former news team, which consisted of Brian Fantana (played by Paul Rudd), Champ Kind (played by David Koechner), and Brick Tamland (played by Steve Carell). Everything seems to be going great for the reunited team, but after several run-ins with rival news anchor Jack Lime (played by James Marsden), the group begins waging a ratings war at their new network. In an attempt to be number one, Ron makes a bold choice to report on what people want to hear rather than what they need to hear, changing the course of news history.
While a good majority of the jokes in Anchorman 2 are met with crickets from the audience, the film still manages to cleverly poke fun at a long list of news stations including CNN, NBC, Fox News, and HLN, to name a few. There is something realistically amusing about watching Mr. Burgundy as he incorrectly speculates about a wild car chase, smokes crack on the air, reports on puff pieces, and shouts over a slew of guests battling to have their opinions heard. It’s all undeniably clever and it marks the few places where Anchorman 2 actually finds some momentum, but once McKay drifts away from the newsroom shenanigans, the film succumbs to juvenile silliness that bores more than it amuses. When Ron isn’t busy erupting in disbelief over the fact that one of his new bosses is black, there are bizarre screaming fits and staring contests between Carell’s Brick and his new crush, Chani (played by Kristen Wiig). There is the expected clueless racism and “WHAMMY” explosions from Champ Kind, who has also opened a new chicken restaurant that serves up breaded bats to its patrons. The only one who really gets a few good cracks in is Rudd, who seems to be able to sell any material he is given, even when he delivered the same jokes the first time around. There’s no doubt that the guys enjoy playing these characters and they are eating up the opportunity to ad-lib their way through the performances, but you’re left feeling like a group of talented comedians like this could have come up with better jokes, ones that could split your sides.
As far as the supporting roles and cameos go, Anchorman 2 finds plenty of funny men and women stepping in front of the camera to drive up the hilarity level. While there are too many to name here and some are best left a surprise, there are still some that play key roles within the film. Wiig’s Chani is basically a female version of Brick, a knuckleheaded dweeb that meets Carell’s string of nonsense with her own brand of offbeat comments. Meagan Good is fairly dull as Linda Jackson, Ron’s sassy African American boss who finds herself attracted to the scotch-and-flute loving news anchor. Applegate’s Veronica Corningstone remains largely the same, there to be exasperated with Ron’s belligerent behavior. Dylan Baker’s Freddie Sharp basically just grins from behind a pair of sunglasses and acts as the glue that holds Ron and his team together. Marsden is having a good time as Jack Lime, the rival news anchor that never misses a chance to rip Ron apart. Rounding out the main cast is Harrison Ford, who scowls in true Ford fashion through his role of Mack Tanen. Overall, while it does an excellent job spoofing 24-hour television news stations, Anchorman 2: The Legend Continues still manages to feel like it’s on cruise control (much like Ron’s tumbling Winnebago). It looks like the cast had a great time throwing on the period clothing and hanging out with each other, but you know you have a problem when you’re marketing campaign ends up being funnier than your scattershot film.
by Steve Habrat
Just a few short weeks ago, director David O. Russell brought us American Hustle, a sexy, cool, and confident look at a bunch of leisure-suited misfits trying to obtain the good life in the amber glow of the late 1970s. Fast-forward the clocks to the late 1980s and enter legendary director Martin Scorsese with his equally sexy, cool, and confident The Wolf of Wall Street, another comical tale about a money-hungry American who will do whatever it takes to live in the lap of luxury, even if that means breaking the law to do it. At an epic three hours, The Wolf of Wall Street is a slap of energetic entertainment that finds Scorsese at his absolute raunchiest, using the true story of Jordan Belfort as his road map through sex, drugs, and, well, even more sex and drugs. The ringleader at the center of this sleazy circus is Leonardo DiCaprio, who sinks his teeth into the role of Belfort with ravenous comedic fury and an Oscar statute burning in his twinkling eyes. DiCaprio has never seemed hungrier for the award, which makes the word “Wolf” in the title very fitting. While this may be DiCaprio’s show, coming up hot on his heels is Jonah Hill, who delivers another surprising performance as Belfort’s business partner, Donnie Azoff.
The Wolf of Wall Street picks up in 1987 and introduces us to young Jordan Belfort (played by Leonardo DiCaprio), who has just been hired in as an intern at a firm run by Mark Hana (played by Matthew McConaughey). Hana takes an immediate liking to the up-and-coming Belfort, so he decides to take him under his wing and recommend that Belfort embrace a lifestyle of sex and drugs to get him through the workday. Things seem to be going smoothly under Hana, but Belfort ends up on the street after the firm closes in the wake of Black Monday. Determined to find another job, Belfort, with the help of his young wife, Teresa (played by Cristin Milioti), finds a job at Investor Center, a hole-in-the-wall business that specializes in pink slip stocks. Belfort quickly excels with this new company, making a small fortune that allows him to buy a flashy sports car and live comfortably. One day, Belfort is approached by Donnie Azoff (played by Jonah Hill), an owl-eyed salesman who is curious about what Belfort does for a living. The two strike up a fast friendship and together, they decide to open their own firm, Stratton Oakmont, which rakes in millions by using Belfort’s aggressive business tactics. The employees of Stratton Oakmont begin to embrace Belfort’s wild lifestyle, which is dominated with sex, drugs, and wild office parties, all of which catch the attention of Patrick Denham (played by Kyle Chandler), an FBI agent convinced that Belfort is up to no good. Belfort is able to keep the FBI off his back for a while, but when he starts laundering money from the company to pay for his lavish lifestyle, Denham closes in and threatens to bring down Belfort and his merry inner circle.
The Wolf of Wall Street’s main focus is Belfort’s insatiable hunger for wealth and luxury, two things he obtains very quickly. Yet Scorsese explores Belfort’s excessive lifestyle in a comical light, making it seem almost cartoonish as marching bands parade through his office, hookers sprint topless through the cubicles, businessmen snort up cocaine like vacuum cleaners, and sex parties suddenly erupt in the bathroom. And that is just the tip of the iceberg. Belfort starts his career on an honest note, refusing to sip martinis and do cocaine with Hana while the two dine on a four-star lunch that overlooks New York City. Yet you can see that Belfort is intrigued by all the flesh and powder dangled in front of him. He resists it at first, acknowledging it with a smile and a shrug of his shoulders, but after sticking a crack pipe in his mouth, he is sent into overdrive and the endless shower of money makes it impossible for him to control his debauchery. When the parties get bigger, the drugs gets stronger, the women get prettier, and the behavior gets even more reckless, The Wolf of Wall Street becomes absolutely revolting and hilarious in equal measures. One of the more shocking moments comes when the employees of Stratton Oakmont gather at a beachfront mansion for a gonzo party that culminates with a drugged and drooling Azoff coming up with the idea to approach up-and-coming show designer Steve Madden about allowing the company to sell shares of his company’s stock, Belfort meeting the beautiful Naomi Lapaglia (played by Margot Robbie), and the belligerent Azoff pleasuring himself to the gorgeous Naomi in front of the entire party. It’s unruly and downright hilarious in its extremity, showing off just how monstrous money and power can make people.
