by Steve Habrat
In early October, Alfonso Cuarón’s space drama Gravity was on everyone’s lips as a shoe-in at the upcoming Oscars. It was king of the box office throughout the month and it seemed impossible to meet someone who wasn’t raving about how great the film is. In the past few weeks, the hype has cooled around Gravity and has begun to heat up around director Steve McQueen’s sobering 12 Years a Slave, an unflinchingly graphic look at the horrors of slavery. Based on the autobiography of the same name, 12 Years a Slave tells the devastating story of Solomon Northup, a free black man who was ripped from his family and sold into slavery. Impeccably acted from a cast of A-list talent and featuring some of the most handsome cinematography I’ve seen all year, 12 Years a Slave lives up to its reputation as being an emotional wrecking ball that shatters your heart. McQueen allows his camera to highlight the raw emotional anguish of his characters, but its also his refusal to pull the camera away through some of the more violent images that really brings the audience to their knees. The end results are unforgettable, guaranteed to haunt you for the rest of your days.
12 Years a Slave tells the story of Solomon Northup (played by Chiwetel Ejiofor), a free black man living with his wife and two children in Saratoga Springs, New York. He makes a good living as a prominent musician and he stands as a well-respected member of the community. One day, while out on a stroll, Solomon is approached by two men, Brown (played by Scoot McNairy) and Hamilton (played by Taran Killam), who claim to be traveling artists looking to employ Solomon as one of their musicians. Solomon graciously accepts their offer over dinner and drinks, but the next day, Solomon wakes up in a dank cell with chains around his wrists. After enduring a savage beating, Solomon is told that he is being transported to New Orleans to be sold into slavery, despite his insistence that he is a free man. Upon his arrival in New Orleans, Solomon is sold to William Ford (played by Benedict Cumberbatch), a kindly plantation owner who is receptive to Solomon’s ideas and even gives him a violin after learning he is a muscian. After a nasty confrontation with Ford’s overseer John Tibeats (played by Paul Dano), Ford is forced to sell Solomon to Edwin Epps (played by Michael Fassbender), a brutal plantation owner who enjoys relentlessly tormenting his slaves. Fearing for his safety, Solomon begins plotting a way to get away from Epps and to be reunited with his family.
Last year, Quentin Tarantino delved into the topic of slavery with his grindhouse revenge tale Django Unchained, a film that was accused of allowing one of the darkest chapters in American history to morph into a blood-splattered cartoon. Despite the attacks, I still thought that Django Unchained struck a chord with some of its material and it really sent a chill with the way it presented the seething racism of the time (It also topped my list of the best of 2012). While it’s undeniable that Tarantino padded portions of his film with dark humor and winking nods to obscure spaghetti westerns, McQueen’s 12 Years a Slave never even considers softening on the viewer. He keeps his camera fixed on the weary faces of those forced to labor away in the hot sun, allowing the anguished cries of a woman separated from her two young children to slice our soul, and the souring hope in Solomon’s eyes etch itself into our brains for the rest of our days. When he pauses to show us the overkill brutality of a lashing, there is no eruption of candlewax blood that calls attention to the fact that you’re just watching a slice of escapism. It’s a bit too realistic, especially when the cries of pain jolt you in your seat. McQueen is careful not to exploit the graphic violence, refusing to give long glimpses of slashed skin or puffs of blood. He drives its impact through constantly allowing us to see the faces of those who are enduring the beating—something that is sure to cause certain audience members to break down in tears.
Further securing 12 Years a Slave’s place in cinematic history is the A-list talent, especially the barbaric Fassbender and the crushed Ejiofor. A good majority of Ejiofor’s performance is in his wide eyes as he constantly stares just past the camera or down at the dirt under his feet, attempting to make sense of his current situation. It seems like he is always holding back tears and reassuring himself that he will not bow to the cruel overseers that patrol around with guns and whips. His passion sucks the air out of the theater as he is beaten down in the jail cell, told repeatedly that he is bluffing about being a free man and that he is simply a runaway from Georgia. We feel his desperation, fear, confusion, and anger as he pleas to be unlocked from the chains that imprison him. On the plantations, its unbearable to see him forced into submission, the only bright spots coming when the impressed Ford realizes the potential in him. A sickening dread takes over in the second half of the film when he is sold to Fassbender’s Epps, an abusive monster that enjoys waking his slaves in the night, dragging them up to the main house, and forcing them to dance for his amusement. He never passes up the chance to humiliate them; giggling at their trembling anxiety while he weighs the amount of cotton they picked for him that day. He’s also consistently at odds with his lust for the frail slave girl Patsey (played by Lupita Nyong’o), who he awakens in the middle of the night to have his way with, only to give way to instant disgust in himself. You won’t believe your eyes as he drools down on her, choking and slapping the poor girl for no reason at all.
