Movie Loner

Westerns appear to be in the midst of a revival. It’s not a worldwide revolution by any means, but the once dormant genre has started to produce a few more offerings in recent years. Films like Open Range, 3:10 To Yuma and Appaloosa have all garnered attention thanks in part to the willingness of actors like Kevin Costner, Russell Crowe and Ed Harris to use their pull to help get them greenlit. I’ve always wondered if there are stacks of western scripts piled in studio offices collecting dust. Do screenwriters still pen these kinds of stories or is it simply a lost art? Maybe studio execs believe there just isn’t a market for such movies in the age of the Internet. I’m not certain of the answer, but it’s nice to see westerns on the big screen again. It’s the perfect genre for the theater experience.

In 1880’s Australia, a notorious gang led by the Burns bothers is wanted for rape and murder. By the books lawman Captain Stanley (Ray Winstone) is hired to rid the country of its scourge. Upon capturing two of the brothers, Stanley makes an offer to middle brother Charlie (Guy Pearce). He gives him nine days to hunt down the eldest brother and leader of the gang, Arthur, and bring him in, or the youngest Burns, Mikey, will hang from the gallows. Charlie has no choice but to agree, and sets off into the unforgiving country to find his vicious brother. Meanwhile, Captain Stanley must keep the bloodthirsty locals from exacting mob justice on Mikey. In addition, his marriage to Martha (Emily Watson) is falling apart. Charlie can’t go through with his mission, but will he allow Arthur to continue his reign of terror? It is just one of several moral conundrums faced by the men and women in The Proposition.

Written by Nick Cave (yes, the singer) and Directed by John Hillcoat, the film treads ethereal and spiritual territory. The land depicted is harsh and essentially feral. Captain Stanley’s belief in proper justice slowly erodes along with his sanity. There is no such thing as civility. The law of the land is lawlessness. Martha represents innocence and truth, but even she becomes an unknowing participant in the brutality. Every character is corrupt and murderous. Stanley soon discovers that his role is merely symbolic in nature. His power is false. Even he must adhere to the will of the masses. In a film where everyone is guilty of something, it’s difficult to discern good from bad. In a world consumed by evil, all it takes is one good deed to be labeled a hero.

There are a host of excellent performances to praise. Winstone stands out playing the conflicted Captain Stanley, as does Danny Huston who portrays the despicable Arthur Burns. Huston is one of those underrated actors who always manages to leave a lasting impression (Birth, The Constant Gardener). Pearce and Watson are also quite good. The film is graphic in its depiction of violence and does a credible job addressing the issue of “eye-for-an-eye” justice. If you’re looking for cheery landscapes and neat resolutions, The Proposition is not for you. However, if you don’t mind getting your hands dirty watching a band of nasty individuals devoid of humanity, then kick back and enjoy.

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I’ve always been a huge fan of old-school, B-grade horror flicks. I’m not talking Boris Karloff or Hammer vampire movies. Those are okay, but my tastes gravitate more toward cultish monster/zombie films in the realm of The Toxic Avenger, C.H.U.D., and Leprechaun. They are bad, but in a good way. They aren’t out to make any “Best of” lists, unless it’s “Best Movie To Set Filmmaking Back Twenty Years.” At any rate, the B-horror genre has been overtaken by more serious terror fodder like 28 Days Later and Grudge clones. You know, films with quality casts and screenplays. They are ruining the genre with all their sophisticated special effects and gaudy box office results. Thankfully, there is still plenty of low-budget material available; it’s just a little difficult to find.

Perhaps no other actor defined horror during the 1980s more so than Robert Englund, aka Freddy Krueger. The Nightmare On Elm Street franchise transformed Englund from day-player to superstar. Unlike fellow big screen madmen Michael Myers and Jason Vorhees, Krueger didn’t don a mask and actually spoke. In fact, his wit was as sharp as his bladed glove. Englund made the character his own and became one of the most identifiable faces in Hollywood. Since then, Englund has appeared in numerous movies and television shows, mostly of the horror variety. One of his recent performances was playing a doomed professor in Jack Brooks: Monster Slayer.

Jack Brooks is still haunted by childhood memories of his parents’ brutal murder at the hands of a vicious monster. The adult Jack can’t move on. Despite therapy, he’s still plagued by serious anger issues. His plumbing job isn’t satisfying and his girlfriend is a nag. A night class at the local community college introduces Jack to nebbish Professor Gordon Crowley. Gordon needs some plumbing help, so Jack volunteers his services. A busted water pipe at Gordon’s remote house unleashes an ancient demon that possesses the good Professor and turns him into a Jabba-the-Hut-esque monster with a voracious appetite for human flesh. Rather than run away, like he did as a child, Jack arms himself with a pipe wrench and decides to kick some serious monster ass.