As Belfort, DiCaprio becomes a party animal that would make Jay Gatsby blush. Once he snorts that little white line, pops the Quaalude, and downs a glass of wine, he becomes a wrecking ball that just can’t be stopped. Naturally, he develops a drinking and drug problem, at one point proclaiming that he refuses to die sober while aboard a smashing and crashing yacht. He’s wildly materialistic, chuckling at the suggestion that some of the dishes aboard his overdone yacht may get smashed in a particularly bump journey. When he isn’t busy destroying his Lamborghini, he is preoccupied with flying his helicopter home from a hookers-and-cocaine binge that results in him almost crashing the chopper into his home. When the FBI begins breathing down his neck, he contemplates bowing out of his company to avoid prison time, but in the heat of the moment, he just can’t say no to making even more money, something that he already has more than enough of. His destructive and disgusting behavior is egged on by his employees, who look at him like a pin-stripped god that has taken them all to millionaire heaven. Yet through it all, you can’t help but sort of like Belfort, even if he is a brash show-off who won’t listen to anyone. DiCaprio makes him a beam of charisma, even when he is dry humping a stewardess, laughing in the face of the law, or slithering his way out of the local country club in a daze.
As far as the rest of the cast goes, Hill never shies away from the ad-libbed humor that he has become known for. He lobs zingers as the equally excessive Azoff, a foul-mouthed salesman who is married to his cousin and who likes to party just as much as Belfort. McConaughey continues his hot streak as Hana, a fast-talking broker who demands martinis brought to him in rapid succession and who recommends that Belfort embrace a destructive lifestyle of sex and drugs to survive Wall Street. Robbie fogs up the screen as the beautiful Naomi, a goddess who loves money and nose candy just as much as Belfort does. Chandler is bullish and straightforward as Denham, the FBI agent who is convinced that Belfort may not be as squeaky clean as he likes to pretend to be. The secondary players consist of P.J. Byrne as Nicky “Rugrat” Koskoff, another close friend of Belfort who proudly wears an atrocious headpiece. The Walking Dead’s Jon Bernthal stops by as Brad Bodnick, a juiced-up drug dealer who helps Belfort sneak cash into a Swiss bank account. The Artist’s Jean Dujardin turns up as Jean-Jacques Saurel, a Swiss banker who flashes false grins at the desperate Belfort. Rob Reiner gives a snappy performance as Max Belfort, Jordan’s father who tries to keep the boys of Stratton Oakmont in check. In smaller roles, Jon Favreau stops by as Manny Riskin, a seedy lawyer hired to keep Jordan out of prison, and even filmmaker Spike Jonez pokes in as Dwayne, the geeky Investor Center manager who hires Belfort.
In true Scorsese form, The Wolf of Wall Street is a snazzy piece of filmmaking that tickles your peepers with hilarious slow-motion shots, characters talking directly to the audience, and wicked narration from Mr. DiCaprio. Given that the film clocks in at nearly three hours, you’d assume that there may be one or two places where the picture is dragging its feet, but the endless scenes of wild parties never loose their bite, humor, or their entertainment value. You just can’t wait to see what grandiose act Belfort commits next. Scorsese also keeps each and every scene as stylized as possible, making the entire experience go by in a flash. Overall, while it may not be quite as sharp as American Hustle, The Wolf of Wall Street is still a raunchy examination of a man who had everything but still demanded more, more, more. You’ll find yourself buzzed by the racy script from Terence Winter, elated performances from DiCaprio and Hill, and a stinging sense of black humor that keeps you in stitches even when it threatens to cross the line into the inappropriate. The Wolf of Wall Street is a big, shiny Christmas gift from one of the greatest American directors alive.
by Steve Habrat
Director John Lee Hancock is no stranger to crafting crowd-pleasing dramas. He’s the man responsible for such films as Dennis Quaid’s 2002 sports drama The Rookie and Sandra Bullock’s unstoppable 2009 hit The Blind Side. When it came to telling the enchanting story of how Walt Disney managed to get the rights to P.L. Travers’ book Mary Poppins, Hancock was certainly the man for the job. Hancock’s Saving Mr. Banks is certainly a well-oiled piece of period filmmaking with several performances that certainly scream for Oscar. It’s a mushy tale about how much the character of Mary Poppins meant to Travers, served up in a candy shell that audiences are guaranteed to savor. Both Hancock and Disney Studios are playing to our hearts with the emotional script from Kelly Marcel and Sue Smith, but the magic of Saving Mr. Banks really comes alive through the performances from its spread of A-list celebrities. This is Emma Thompson’s show, but Tom Hanks, who is still hot off the success of Captain Phillips, warmly beams his way through his performance as the ultimate dreamer, Walt Disney. And then there is the sweet performance from Paul Giamatti and a particularly touching turn from Colin Farrell, who becomes the film’s beating heart and soaring soul.
Saving Mr. Banks picks up in 1961, with Mary Poppins author Pamela P.L. Travers (played by Emma Thompson) tight on money and low on options. Through her agent, Diarmuid Russell (played by Ronan Vibert), Pamela receives an offer from Walt Disney (played by Tom Hanks) for the rights to her beloved story so that he can make it into a movie. At first, Pamela refuses to sign over the rights to Disney, who she believes will ruin her very personal story, but her reluctance to right another novel to bring in more money puts her in a difficult spot. With no other alternatives, Pamela travels to Los Angeles to meet with Walt to discuss the project. Upon her arrival, Walt goes above and beyond to charm the scowling Pamela, but each one of his attempts bounces right off her thick skin. Pamela soon begins meeting with scriptwriter Don DaGradi (played by Bradley Whitford) and composer/lyricist brothers Richard and Robert Sherman (played by Jason Schwartzman and B.J. Novak) to pour over every single detail of the script, storyboards, and musical numbers—all of which she finds fault with. As the exasperated Disney crewmembers try to please Pamela, she strikes up a friendship with her kindly driver, Ralph (played by Paul Giamatti), and begins flashing back to her dysfunctional childhood in Queensland, Australia, with her alcoholic father, Travers Robert Goff (played by Colin Farrell), who instilled a vivid imagination inside the young Pamela.
