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The Guard * * * *

Posted in Comedy, Crime, Drama with tags 2011 on May 14, 2012 by Mark Walker

Director: Jonathan Michael McDonagh.
Screenplay: Jonathan Michael McDonagh.
Starring: Brendan Gleeson, Don Cheadle, Liam Cunningham, Mark Strong, David Wilmot, Fionnula Flanagan, Rory Keenan, Declan Mannlen, Laurence Kinlan, Katarina Cas, Gary Lydon.

There’s something that seems to run through the family of the McDonagh’s; Martin made an impressive debut with the lively, comedy crime drama “In Bruges” in 2008. Now his sibling Jonathan does the same with this. Combining genres can so easily go wrong but both the McDonagh’s seem to be rather good at it.

In Galway, the west coast of Ireland a seemingly random murder occurs. Sgt. Gerry Boyle (Brendan Gleeson) investigates and soon believes it to be part of a drug-smuggling ring. The case becomes so important that the FBI get involved and send over agent Wendell Everett (Don Cheadle) to mount a large scale operation in bringing the drug ring down. The two law enforcers don’t exactly see eye-to-eye and have completely different approaches to their professions but manage to find common ground in working together.

As we are introduced to the character of Sgt. Gerry Boyle, he’s just come across a crime scene. He searches through the pockets of a deceased young man and helps himself to a tab of LSD. Within minutes this towering character and his unconventional methods are established. It takes a good actor to pull this off and Gleeson is more than up to the task. It’s his solid performance that’s at the centre of this off-beat and cynical comedy. Gleeson has become ubiquitous of late, appearing in film’s internationally and having already worked with the likes of Steven Spielberg (“A.I. Artificial Intelligence“) and Martin Scorsese (“Gangs Of New York“). He has worked with these directors for good reason, as he can seemingly turn his hand to any role. He’s not alone here though, fine support is delivered by the always reliable Don Cheadle, who’s not afraid to take a step back and allow Gleeson to shine and as the three dangerous, drug-running killers, Liam Cunningham, David Wilmot and Mark Strong are given small but memorable roles. It’s fun to listen to them discuss philosophy before cold-bloodedly despatching of innocent people. It’s the balance of danger and humour that keeps director McDonagh’s film fresh and able to play with the usual genre conventions. The laughs are genuine and never forced and the sharp Irish humour that courses through it is hilarious. Toward the end, it threatens to succumb to cliche but still has enough up it’s sleeve to leave you contented.

The mismatched buddy-cop movie has been done many times before but this still manages to find some mileage in it. That’s thanks to it’s balanced approach and contemptuous brand of humour.

Mark Walker

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Sin City

Posted in Crime, Fantasy, Film-Noir with tags 2005 on May 11, 2012 by Mark Walker

Directors: Robert Rodriguez, Frank Miller.
Screenplay: Frank Miller.
Starring: Mickey Rourke, Bruce Willis, Clive Owen, Benicio Del Toro, Elijah Wood, Nick Stahl, Jessica Alba, Rosario Dawson, Brittany Murphy, Jamie King, Carla Gugino, Devon Aoki, Alexis Bledel, Powers Boothe, Michael Clarke Duncan, Nicky Katt, Marley Shelton, Tommy Flanagan, Frank Miller, Rutger Hauer, Josh Hartnett, Michael Madsen.

“This is blood for blood and by the gallons. These are the old days man, the bad days, the all-or-nothing days. They’re back! There’s no choices left. And I’m ready for war”

Director Robert Rodriguez is a real mixed bag for me. Most of the time, I either find his films childish or over the top. This, however, is far from childish but so wildly over the top, it’s hard not to like it. It’s based on the adult comic-book by Frank Miller (who serves as a co-director) and is by far Rodriguez’s finest film to date.

Basin City is the film noir community that plays host to three hardboiled comic-book tales. “The Hard Goodbye” has Marv (Mickey Rourke) an brutish ex-convict who avenges the murder of prostitute Goldie (Jamie King) that he had fallen in love with; “The Big Fat Kill” where private detective Dwight (Clive Owen) finds himself helping hookers fight mercenaries from the red light district and “That Yellow Bastard” sees disgraced cop Hartigan (Bruce Willis) protect dancer Nancy (Jessica Alba) from a psychotic sadist and sex offender (Nick Stahl).