As much as I’d like to trash this flick for being low-brow garbage (again, in a good way), it’s actually a well-conceived production. The story takes time to get moving, but once it does, it’s damn entertaining. Director Jon Knautz keeps matters simple and allows the zombies and demons to do the heavy lifting. The monster effects are quite impressive considering the budgetary restraints. The script plays for laughs, but only manages to hit on a few. Although, watching an infected co-ed get bludgeoned by a steel pipe is funny (Clearly, I have problems).

Trevor Matthews, who plays Jack Brooks, has a Jason Lee vibe going. He reminded me of Banky from Chasing Amy. Matthews tries to score in the comedy department, but misses the mark. I would like to see Lee tackle this role. I bet he would nail it. At any rate, Matthews does excel at the physical stuff. Of course, Englund is his usual self, hamming it up at every turn. The greedy consumption of a black heart is classic Englund. If you enjoy monsters, gore and plumbing, check out Jack Brooks: Monster Slayer. It’s 85 minutes of B-horror goodness.

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In my review of Thirty Days of Night, I discussed the difficulty faced by screenwriters in reinventing the vampire flick. It’s no easy task, for sure. There’s only so much a writer can do to mix up such a tried-an-true genre. Just when I thought I’d seen every kind of bloodsucker tale, along comes the movie Let The Right One In, from of all places, Sweden. Who knew the Swedes had it in them to produce such an original creature of the night plot. I’m in no way trashing their country, but Sweden isn’t the first place that pops into my head when I think horror. Shame on me, I guess. I’ll be on the lookout from now on.

Twelve-year-old Oskar is a lonely lad facing constant abuse from school bullies. Meek and friendless, Oskar needs a severe confidence boost. Things change when a young girl named Eli moves in next door. Eli is bit of an odd bird, but she and Oskar become fast friends. There’s one small problem with the mysterious Eli: she’s a vampire. Her need to feed directly conflicts with her budding relationship with Eli. Not to mention the blood-drained bodies that are piling up in the neighborhood. Despite her affliction, Oskar falls hard for Eli. Together, they navigate the pitfalls of adolescent love while attempting to keep Eli’s secret under wraps. Her blood thirst threatens to crumble their game of house as the locals close in on uncovering her nest.

If you’re looking for a nonstop gore-fest, this won’t be your cup of tea (or blood). Let the Right One In is all about intense, nuanced character interaction. Like most pre-teen relationships, Oskar and Eli’s is destined to meet an unhappy end. Their naivete prevents the couple from fully understanding how doomed their situation is. Although, a very manipulative presence hangs over Eli. Her desperation to find a new companion reeks of her using Oskar for personal gain. She may be twelve on the outside, but her internal wisdom dwarfs Oskar’s. This dynamic adds more flavor to their involvement with one another. Can Oskar really trust a vampire?

Director Tomas Alfredson casts a moody haze over this absorbing chiller. A cold, pale palette enhances the creepy aura, as does an appropriately eerie soundtrack. Loneliness and exile are recurrent themes interwoven throughout the plot. Although from completely different worlds, Oskar and Eli have a kinship that will forever bind them to one another. In a film where the specter of divorce lingers, it is little coincidence that their seemingly dysfunctional coupling is in reality the most stable. Kare Hedebrant and Lina Leandersson both deliver courageous performances as Oskar and Eli. If you like your horror different and are searching for something besides masked maniacs and flesh-eating zombies, don’t forget to Let the Right One In.

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I’ve always been leery of musicians testing out their acting chops. Being an entertainer or a performer can encompass many areas. Technically, a mime is an entertainer, but I doubt Scorsese or P.T. Anderson is planning on casting one in their next film. Sure, John Malkovich made the transition to puppeteering, but I chalk that up to a one in a million shot. Wink, wink. At any rate, many singers have thrown their hats into the acting ring with mixed results. Mick Jagger and James Brown were laughable. Tupac and Cher were naturals. Everyone from Elvis to Justin Timberlake have been cast in multiple movie roles in hopes of strengthening their star power. Australian singer/songwriter Ben Lee has made one film: The Rage in Placid Lake.