Saving Mr. Banks juggles two storylines, one which flashes back to Australia, 1906, which gives us a glimpse inside Pamela’s upbringing at the hands of her drunken but loving father and her wounded, soft-spoken mother (played by Ruth Wilson). The scenes set in Australia are given a fairy tale glow, romanticized and shimmering in true Disney fashion. The dramatic outback flashbacks are met by the scenes set in 1961, which posses a more humorous side as Pamela grapples with her idiosyncrasies with her beloved character. Thompson plays Pamela as a porcupine of a woman, a prissy control freak who never passes up a chance to put old Walt Disney in his place. When she isn’t complaining that Los Angeles smells like sweat and chlorine, she ripping into ol’ Walt for anything and everything. Initially, she appears to be immune to Walt’s charms and she scowls every time she lays eyes on a familiar mouse that we have all come to adore. When she meets with DaGradi and the Sherman brothers, she stomps her feet and demands that all of their meeting are recorded. She especially detests the songs like “Supercalifragilisticexpialidocious,” and she groans over the mustache added to the character of Mr. Banks, an addition that Walt has personally requested. For as cold and heartless as she seems to be, Thompson molds the character into a sympathetic soul who wrestles with painful memories that she feels doesn’t deserve the pixie-dust whimsy that she is convinced Walt will give her story.
As far as the rest of the performances go, Hanks beams his way through his performance as Walt Disney, a happy-go-lucky businessman who is absolutely perplexed by the whirlwind that is Pamela. Watching his reactions to feisty writer is a treat, especially when she recoils in horror at his suggestion of taking a trip to Disneyland. As his battle to make the movie culminates, he tells a personal story that reveals his understanding over how much the character of Mary Poppins means to Pamela. Then there is Giamatti, who gives one of the most sensitive performances of his career as Ralph, Pamela’s gee-whiz limo driver who makes every effort imaginable to get to know this rigid sourpuss. Watching Ralph develop his friendship with Pamela is hilarious and near the end, it takes an emotional turn that will make your heart swell. Whitford nabs several chuckles as DaGradi, the cautious scriptwriter tasked with battling with Travers on a day-to-day basis. Schwarztman and Novak are a terrific tag team as the Shermans, the composers who just can’t seem to come up with a tune that gets Travers tapping her toes. Then there is Farrell, who just leaps across the screen on the wings of imagination. Behind closed doors, he is a withering heap of a man consumed by alcoholic demons and an illness that threatens to take his life. However, when he is facing the young Pamela in the sun, he is a dancing court jester, her encouragement to never stop dreaming or chasing imagination. Trust me when I say that this role is one of Farrell’s finest hours.
Considering that Saving Mr. Banks is a Disney production, the film’s sets and cinematography look like a million bucks. While there was no filming in Australia, Hancock does a marvelous job transforming various locations around California into the dusty Australian Outback. It should also be noted that there isn’t a single shot in the entire picture that isn’t crisp, clean, and gorgeous, always eager to show off the fantastic period clothing and set design. Hancock and his screenwriters also do a marvelous job with revealing little secrets about Pamela’s past to the viewer, whether it is her dislike for pears or her fury over Mr. Banks having a mustache on screen. Every little reveal is balanced throughout the picture, one being just slightly more emotional than the last one. Overall, while there is no doubt in anyone’s mind that Disney studios has sweetened this story up in places, Saving Mr. Banks is still a wholesome little movie that touches on the importance of imagination and pleas with each and every one of us to never loose our child-like sense of wonder. Thompson and Farrell are Oscar worthy in their respective roles, Giamatti’s Ralph is unforgettable, and Hanks is clearly having a grand old time slipping into the skin of Walt Disney, a role he was born to play.
by Steve Habrat
Ever since his directorial debut in 1994, David O. Russell is a filmmaker that continues to surprise critics and audiences with the wide range of films that he produces. He’s done indie comedies (Spanking the Monkey, I Heart Huckabees), mainstream comedies (Flirting with Disaster), war thrillers (Three Kings), political comedies (Nailed), sports dramas (The Fighter), romantic comedies (Silver Linings Playbook), and now, just under a year after releasing his celebrated Silver Linings Playbook, he tackles another project that expands his intriguing body of work. Just in time for Oscar season we have American Hustle, a film that has been receiving glowing word of mouth over the past several months for its intoxicating blend of 70’s style, quirky characters, dry humor, and rich story that consistently pulls the rug out from under the viewer at every turn. With expectations at a staggering high, you start to wonder if this tale of a sleazy con man, his gorgeous partner, and a shifty FBI agent could ever live up to such praise. Yet with each passing second, American Hustle hits entertaining levels that are off the charts, and it finds Mr. Russell in full form, radiating a confidence we have yet to see from this talented filmmaker. Russell can also thank his star Christian Bale, who gives the best performance of his career, for making American Hustle such a strutting must-see.
American Hustle introduces us to Irving Rosenfeld (played by Christian Bale), a smooth-talking con man that runs a chain of Laundromats and on the side operates a seedy loan business where he takes $5,000 from desperate clients and gives them nothing in return. Life is pretty good for Irving, but it gets even better when he meets the beautiful Sydney Prosser (played by Amy Adams), who is drifting from job to job. After showing his business off to Sydney, she jumps on board and assumes the identity of Lady Edith Greensly, a British bombshell with overseas banking connections. As Irving and Sydney rob their clients blind, the two strike up a romance that is kept from Irving’s motor-mouthed housewife, Rosalyn Rosenfeld (played by Jennifer Lawrence), who paces around their home like a caged tiger. It doesn’t take long for Irving and Sydney’s operation to be thwarted by Richie DiMaso (played by Bradley Cooper), an eager FBI agent looking to make a name for himself at the bureau. Rather than locking Irving and Sydney up in jail, Richie decides to use the con artists to help him with an operation called Abscam, which would lure Carmine Polito (played by Jeremy Renner), the beloved Mayor of Camden, New Jersey, into taking a bribe. Irving and Sydney reluctantly agree to help Richie, but their plot to take down Politio takes a dangerous turn when several other high level politicians and ruthless mobsters get involved.