As far as the secondary performers are concerned, Cumberbatch’s Ford is a gentle individual who hasn’t blinded himself to the fractured humanity in the men and women before him. Paul Dano’s John Tibeats is a stringy racist who forces the new slaves to clap their hands while he cheerily sings a menacing song about a runaway slave being caught and severely punished. Paul Giamatti shows up briefly as Theophilus Freeman, the man in charge of selling these petrified souls to leering plantation owners who act as though they are purchasing livestock rather than a human being. Brad Pitt gives a small but pivotal performance as Samuel Bass, a Canadian who is sympathetic to the cowering individuals aiding him in his construction. Scoot McNairy and Taran Killam will earn your disgust as Brown and Hamilton, the two men responsible for kidnapping Solomon and selling him into a world of constant suffering. Nyong’o is fantastic as Patsey, Epps’ favored slave who is loathed by his wife, Mary. Sarah Paulson brings Mary Epps to life with plenty of terrifying gusto. Don’t be fooled by her glimmers of kindness, as cruelty is always close behind it.
As far as some of the technical aspects are concerned, the cinematography from Sean Bobbitt offers us some natural beauty in between some of the more disquieting moments of the film. Also worthy of mention is the score from Hans Zimmer, who trades in the pounding drums of The Dark Knight Rises and Man of Steel for a much more intimate score that captures the film’s wounded spirit. In the film’s darker sequences, the tranquility is traded for wailing strings that will make the hair on your arms stand up. One complaint I have with the film is that I would have liked to have seen just a little bit more of Solomon’s life before he was sentenced to the fields. We get a handful of flashbacks that get the job done, but considering the length of the film, I was left wanting just a bit more than I got. Overall, McQueen’s 12 Years a Slave is a searing experience that is elegantly shot, sharply written, courageously realistic, and superbly acted by all involved. This is an emotionally taxing and startlingly powerful film that sends you away at a loss for words. I find it difficult to believe that there will be another film this year that challenges its status as the best of 2013.
by Steve Habrat
I can’t really say that I’ve ever left a crime thriller with my stomach in a knot. I didn’t know it was possible for the crime thriller genre, which seems to be stuck on repeat and incapable of surprises, was fully capable of coming up with something that would truly shake me to my core. Well, along comes director Andrew Dominik’s black-as-night Killing Them Softly, a darkly comedic and politically charged look at the underbelly of society. Set against the economic meltdown of 2008 and hanging its head while John McCain, Barack Obama, and George W. Bush utter reassurances that America will get back on track, Killing Them Softly possess an icy apocalyptic feel as the camera pans across abandoned strip malls, rotting homes, and trigger happy ghettos. It certainly is the ugliest crime thriller ever made and a rabid dog of a movie, one that is furiously chewing through the leash that is containing it to the point where its gums are bleeding. Yet for all the savagery on display, Killing Them Softly has some chilling moments of rich character development, especially in Brad Pitt’s cool-as-a-cucumber Jackie Cogan, a hitman who seethes as McCain, Bush, and Obama reassure us all that America is one community. With an ensemble cast, a doomed atmosphere, razor sharp humor, and one of the coolest soundtracks around (a jaw-dropping beating is followed up by the cheery ‘Life is Just a Bowl of Cherries’ by Jack Hylton & His Orchestra), Killing Them Softly will make you feel like you’re sitting on a block of ice.
Set in 2008, Killing Them Softly picks up with three low-level thugs, Johnny “Squirrel” Amato (Played by Vincent Curatola), Frankie (Played by Scoot McNairy), and Russell (Played by Ben Mendelsohn), robbing a mob controlled poker game that is watched over by hot shot gangster Markie Trattman (Played by Ray Liotta). It turns out that a few years earlier, Markie set up an inside job, robbed his own poker game, and then drunkenly admitted to doing it in front of a room full of gangsters. Since Markie is so well liked, the thugs decided to laugh it off and forgive him. Squirrel, Frankie, and Russell spot an opportunity to pull the robbery off in the hope that the mob will just blame it all on Markie. The plan appears to work for a small stretch of time but the mob isn’t so eager to let this one go. They bring in cool and calculating hitman Jackie Cogan (Played by Brad Pitt), who quickly determines that Markie wasn’t the one behind the robbery. He convinces the mob’s lawyer Driver (Played by Richard Jenkins) to allow him to bring in another bitter and unhinged hitman known as Mickey (Played by James Gandolfini) to help him smoke out the amateurs behind the job. When not dealing with personal demons, Jackie and Mickey slowly get to the bottom of the robbery and leave a trail of dead bodies in their wake.