Lee plays the titular character, Placid Lake, an odd youngster prone to abuse from bullies and defying authority. His one friend in the world is Gemma, the genius girl next door. Placid and Gemma are both graduating from high school and unsure of what their futures hold. Placid’s hippie parents prefer their son to carry on the family tradition of non-conformity. Gemma’s protective father wants his brilliant daughter to attend university. Placid has been accused of being fearless, so in order to alter this perception he performs the ultimate act of rebellion by accepting a job at an insurance firm. He has a plan to become a “normal” person. On the fast track to corporate servitude, Placid begins to change for the worse, confusing and angering his parents and Gemma. Will he become another casualty of the system or will he regain his free-spirited nature?

Ben Lee, who never acted before or since, delivers a credible performance in this eccentric comedy. Placid is your typical adolescent searching for direction, but Lee gives the character a jolt of originality. Smart and witty, Placid hides behind his humor and buries his fears deep inside. He presents a false bravado to help cope with the loneliness of feeling out of place in the world. His foray into the insurance game is an attempt to discover where he belongs. Emotionally abandoned by his parents and rejected by Gemma, Placid embraces the camaraderie and security of a suit and tie existence. However, sleeping with the enemy exposes a cold and uncaring life worse than one Placid left behind. Conforming to rules and regulations proves to be a suffocating decision certain to strip him of his uniqueness.

Writer/Director Tony McNamara unleashes a sneak attack on the corporate machine. I would place this film in the same category as Napoleon Dynamite and Juno. All are me-against-the-world stories that rely on off-center lead characters who must find a comfortable niche they can call their own. McNamara doesn’t break any new ground, but he does allow his cast to carry a thin plot to great heights. Miranda Richardson and Garry McDonald stand out portraying Placid’s conflicted parents, and Rose Byrne is sweetly amusing as Gemma. The Rage in Placid Lake is perfect for a rainy day. It won’t change your life, but it will cheer you up.

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I’ve written here before about my affinity for the horror genre. My two favorite frightening flicks from the last ten years are 28 Days Later and Shaun of the Dead. The former dynamically resurrected the zombies taking over the world plot, while the latter parodied the dead rise again theme in biting fashion. Both movies took different approaches to tried-and-true ideas and offered a fresh perspective. I like films that make an effort to be original. It’s not easy to accomplish when you consider just about every story has been told a thousand times over. The Signal combines elements from the above mentioned films and the results are impressive. Creepy, gory, funny and hopeful are all words that adequately describe The Signal, which is more than enough to solidify my recommendation.

Mya is young and married. She’s having an affair with Ben. On New Year’s Eve day, the two awaken with dreams of running off together. They also wake up to the television emitting a strange, blurred picture. Mya returns home to her husband Lewis, who is suspicious of her whereabouts. She covers but Lewis doesn’t seem to buy it. He and his pals are trying to watch a game, but the television signal is still whacked. An angry disagreement ends with Lewis caving in his buddy’s skull with a baseball bat. Mya leaves the apartment; however, her neighbors seem to be killing one another for no apparent reason. She narrowly escapes the building only to find the maddening brutality has poured onto the streets. Fearing for her safety, Ben sets out to find Mya. What ensues is a fight for survival among those who are affected and those who aren’t.

If you enjoy blood and gore, you’ll dig this movie. Humans turning on humans has been done before and better, but The Signal keeps the action flowing with three separate chapters (aka “transmissions”) directed by a trio of filmmakers. The mysterious “signal” preys upon the innate fears and jealousies people struggle with daily. It invades the psyche and triggers violent tendencies. Everyone is susceptible to its affects, but those who have difficulty controlling their emotions make east targets. Lewis’ jealousy becomes magnified to the point that he is transformed into a homicidal maniac. Those, like Ben, who can decipher the signal realize it’s a trick designed to alter humans perceptions of reality. Ben says, “If we change the way we look at things, the things we see will be different.”

Working with a limited budget, the Writer/Director team of David Bruckner, Dan Bush and Jacob Gentry ratchet up the thrills and chills in this capable horror-fest. There are plenty of be-headings and spurting blood to go around and the story is mildly interesting, albeit a tad confusing. Performance wise, AJ Bowen stands out playing the deranged jilted husband, Lewis. The rest of the cast is merely okay given the limited script. Overall, the finished product is better than it probably should have been. Solid special effects and an eerie score keep The Signal from being another run-of-the-mill zombie caper. It’s definitely worth a look.