With so much style and humor to burn, American Hustle wouldn’t even need its winding and weaving script that finds all of its boldly drawn characters attempting to get over on each other. From the opening retro studio logos, Russell is gleefully smashing open a post-Vietnam and Watergate time capsule, which allows us to glimpse an America that has embraced earth tones, tacky oversized sunglasses, perms, bell bottoms, leisure suits, plunging dress necklines, and disco music. It’s all so loud, excessive, and in your face that it threatens to be cartoonish. It also guarantees that American Hustle is going to be a strong contender in the production design category, costume design category, and make-up and hairstyling category. While the meticulous attention to detail certainly makes the film entertaining, the sense of humor that Russell injects is an absolute wonder. The film opens with Bale’s Irving fussing with his comb over, hilariously gluing strips of hair down over a tuft of fake fuzz. It is guaranteed to have the theater doubled over in laughter, especially when Cooper’s DiMaso decides he is going to mess the eccentric masterpiece of a hairdo up. Also brilliant is the winking trip to a flashing disco club, where Adams and Cooper burn through the dance floor like fiends. It’s wildly hilarious and hot-under-the-collar sexy as they shimmy and shake their way to a dimly lit bathroom stall. American Hustle’s crown jewel of hilarity comes when Irving and Rosalyn have their very first fiery encounter with a microwave, which they continuously refer to as the “science oven.”
Making American Hustle even more irresistible is the A-list cast, who all seem like they are locked in a never-ending battle for the spotlight. While they are all fantastic, none come close to matching the work of the out-of-this-world Christian Bale. We’ve seen Bale immerse himself in his characters before, but none have been quite as charming and alive as Irving, the pudgy con man with the meanest comb over you have ever seen. In front of Sydney, his clients, and even DiMaso, Irving has a silver tongue that really works a room. His confidence practically burns a hole in the screen, but when he’s behind closed doors and facing the wrath of Rosalyn, he’s a fidgeting disaster that clutches at his heart and pops little white pills to calm his weak ticker. Adams is a spitfire as his redheaded partner, Sydney, who throws on a British accent and toys with DiMaso’s heart. Adams and Cooper share two specific moments that could practically set the screen ablaze. Cooper nails his role as the slimy DiMaso, the hotshot FBI agent who wears his perm like a crown. Lawrence is as sexy as ever as Irving’s restless wife Rosalyn, a bored and neglected housewife who threatens the whole operation. Then there is Renner as Polito, the optimistic Mayor who is determined to bring back Atlantic City any way he can. Rounding out the cast is Louis C.K. as Stoddard Thorsen, DiMaso’s perpetually peeved boss who can never seem to get control of his determined agent.
As if the style, humor, and fluid performances weren’t enough to make you fall in love with American Hustle, the film also boasts a firecracker of a script from Eric Warren Singer and Russell. Slightly based on true events, it dares to be unpredictable, sweet, intimate, touching, and intensely character driven as all of these characters that claim to do anything for survival try to play each other any way they can. It’s a thrill not knowing what direction it’s going to veer off in next. All the bickering and scheming builds to a witty final act that springs a double-cross rush that leaves you floating out of the theater. Overall, American Hustle finds Russell at the top of his game as a filmmaker. He is working with an airtight script, capturing brilliant performances that play phenomenally off each other, filling his frames with gorgeous set and costume design, and allowing his sharp sense of humor to fuel its soul. The end result is gold-plated entertainment that is guaranteed to retain its shine for years to come and reward with multiple viewings. By the end of the film, you will respect the hustle.
by Steve Habrat
Arthouse writer and director Harmony Korine isn’t the type of filmmaker who releases warm and fuzzy crowd pleaser films. Far from it. Korine made a name for himself with such films as the gritty AIDS tale Kids, the voyeuristic and derelict Gummo, and the schizophrenic Julien Donkey-Boy, all films that have achieved cult status due to their controversial subject matter and off-the-beaten-path approach. Over the years, Korine has managed to keep a relatively low profile, but earlier this year he finally broke into the mainstream with Spring Breakers, a glow-in-the-dark tale of four college girls letting loose on the streets of Florida. Through his camera lens, Korine turns this tale of escaping the mundane and living out your fantasies into a sun-drenched nightmare that leers at you through showers of Natural Light, clouds of cocaine, hovering trails of marijuana smoke, and walls of dubstep noise. And then there is James Franco, who gives an Oscar-worthy performance as Alien, a showy, grill-wearing rapper and wannabe thug who pulls our four beach-bunny heroines down into a neon underworld that is ecstasy to some and a living and breathing Hell to others.
Spring Breakers introduces us to Candy (played by Vanessa Hudgens), Brittany (played by Ashley Benson), Cotty (played by Rachel Korine), and Faith (played by Selena Gomez), four college students who are eager to tag along with their fellow classmates to a spring break celebration in Florida. Unable to scrape enough money together to go, Candy, Brittany, and Cotty decide to rob a local diner in an attempt to come up with enough money to make the trip. The robbery proves successful, and together, the girls board a party bus that will take them to a weeklong celebration in the sun. Upon their arrival, the girls are convinced that they are in paradise and they proceed to indulge in an abundance of reckless and wild behavior. After getting busted by the police for doing cocaine at a party, the girls are taken to a holding cell, where they, along with two hard-partying twins (played by Sidney and Thurman Sewell), are bailed out by Alien (played by James Franco), a small-time rapper and thug who believes the girls can be useful with his criminal empire. After getting to know Alien, the girls believe they have it made, but their endless paradise is threatened when tensions flare between Alien and a dangerous local gangster by the name of Big Arch (played by Gucci Mane).
Korine begins Spring Breakers with a twirling montage of a college kids on a shining beach. There is no sound to accompany this string of images as they shout at the camera from behind Ray-Ban sunglasses. At first, the behavior seems harmless enough, that of college kids who are letting loose after months of hitting the books and hunching over finals. As the sequence picks up, the behavior spirals more and more out of control as girls shed their bikini tops for the audience and the cheering guys douse them in streams of cheap beer. It’s a parent’s worst nightmare, a depiction of animalistic behavior that parents everywhere secretly try to tell themselves that their son or daughter doesn’t engage in. To our four main characters, this is what they consider to be the good life that they daydream about, snorting cocaine off of each other’s stomachs, seducing a room full of meathead guys who throw beer on their quivering bodies, and urinating in the street for the entire world to see. As the film goes on, the girls begin to grapple with this endless paradise, some embracing it without ever looking back and others frightened into the shelter of their normal routine by the arrogant wannabe thug Alien, who claims to take great delight in being as bad as they come.