Based on the 1974 novel Cogan’s Trade by George V. Higgins, Killing Them Softly is about as character driven as they come. There are drawn out moments of dialogue as these scumbags sit around in cluttered offices and smoky hotel rooms sipping beers, smoking cigarettes, shooting junk, and droning on about their failed love lives, why they detest feelings, and, yes, sexual intercourse with animals. It’s all very gross, pathetic, and profanity laced but Dominik cleverly writes it and he manages to get a few chuckles even if you are rolling your eyes in disgust. When the conversations turn to murder, things get really tense and prickly, with an unshakable sense of realism that almost shellshocks the viewer. Driver explains that they don’t want one of their guys hurt, just roughed up a little so he’ll talk. Pitt’s numbed Cogan laughs in his face and tells him the mob has gotten soft and then wonders allowed about what has happened to America. It’s in these moments that Killing Them Softly really takes hold of the viewer, churning the stomachs of those who thought they had been desensitized to this sort of material. Hell, I thought I was but I was scared stiff when Pitt explains that he hates killing up close because of the emotion. Trust me, it’s a conversation that settles like a brick in the bottom of your stomach.
Then again, maybe it is Pitt who is just really good at selling this chillingly bleak cynicism. He is a man who stares out at a boarded up America wasting away in the shadow of an Obama “Change” billboard, blowing cigarette smoke at it almost like mockery. He faintly grins as President Bush nervously rambles on about the financial situation in America and ponders how it should be dealt with. Pitt’s Cogan is angry, fed up, and driven simply by money. He is so detached that he doesn’t even flinch when he stops his car in a rough part of town and overhears a group of street thugs arguing and fighting over territory. He doesn’t jump when gunshots ring out and one of them falls to the ground in a heap. He is almost like a plague in a muscle car; spreading his searing and sobering philosophy that America isn’t one community that is in this situation together, but just a business where everyone is on their own. He’s a cynical force with his hand out for the money he was promised and God help the person who doesn’t pay up. If he isn’t careful, he may wind up with a Best Actor Oscar for that earth shaking speech he gives in the closing moments of the film. It’s honestly a performance I couldn’t pull away from and that I won’t soon forget. Pitt is THAT good!
While Pitt steals the movie, the other performers do their best to keep up. Liotta is absolutely fantastic as Trattman, a man who is silky smooth during his poker games but a whimpering, bloody mess when he has the tar kicked and beaten out of him in a rainstorm. This particular sequence where two mob enforcers rough him up has to rank as one of the most violent and startlingly beatings I have ever seen in a motion picture (Those with a weak stomach may want to shut your eyes. Don’t say I didn’t warn you.). Jenkins is a brooding force as he tries to reason with Pitt’s Cogan. They share a number of conversations that point out that times are tough for mobsters too. Gandolfini shows up as the bitter Mickey, an overweight hitman who sucks down martinis and beers like he may never get another one in his life and verbally abuses hookers who shrug him off. He may be able to intimidate a waiter but is unable to stand up to his wife who is constantly threatening him with a divorce. Scoot McNairy’s Frankie is all nervous gulps as he slowly realizes that he may not make it out of this situation alive and Ben Mendelsohn is on point as the sweaty junkie Russell, who is constantly stumbling around in a junk-induced haze.
In the end, Killing Them Softly is a barebones film about unpleasant people doing unpleasant things to each other. It’s shockingly pessimistic as it wears its frustrations on its blood soaked sleeve. At times, the sound bites of Bush, McCain, and Obama are a bit distracting and heavy handed, leaving the viewer wishing for a much more subtle approach to the politics. The film also has some incredibly unnerving and ironic use of music. I think I was the only person in the audience who laughed when Dominik follows up Liotta’s savage beating with ‘Life Is Just a Bowl of Cherries’ and Pitt guns down a poor gangster to Ketty Lester’s haunting ‘Love Letters.’ While I can see many being disappointed with Killing Them Softly, walking away wondering just what the big deal was, I just so rattled by the whole experience and how real it truly felt. It never felt sensationalized and it lacked the typical gloss that Hollywood applies to films as gritty as this. It doesn’t go down easy and I really admired that. Approach Killing Them Softly, one of the strongest motion pictures of 2012, with extreme caution.