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I very rarely use the word “beautiful” to describe a film. Perhaps I’ve seen too many movies in my 36 years. Maybe I’ve become jaded after enduring a glut of disappointments and disasters. Well, once in a while I am completely taken by surprise and see a movie that reaffirms my belief in the medium I love so much. All it takes is a little ingenuity and a lot of heart. You can tell when a filmmaker is passionate about his/her project and not just going through the motions to land a fat paycheck. Writer/Director Sean Ellis turned his 2004 short Cashback into a feature in 2006. In doing so, he created a beautiful film with a beautiful sentiment.

Art School dropout Ben Willis just dumped his girlfriend Suzy. The fact that Suzy moves on so quickly isn’t sitting well with Ben. He has contracted a severe case of insomnia. His inability to fall asleep leads to a nightshift job at a local supermarket. The clock moves slow in the wee hours of the night, but Ben has a unique way of dealing with it: He freezes time. This odd trick of the imagination allows him to study the female form up close and personal. His latest object of desire is a sweet checkout girl named Sharon, who dreams of traveling to foreign lands. She and Ben form an immediate bond. Ben’s initial fascination leads to a crush. He wishes to bring Sharon into his frozen world and share the artistry that only he can see. However, a surprise encounter with ex-girl Suzy could ruin his relationship with Sharon before it gets started.

I’ve seen more than my share of movies about young love. Most fall somewhere between awful and tedious. Cashback separates itself from the rest by being original and offbeat. Sean Ellis conducts a symphony of sumptuous images aided by an ethereal soundtrack. Watching Ben navigate his static existence in silence, save his poetic narration, is spellbinding. It might appear gimmicky at first glance, but Ellis wisely limits the sessions, which adds to their effectiveness. Ben is not your typical lovelorn sap pining away for some unattainable goddess. He is circumspect and mature; a true romantic who appreciates everything about women – especially their innate beauty.

Sharon’s significance to Ben is twofold: she is the target of his affections, but also a muse for his art. Ben sees her completely. He imagines her in a sexual fantasy, but admires her ambition to travel to South America. She is the definition of a “true love” type figure and therefore represents something that none of the women from Ben’s past has. His feelings for her are a departure from the control he possesses within his frozen world. There, he can position his models as he sees fit, as if pieces on a chess board. In the real world, this is an impossibility. Fear, insecurity and jealousy dominate reality. These emotions cannot be halted or eradicated. Life and love cannot be put on pause. But if we take the time to notice the beauty that surrounds us, life can be much more pleasurable.

Sean Biggerstaff’s portrayal of Ben is quite compelling. He brings a natural charm to the character. one could label label Ben as a creep, but Biggerstaff sells him as an eccentric who marches to his own beat. A colorful cast of supermarket co-workers provide plenty of laughs to an otherwise serious story. Stuart Goodwin is especially memorable playing Ben’s lascivious boss, Mr. Jenkins. As I stated before, movies detailing the angst of young love are a dime a dozen. Most inevitably fall short of capturing the real emotion all of us have encountered. Count Cashback among the select few that get it right. Also be on the lookout for Sean Ellis, a gifted filmmaker with a promising future.

The trailer for Cashback:

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What makes movies great? Good direction, creative writing, solid acting are all necessary attributes. But I would argue that interesting, original characters separate average films from those that stand out. A strong character can carry an otherwise ho-hum story to heights of grandeur. If a script is fortunate enough to contain more than one memorable character, then the sky is the limit. But all it takes is one dynamic role in the hands of a dedicated actor to make a film shine. Count The Beat That My Heart Skipped as a movie made special thanks to one great character and outstanding performance by its lead actor.

Thomas Seyr (Romain Duris) leads a double life. He works as an enforcer for a real-estate firm that specializes in shady and corrupt deals. But in his spare time he plays piano, a skill he shared with his deceased mother, who was a concert pianist. Thomas is charming, temperamental and sensitive. He loves his father deeply, but has grown tired of his scheming ways. He’s also in love with his partner’s wife, which further complicates his already hectic existence. When Thomas is given a chance to change his life he seizes it by dedicating himself to the piano. Soon his two worlds collide and he must choose between the path of his father or the one his mother took. Success means leaving his violent past behind. Failure means continuing down the road to self-destruction.