When evaluating the performances of Spring Breakers, the actor at the head of the class is Franco, who is flawless as the smirking faux-thug Alien. Franco introduces Alien as an overconfident poser who demands that the girls, who circle his feet like dogs, marvel at all of his possessions. He brags about having Scarface on repeat, shows off his high-powered weaponry that hangs over his bed (which he dubs his “spaceship”), and loves gathering the girls around his baby grand piano that sits on his scenic back porch. When he tangles with Gucci Mane’s menacing Big Arch, who spits poisonous threats like a viper, his confidence begins to wobble. With a showdown looming in the distance, Alien’s love for the good life is put to the test, especially when he realizes that he needs to back up all of his boasts. As far as the girls go, Hudgens and Benson are white hot as Candy and Brittany, two girls who love pointing their fingers like guns and making gun shot noises. Rachel Korine is a ball of confliction as Cotty, a pink-haired partier who can’t quite decide if she is as taken with Alien’s lifestyle as her pals are. Gomez surprises as the religious Faith, who grows increasingly concerned about both her current situation and her rebellious friends.
While the subject matter of Spring Breakers sure fits in with the rest of Korine’s homely body of work, the film is a slight shift from his usual ragged, fly-on-the-wall visual style. The party scenes certainly hold on to the vérité approach we have seen in Korine’s previous work, but Spring Breakers finds him applying a gorgeous neon glow to almost every single shot, sometimes leaning towards a glow-in-the-dark surrealism that makes you feel like you’re trapped in a night club. It’s never short of beautiful, even when it’s allowing you to glimpse the worst in human beings. The film also casts a spell with the thumping dubstep score, which almost throws you into a glazed-over trance as partiers scream into the camera. In addition to its neon visuals, Korine’s script builds the suspense quite nicely, working its way to a shattering showdown where the girl’s get to live out their violent fantasies, complete with neon green bikinis and hot pink ski masks. Overall, while it may be a bit too much for some viewers to handle, Spring Breakers is an undeniably shocking and multi-layered meditation on the pros and cons of the good life. It finds Korine at the top of his directorial game and coaxing a wild turn from the ever-colorful James Franco. This is a blissfully edgy and hallucinatory work of mad genius from a man who loves pushing our buttons and making us uncomfortable.
Spring Breakers is available on Blu-ray and DVD.
by Steve Habrat
Over the past few years, it seems that it has become routine for Hollywood to release one or two rundown drama-thrillers a year that feature blue collar characters having it out with one another in a gasping American neighborhood on the verge of total collapse. We’ve seen it in films like Winter’s Bone, The Fighter, The Beasts of Southern Wild, and Killing Them Softly, all of which relished immersing audiences in family squabbling, filth, decay, and boarded up structures. This year we have director Scott Cooper’s Out of the Furnace, another downbeat family-drama/revenge-thriller set against a dying industrial town in Pennsylvania. While Out of the Furnace may not necessarily win any points for originality (this is definitely a seen-it-all-before exercise), Cooper’s Rust Belt tale of revenge is comprised of heart pounding backwoods atmosphere, bare-knuckle brutality, and gripping melodrama guaranteed to make that hour and fifty minute runtime fly by in a flash. It also features enough A-list talent to fuel a dozen Oscar bait movies, with stars Christian Bale, Woody Harrelson, Willem Dafoe, Casey Affleck, Forest Whitaker, Zoe Saldana, and Sam Shepard all bringing the true grit required to allow a film like this to really take shape.
Out of the Furnace introduces us to Russell Baze (played by Christian Bale), a steel mill worker who slaves away taking double shifts to help out his brother, Rodney (played by Casey Affleck), a war veteran struggling to adapt to normal life after several tours of duty in Iraq. Despite some differences, Russell and Rodney still band together to look after their terminally ill father, who seems to be getting worse by the day. One evening, Russell is driving home from a local bar when he strikes a car and kills the occupants inside. Russell is sent away to prison for some time, but when he emerges, he realizes that his life hasn’t gotten any easier. As he tries to come to terms with the passing of his father and his break-up with his beautiful girlfriend, Lena (played by Zoe Saldana), Russell learns that Rodney has become involved with bare-knuckle boxing. Concerned for his safety, Russell attempts to persuade Rodney to leave bare-knuckle boxing behind and come work with him at the steel mill. Refusing to listen to his brother, Rodney demands that local gangster John Petty (played by Willem Dafoe) get him fights that are run by Harlan DeGroat (played by Woody Harrelson), an extremely dangerous backwoods thug who has a grudge against Petty. After Rodney mysteriously disappears at the hands of DeGroat, Russell takes the law into his own hands and sets out to find his brother before it’s too late.
While there are several elements borrowed from other films and there is a slight predictability to it, Out of the Furnace takes great care in really making both its story and its characters seem as genuine as possible. Russell struggles to find the motivation to pull himself from the comfort of Lena’s arms to work a double at the sweaty steel mill. With circles under his eyes and his dreams smothered under protective gear, he keeps a dignified poise as he tries desperately to keep his brother on the right track. This proves challenging when Rodney retaliates with the horrors he saw in Iraq (some of the stories he shares are deeply disturbing), which really allow us a clear understanding as to why it is so difficult for him to find his place in normal society. Russell’s composure remains in tact when he is involved in that gruesome car accident, which places him behind bars and at the mercy of vicious inmates for some time. When he finally gets out, things have gone from bad to worse, as he grapples with the loss of his father, his break up, and the horrors of that terrible accident. Despite his weary exasperation, when he finally has to confront the demons that claim his brother, there are no exaggerations in the actions taken. The frustration with local authorities and his determination to not loose his brother open a door for careful plotting that leads up to a low-key final showdown with the devil himself that is shockingly convincing.