by Steve Habrat
It is hard to believe that British director Gareth Edwards’ ultra low budget science fiction film Monsters cost only around $500,000 to make. Just take a look at the crisp cinematography, the dreamy score, and charred special effects and you will be absolutely staggered that he made so much out of so little. Edwards masks the low budget by turning Monsters into a character drama, one that only uses the alien invasion as a political backdrop for his two main characters. Heavily critical of the tense American views on immigration and illegal aliens, Monsters is a sharp jab at how some American citizens view our neighbors to the south. That being said, I more than believe that Monsters has its heart in the right place, exploring the idea that we fear what we don’t understand, but I wish Monsters wouldn’t have been so heavy handed with this message, taking advantage of every opportunity to point out what it is attempting to do. I also wish that Edwards had added a bit more action to the film. I enjoyed traveling with these characters and seeing all the nifty little touches along the way but I feel Monsters would have benefitted from a little more action. I say this because the night-vision shootout in the opening moments leaves the viewer shaken, battered, and wanting a hell of a lot more.
At the beginning of Monsters, we are told that a NASA deep-space probe crashed near the United States-Mexico border. In the wake of its crash, alien life forms begin to appear, causing the U.S. and Mexican armed forces to attempt to contain the infected area. The U.S. quickly puts up a massive wall to keep the towering creatures from crossing over onto American soil. Meanwhile, in San José, a young American photojournalist named Andrew (Played by Scoot McNairy) is asked by a wealthy employer to escort his daughter back into America. Andrew reluctantly accepts the offer and sets out to find the beautiful Samantha (Played by Whitney Able). The two strike up a friendship over the course of their journey, Andrew beginning to fall for Samantha, who also happens to be engaged. After getting mugged and loosing their passports, Andrew makes a shaky arrangement to have Samantha escorted to the American wall but the journey will take them through the infected zone and put their lives at risk. Or so they have been led to believe.
Monsters makes the wise choice to make the viewer feel like a tourist on Mexican soil, allowing us to wander around with the characters and take in the local culture. We are shown how difficult it is for these individuals who face constant attacks by the creatures. We see Mexican civilians mourning their losses while America offers little to no aid to the Mexican armed forces. It is this raw emotion that really takes its toll on the viewer and makes Monsters such an emotional journey. Electronic musician John Hopkins’ soaring score, at once dreamily inquisitive, intimate, and romantic, compliments partially destroyed cities and moist eyes of the mourners. It was also interesting to watch how the Mexican civilians have routed their daily lives around the constant problems with the extraterrestrial beings. I was hooked on Edwards’ camera bobbing around and showing me street signs that warn those who travel down that road to have a gas mask handy and indicating that we are near an infected zone. The eeriest is a gigantic sign that indicates just how enormous the infected area is, our heroes silently absorbing their risky situation.
Since the film has such a low budget, Edwards is forced to rely on his main protagonists to drive the film. They need to be convincing and engaging or else the film will loose us, as it can only go so far with the visitors-in-a-foreign-land approach. McNairy and Able do have a spark and it isn’t hard to see that the film is swerving into romantic territory. McNairy’s Andrew desperately tries to keep things as casual as possible, always trying to break the awkward tension between him and Samantha. Able’s Samantha is battling an inner conflict, trying to repress her growing feelings for Andrew, who bottles up a secret of his own. Together they face tense situations that never amount to much of anything, a close-encounter here and a false alarm there, Andrew always quick to whip out his camera and attempt to document what they are seeing. Only once do things really get deadly for the duo, but it is brief and we only really see the gruesome aftermath of what has panned out. I’m all for the subtle approach but I’d like to see why we are all so terrified of these creatures. All we ever really see them do it wander into a city here or pick up a car there, which adds a layer of minor disappointment to the road trip that is Monsters.
For a film that lacks a big Hollywood price tag, Edwards does an incredible job with the special effects, which were said to have been accomplished on his laptop. His aliens are a sight to behold and I’m reluctant to reveal too much about them, as they are one of the only real sources of mystery in the film. Things get very apocalyptic when the duo finally sets foot on American soil, a sequence that offers another minor surprise. As I said, Monsters is too ready to explain itself away to the viewer, refusing to keep its politics ambiguous. It’s not hard to decipher the message of the film if you’ve been filled in on the plot so I feel it was unnecessary to have the characters explain things further to us. For its handful of flaws, Monsters is still an above average science fiction drama, one with likable characters and lovely use of location (wait for the sequence where Andrew and Samantha spend the night at an Aztec pyramid). I just wish Edwards wouldn’t have shied away from tossing us around a little bit more. Monsters would be so much better if you were still recovering from it the next day.
Monsters is now available on Blu-ray and DVD.