“Hands” are symbolic throughout the film. Thomas’ hands represent his personal dichotomy. The same hardened and scarred hands used to beat a scumbag debtor are also capable of creating beautiful music. Thomas struggles to calm his hands, to soften their touch, to transform them from fierce weapons to delicate instruments. By allowing music to guide him he is able to release the passion inside that yearns to escape after years of laying dormant. He quells his violent tendencies and exchanges the role of fighter for that of a lover, a romantic who feels compassion and desires companionship. However, the reality of the person he has been cannot be forgotten. Below the surface is a burning rage that will never die. Thomas’ greatest challenge is keeping the rage from regaining control over him.

Romain Duris is an absolute marvel to behold. His performance is unpredictable and evocative. He captures the intensity of the character precisely without a hint of reluctance. Rarely do you see an actor embody a role with such emotion, but Duris nails every facet of Thomas. It is an eye-opening portrayal for certain. Director Jacques Audiard paints a dark, almost dystopic canvas filled with foreboding shadows. You root for Thomas, but while doing so are painfully aware nothing comes easy for him. Audiard makes sure of that by planting well-placed pitfalls throughout the story which represent trials that Thomas must endure. They serve as a reminder that possessing the will to change one’s life is often not enough to ensure success. Everyone has a past and it has a way of revealing itself at the least opportune times. The Beat That My Heart Skipped is a unique film experience that proves great characters can equal great films.

The trailer for The Beat That My Heart Skipped:

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In my review of A Bittersweet Life last week, I mentioned how Korean cinema has really come on strong in the last decade. Well, count Memories of Murder as one of the best examples of Korea’s insurgence into the international film market. Set in 1986, the movie depicts the events surrounding Korea’s first known serial killer and the dedicated police detectives assigned to the case. Very similar to 2007’s Zodiac, the story contrasts the brutal killings against the detailed investigative procedures utilized to solve the crimes.

Someone is raping and murdering women in the rural province of Gyunggi. Detective Park Doo-Man is tapped as the lead investigator. Together with partner Cho Yong-koo the two men set about to find the killer. Their methods are sloppy and their interrogation techniques needlessly violent. Help soon arrives in the form of Seoul’s top cop Seo Tae-Yoon, a smart, driven detective who brings much-needed experience to the case. While Park Doo-man pegs a local retarded youth as the prime suspect, Seo Tae-Yoon searches for solid evidence. Meanwhile, the murders continue, leaving the detectives baffled. Suspects are hauled in only to be released due to insufficient evidence. Frustration builds inside the police department. A sudden break leads to the arrest of man whom Seo Tae-Yoon believes to be the murderer. Will DNA prove him guilty? Or is he innocent like the others? As the time for another killing nears, the detectives wait, hoping they have the right man.

Memories of Murder focuses on two central story threads. The first of which concentrates on the ineptitude and brutality displayed by the small-town cops. Park Doo-Man wastes much of the film chasing dead ends, while his partner Cho Yong-koo plays the role of enforcer, viciously beating suspects into false confessions. The accurate depiction of extreme interrogation methods caused quite an uproar among the Korean citizenry when the movie was released. Corruption and shoddy investigating have plagued South Korea’s police departments for years. Park Doo-Man’s ridiculous pursuit of hairless men and a visit to a shaman for clues are samples of the types of irresponsible conduct displayed.

A second recurrent theme deals with the transformations of detectives Park Doo-Man and Seo Tae-Yoon. At the beginning, Seo Tae-Yoon is under control and professional, while Park Doo-Man behaves like a petulant child. As the film progresses the two men undergo a role reversal. Seo Tae-Yoon’s growing discouragement turns to anger as the body count rises; his inability to solve the crimes wounds his ego and pride. Park Doo-Man sheds his flippant personality and becomes a steady, calming force who ultimately proves his worth as a cop. But the mounting pressure that comes with the job and its damaging effects prey on the sanity of both men. It’s easy to see how good men can be ruined by life’s pitfalls and failures.

Writer/Director Joon-ho Bong does not pull any punches. His refusal to turn his camera away from the inhumanity adds to the authenticity of a film based on true events. His decision to compare the actions of a killer to those of a police officer is bold but appropriate. Also worth noting is the inclusion of humor which serves as needed respite in an otherwise intense story. Kang-ho Song stands out in his portrayal of the careless detective Park Doo-Man. His character’s evolution is the most interesting to follow. Memories of Murder is a powerful exploration into the minds of men who live in a world consumed by cruelty. It’s difficult to watch but more than worth your time.

The trailer for Memories of Murder:

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