While Bale makes Russell’s soft-spoken composure, self-assurance, and deteriorating compliance in the face of tragedy and failure electrifying cinema, it is Harrelson’s sadistic Harlan DeGroat that is ultimately in charge of Out of the Furnace. With a crack-rock smile and zero patience, DeGroat relishes his rotten existence, proudly declaring that he “has a problem with everybody.” He pyshically and psychologically bullies anyone and everyone for the smallest things, proudly beating up his girlfriend at a drive-in and then viciously attacking a man who tries to intervene. It’s an unforgettably evil performance from Harrelson, who completely fills out DeGroat’s filthy-dirty skin. Affleck is perfectly suited for Rodney, a haunted soldier who just can’t seem to get his life together. He comes home with his face pounded into oblivion and sips liquor to make the pain go away. He’s on a crash course, and his fate is tragically foreseeable. Dafoe is fantastic as John Petty, a small time thug in over his head with the wrong people. He’s far from a hard-ass gangster, and when the people he has wronged come calling, the quiver in his voice will have your stomach in a knot. Saldana is given a small but pivotal role as Lena, Russell’s one and only escape from his daily grind. Forest Whitaker is present as Chief Wesley Barnes, a gravel-voiced cop who stole Lena away from Russell. His strained relationship with Russell is put to the test when he attempts to get to the bottom of Rodney’s disappearance. Sam Shepard also stops by as Gerald Baze, Russell and Rodney’s uncle who joins Russell in his quest to track down his brother.
Considering that Out of the Furnace draws from other intense works of cinema, the film dishes out plenty of scenes drenched in blood and violence. The bare-knuckle boxing scenes are difficult to watch, as each punch thrown isn’t accompanied with an over-the-top sound effect to embellish the force of the blow. The beatings are savage and the violence is shown in up-close-and-personal detail, especially one character taking a bullet to the head. We also can’t forget Rodney’s war stories, which will certainly repulse and remind us all of the horrors of war. Equally disturbing is a trip to a rundown crack house hidden in the dense hills. We glimpse junkies sprawled across ripped sofas, sucking on crack pipes and shooting heroine in between their toes. Overall, while the lack of originality will hold the film back this awards season, Out of the Furnace is still a riveting, emotional, and uncompromising backwoods drama/thriller. It makes great use of its backdrop, it’s appropriately moody, and it’s comprised of actors who take familiar characters and really give them distinctive life. It’s capped off with an abrupt finale that is welcomingly blunt and haunting.
by Steve Habrat
Last year, a little movie called The Hunger Games snuck into theaters and became a monster hit. Remaining number one for several weeks and earning rave reviews from both audiences and critics, it was clear which young-adult-novel-turned-blockbuster-movie was filling the space left open by the Harry Potter series and the concluding Twilight series. With Lionsgate clearly understanding they have a major moneymaker on their hands, the studio furiously got to work on a follow-up that is dropping a little over a year after the first film. Among the big blockbusters bringing 2013 to a close is director Francis Lawrence’s The Hunger Games: Catching Fire, an inevitably darker middle chapter that is surprisingly thoughtful and entertaining, something you’d never imagine from a film that was slapped together in a rush for a big payday. With star Jennifer Lawrence still bringing down the house as the girl on fire herself, Katniss Everdeen, Catching Fire allows the talented young star to dig into the trauma left over from the first film and in the process, give audiences a resilient heroine who refuses to go down without a fight. I’ll take Miss Everdeen’s rebellious spunk over Bella Swan’s angsty high school drama any day, and it appears that quite possibly America is feeling the same way!
Catching Fire picks up several months after the 74th annual Hunger Games, with Katniss Everdeen (played by Jennifer Lawrence) still coming to terms with some of the horrors that she saw during the games. On the eve of the Hunger Games Victory Tour, President Snow (played by Donald Sutherland) pays an unexpected visit to Katniss and her family. President Snow warns Katniss that she needs to continue with her fake romance with fellow Hunger Games winner Peeta Mellark (played by Josh Hutcherson) in order to calm the unrest brewing in the districts. If she doesn’t comply, Snow will kill both her family and Gale Hawthorne (played by Liam Hemsworth), the mineworker Katniss has been carrying on a secret romance with. Katniss agrees to continue on with the charade, but as the Victory Tour gets underway, she sees what her win has meant to the twelve districts and the brutality being carried out by Snow’s forces. With rebellion on the horizon, Snow and new Gamekeeper Plutarch Heavensbee (played by Phillip Seymour Hoffman) devise a new way to eliminate Katniss and crush the hopes of the twelve districts. They decide to recruit all the previous winners from past games to compete against each other, drawing out some of the most dangerous contestants in the area. Realizing that Peeta and Katniss have their backs against the wall, mentors Haymitch Abernathy (played by Woody Harrelson) and Effie Trinket (played by Elizabeth Banks) get to work preparing the kids for this new game.
At nearly two and a half hours long, you could almost split Catching Fire into two different movies. The first half of the film dares to be intimate with the trauma that Katniss and Peeta suffer from and how their lives have been changed forever. They are yanked from district to district, paraded in front of grieving families who were forced to give up one of their own to the games, while scraggly town citizens look on with a mixture of awe and resentment. One particular scene has Katniss tearfully recalling her fallen friend Rue, a tearjerker moment nicely followed by that famed whistle and three finger salute. It is within these scenes that we get to see the extent of Snow’s brutality and manipulation, as his masked forces, known as Peacekeepers, pump bullets into the heads of anyone who dares show hints of rebellion. They flood into districts, trash homes and markets, and install a whipping post for anyone who acts out. As the anger simmers and director Lawrence ventures to the lavish capital where elite citizens, who sip drinks to purge their full bellies in order to eat more, rub elbows, you’ll begin to see this is going the route of class warfare. There appears to be no middle class, just those with everything and those with almost nothing. It’s heavy stuff for a young adult story, especially when Snow and Heavensbee begin discussing how to control the masses. They devise puff pieces that divert the attention of the public, blinding them to the violence and oppression spilling into the streets. It’s within this first hour that Catching Fire really does ignite, effectively earning its right to brood and scowl.
As we enter the second hour of Catching Fire, we begin meeting all sorts of different characters that seem to be introduced simply so we know who the hell they are in the third film. They are all characters that we want more from (Jenna Malone’s Johanna Mason, Amanda Plummer’s Wiress, Lynn Cohens’s Mags, to name a few), but sadly, Lawrence is forced to cover so much ground that he just can’t quite balance everything out. He has to maintain focus on Katniss and Peeta as they battle for their lives on a tropical island with as many manipulated threats as well as flesh and blood threats. There are spots where the pacing seems to stall as the contestants attempt to make sense of a lightning tree, poisonous CGI fog, CGI mandrills, and, yes, CGI tidal waves—computerized threats that drown out the human dangers that prowl that tangled mess of vines and leaves. Furthermore, the film asks us to really care when several secondary characters are killed; something that is extremely difficult considering that we have barely been gives the chance to get to know some of them. When several of the contestants finally group together to stay alive and more secrets emerge from the island itself, things manage to perk up and the thrills once again pack their punch in the grim final stretch.
As far as the A-list cast is concerned, Jennifer Lawrence is top dog once again. She’s a feisty heroine who isn’t afraid to let the world see a few tears stream down her face. Whether she is in the concrete streets of one of the districts or in the sweltering heat of the island, she remains the poised hellraiser that we fell in love with in the first film. At times, the script threatens to allow a Twilight-esque love story take control of her character, Lawrence places her character’s love life on the back burner, something that is solidly believable considering the harsh realities of the world she inhabits. Hutcherson’s Peeta is still the softie with clear feelings for Katniss, feelings that go beyond a simple friendship. Hemsworth is still underused as Gale, the beefy blue-collar mineworker who swoons for Katniss and isn’t afraid to fight back against the ruthless Peacekeepers. Banks and Harrelson are still as colorful as ever as fashionista Effie and drunken Haymitch, the eccentric mentors to Peeta and Katniss. Sutherland is still commanding as the calculating dictator Snow, who is willing to kill as many people as he needs to in order to keep his citizens in line. Hoffman is equally cruel and savage as Heavensbee, the ruthless new Gamekeeper that will stop at nothing to make sure Katniss perishes in the game. Other newcomers include Jeffrey Wright as the brainy Beetee, Plummer as Beetee’s sidekick Wiress, Jena Malone as the axe-wielding Johanna, and Sam Clafin as the charming new ally Finnick.
Compared to the original film, Catching Fire expands its scope and improves its special effects, but there are places where the computerized wizardry still looks dated. The sprawling shots of the Panem capital look great, the fire that was ablaze on Katniss’s dress has improved, and the futuristic shuttles the glide above the capital are convincing, but the poisonous fog looks cheap, the tidal waves appear rushed, and a spinning portion of the island looks way too cartoonish for its own good. One aspect that I am particularly torn over is the way the film ends, in a “to be continued…” style that doesn’t allow this installment any sense of closure, something I found immensely infuriating. However, despite leaving the door wide open, I did admire the way the film sprung multiple twists and turns in the story in such a short period of time, and I particularly liked the final blow that is sure to leave members of the audience gasping in shock. Overall, while the second half may pale in comparison to the first and some of the characters may be left a bit underdeveloped, The Hunger Games: Catching Fire still rewards with a smart script, a darker tone, and a fantastic performance from Jennifer Lawrence. Bring on round three!
by Steve Habrat
In 2011, Danish director Nicholas Winding Refn found mainstream success with his blazing art-house thriller Drive, a film that took me by complete surprise. What I figured would be just another throwaway action movie with growling muscle cars turned out to be an 80s existential gut-punch throwback that wasn’t easy to shake off. Needless to say, it definitely had me eagerly anticipating what Refn would deliver next. Two years later, Refn returns with Only God Forgives, a film that couldn’t be a bigger disappointment. Lit like Dario Argento’s Suspiria, sculpted around one of the laziest plots you could imagine, and weird just for the sake of being, well, weird, Only God Forgives reteams Refn with Drive star Ryan Gosling, an ever-welcome talent that was the head-stomping main-attraction of Drive. With a star like Gosling in front of the camera, you’d think that he would be able to bring something substantial to this snoozefest, but its as if he was sleepwalking through the role, quietly trying to make sense of what exactly Refn was trying to achieve here aside from paying tribute to his idol, Alejandro Jodorowsky, which is what he claimed to be doing with Drive. What we’re left with is a senselessly bloody exercise in style without any purpose or direction. Only God Forgives exists simply to be morose collection of empty neon images that are better suited for a music video.
Only God Forgives introduces us to Julian (played by Ryan Gosling), an American drug dealer running a boxing club that is actually a front for a drug operation in Bangkok. One stormy evening, Julian’s erratic brother, Billy (played by Tom Burke), rapes and kills a young prostitute in a seedy hotel room. The Bangkok police quickly discover what Billy has done, but rather than detaining him and taking him to the station, the police call in retried officer Chang (played by Vithaya Pansringarm), a sword-wielding sadist known as the Angel of Vengeance. Chang encourages the girl’s father, Choi Yan Lee (played by Kovit Wattanakul), to do what he wishes to Billy. In a fit of rage, Choi kills and mutilates Billy’s body. Word of Billy’s death soon reaches Julian and his associates, who track down Choi to question him about Billy’s brutal murder. Meanwhile, Julian’s mother, Crystal (played by Kristin Scott Thomas), arrives in Bangkok to claim Billy’s body and get to take control of the situation. After learning that Julian spared Choi’s life, Crystal demands that he take to the neon streets and exact bloody revenge on the men responsible.
Early on, Only God Forgives shows signs of promise with the swirling sense of dread that lingers over the hypnotic red and blue frames. Refn slowly glides his camera down harshly lit hallways aglow with red lighting that suggest that we have stepped into Hell itself. You’ll be on the edge of your seat as Billy, Julian, their associates, and a boxer stand around in a darkened room declaring “it’s time to meet the devil.” The tension and unease tighten when Billy stumbles off to a futuristic whorehouse in the hopes of finding a young fourteen-year-old girl to have his way with, something that is sure to make any viewer sick to their stomach. It all feels so tremendously evil and it’s about as atmospheric as a film can be. Sadly, the sinister mood of the film is quickly overtaken by Refn’s trudging pace, which gives way to frustrating tedium. Every single scene feels unnecessarily drawn out or glaringly hollow as characters sit around in flashing nightclubs or lavish hotel rooms staring off into space or silently plotting their next vicious move. It’s certainly pretty to look at, that I can’t deny, but it seems that Refn is under the impression that these stretches of meditative silence are thought provoking in all their surreal glory. Instead, they become mind-numbingly boring, further hurt by the lack of an entrancing character.
As far as the characters of Only God Forgives are concerned, almost every single one of them is as wretched as they could possibly be. Gosling’s Julian just sits around sulking, watching blank-faced prostitutes pleasure themselves or staring down at his quivering fists like it’s the first time he has ever seen them. He does show a few hints of compassion, which makes him slightly redeemable, but his constant detachment makes his character a major bore. Things really get weird when his sexpot mother, Crystal, shows up to scold him for not gunning down his brother’s killer when he had the chance. Crystal consistently alludes to having sexual relations with both of her sons, the most awkward coming when she discusses Billy and Julian’s, um, manhood with Mai (played by Rhatha Phongam), a prostitute paid to act as Julian’s girlfriend. Then we have Pansringarm’s Chang, a mysterious man who brings his punishing sword down on any man or woman who has committed an atrocious sin. He encourages Choi to murder Billy, only to return to chop off one of Choi’s arms for turning a blind eye to his daughter’s line of work, and he savagely tortures a gangster responsible for ordering a hit that left several citizens and police officers dead. Pansringarm’s eerily calm demeanor is meant to send chills, especially when he nonchalantly brings bloody vengeance down on his victim’s heads with so much as blinking, but Refn doesn’t write any personality into the character. The most interesting thing about him is that he likes to sing karaoke.
Only God Forgives finds Refn also reteaming with Cliff Martinez, the man who composed the chilling score for the masterpiece that is Drive. Only once or twice does Martinez unleash the retro synths that accompanied Drive and he does incorporate a throbbing organ that compliments the hellish blaze of the winding hallways we wander around, but everything else just falls flat by comparison. One of the stronger aspects of Only God Forgives is the way that Refn pays tribute to Jodorowsky, the man behind such midnight movies like Holy Mountain and El Topo. Several symmetrical shots called to mind certain scenes from Holy Mountain and there was even an echo of Kubrick in a few spots, something that was particularly surprising. Overall, while Drive was certainly going to be a tough act for Refn to follow, Only God Forgives is a disastrous follow-up that consistently allows style to mask the fact that there is very little substance. The artistic freedom is certainly refreshing and the ominous mood is undoubtedly effective, but it becomes increasingly clear that Refn is simply stroking his ego, leaving you disappointed that you didn’t just re-watch your copy of Drive. Plus, it’s a bad sign when Ryan Gosling can’t even save your movie.
Only God Forgives is available on Blu-ray and DVD.
by Steve Habrat
Over the past several years, the horror movie market has been flooded with “found footage” movies made on the cheap. It’s easy to see why Hollywood loves producing these kinds of films, as they can be made with a small pile of cash and when they are finally dumped on the market, they can turn quite a profit for the studio. While a good majority of these films are garbage, every so often one turns out to be worth your while. Take director Richard Raaphorst’s Frankenstein’s Army, another “found footage” horror film that doesn’t necessarily break any new ground with this particular subgenre. While it might not get too creative with it’s style, Frankenstein’s Army manages to sneak by as a winner due to its must-see creature effects, all of which were achieved without the aid of rubbery CGI. Where most horror films drop the ball when they reveal their boogeymen to the audience, Frankenstein’s Army actually finds its momentum in these lumber abominations. And you know what? They are stunningly creative and absolutely terrifying. Sadly, they are the strongest part of the film, as the storyline and most of the performances fail to live up to the how-the-heck-did-they-do-that? special effects.
Frankenstein’s Army tells the story of a battalion of Russian soldiers, who are fighting through enemy territory during the final days of World War II. Among the group is Dimitri (played by Alexander Mercury), who claims to be filming a propaganda film for the Russian government. As the group pushes through the German countryside, they stumble upon a small town that is seemingly deserted. After finding a number of charred bodies and bizarre mechanical skeletons strewn about, the soldiers begin investigating the empty buildings, but as they push underneath into the town’s catacombs, they come face to face with a slew of nightmarish creatures that are half human and half machine. With their numbers quickly dwindling, the monsters closing in, and their options limited, the soldiers make a push to flee the town, but in the process, they meet Viktor (played by Karl Roden), a distant relative of the infamous Victor Frankenstein and the demented creator of these hellish monstrosities.
The early scenes of Frankenstein’s Army force the viewer to spend time with a bunch of two-dimensional soldiers as they shoot, bicker, and stomp through the scenic German countryside. Probably the only interesting moment of the first twenty minutes is a pit stop in a small German village, where our heroes decide to terrorize the frightened villagers like a pack of ravenous dogs. After a while, you fight the urge to take a nap, but rest assured that things are going to get very twisted very fast. Things finally pick up when the boys stumble upon the smoldering corpses of what appears to be nuns and twisted remains of some sort of mechanized terror. When the “Zombots” (the title their maker has bestowed upon them) finally decide to make their presence known, you’ll have a difficult time getting enough of them. They come in various shapes and sizes, one more horrific than the next. One has a plane propeller for a head while another struts around on what appears to be stilts with a drill for a head. There is even one Zombot that goosesteps towards his prey like an oversized tin soldier from Hell! They are absolutely fantastic in all their menacing steam-punk glory, made all the more horrifying through the idea that these were all created without the use of distracting CGI. It’s best not to say too much about them because most of the fun comes from being on the edge of our seat over what may come charging at us next, but just know that they are the best and most suspenseful part of the entire movie.
With Raaphorst placing all the attention on his magnificent monsters, the rest of Frankenstein’s Army begins to feel a bit rickety. The opening is dreadfully slow and he does very little with the “found footage” gimmick that he uses to tell his story. The plot itself is very thin and riddled with flaws in logic (How the heck is Dimitri still holding onto the camera—let alone, alive—when the Zombots take their swipes at him? What type of camera is he using to get a picture this good?), making it feel like we’re playing a video game rather than watching a feature length movie. As far as the film’s performances go, everyone is mediocre except for Roden, who is unhinged treat as the maniacal Viktor. For you gorehounds out there, Frankenstein’s Army delivers plenty of the red stuff. Zombots wheel around carts of bloody body parts, dead bodies dangle from the celling, and people’s heads are peeled open to reveal their gooey brains. Overall, while the “mockumentary” approach is uninspired and the entire project feels like a mash-up of Wolfenstein and Call of Duty, Frankenstein’s Army manages to milk plenty of entertainment from its ingenious monsters and Roden’s screw-loose performance, making it a horror gimmick that is worthy of your precious time.
Frankenstein’s Army is available on Blu-ray and DVD.