This film may be, unashamedly, computer enhanced but it doesn’t diminish it’s highly visual approach. It’s shot in true noir style with wonderful touches of vibrant colour throughout it’s monochrome palette. It also has the downbeat voiceover that most film’s of the genre indulge in. It’s quite simply, a stunning piece of work. Comic-book adaptations have taken to our screens on a regular basis but Rodriguez has probably been the most faithful to his source material. This is as close as I’ve seen in a page to screen transfer. Rodriguez has retained the look and feel of this fantasy world, practically word-for-word, and I can only assume that having it’s creator Frank Miller on board is a major merit. Like a lot of comics it’s most certainly a boys-own adventure; All the guys look tough and talk tough and most of the gals dress in dog collars and S&M gear. It could be deemed insulting or exploitative towards women but it’s written purely as fantasy and works an absolute treat. I’m a big fan of film-noir but you’d be hard pushed to find it done in such an audacious way. Into the bargain, Quentin Tarantino ‘guest directs’ a scene and we are also given a huge cast of familiar faces. All of which, are superb. The real standout though is a comeback performance by Mickey Rourke. He’s as brutal and relentless as they come – “… they should’ve shot me in the head and enough times to make sure” – and he’s unlike most comic characters you’ll find yourself rooting for. I’ve always been a fan of Rourke’s and this is one of my favourite performances from him. It’s great to have him back. Ultimately, it’s the look and feel of the film that possesses the real power though. It’s very hard not too be drawn into this visceral and uncompromising neo-noir.

Sin City 2: A Dame To Kill For is in the works and if Rodriguez and Miller can recreate their true visual spectacle and technical achievements, then we could be in for another treat.

Mark Walker

Trivia: Robert Rodriguez scored Kill Bill: Vol. 2 in 2004 for $1. Quentin Tarantino said he would repay him by directing a segment of this movie for $1. Tarantino, a vocal proponent of film-over-digital, has said that he was curious to get hands-on experience with the HD cameras which Rodriguez lauds. When asked about his experience, Tarantino merely replied, “Mission Accomplished.”

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The Son Of No One *

Posted in Crime, thriller with tags 2011 on May 10, 2012 by Mark Walker

Director: Dito Montiel.
Screenplay: Dito Montiel.
Starring: Channing Tatum, Al Pacino, Ray Liotta, Katie Holmes, Juliette Binoche, Tracy Morgan, James Ransone, Jake Cherry, Brian Gilbert, Ursula Parker.

Writer/director Dito Montiel made a great debut in 2006 with the autobiographical “A Guide To Recognising Your Saints“. He made good use of working class, New York locations and assembled an impressive cast. He does the same with this but the end result is far less satisfying.

Jonathan White (Channing Tatum) is a rookie cop who seemingly has the world on his shoulders. He is assigned to the same Precinct of his late father in the same district where he grew up as two unsolved murders from his childhood resurface. These murders may or may not involve him and/or retired Detective Charles Stanford (Al Pacino). Anonymous letters begin to appear from a person who claims to know the identity of the killer and Precinct Captain Marion Mathers (Ray Liotta) wants the case cleared up before it threatens the lives and careers of some possible corrupt cops.

Montiel approaches this with a real gritty realism and the film starts very positively. Name, after recognisable name, appear on the opening credits and the talented cast of excellent performers lead you to believe that this might be something quite special. This belief actually lasts for the first half hour or so, as Montiel builds the layers of his story and employs the use of flashbacks to do so. However, it reaches a point where you realise the film has no sense of urgency and that you’re none the wiser as to what the hell is going on. This is not because the story is complicated but because the actions and behaviour of most the characters are frankly, baffling. If Montiel had a coherent story to begin with, then he certainly doesn’t know how to tell it. It, quite simply, doesn’t make sense and the plot holes are insulting. I’d be revealing too much to go into detail but the denouement itself is absolutely ludicrous and you can’t help but feel sorry for the actors. Even they have a look of bewilderment. I often wonder what great actors see in a script and whether any of them even read this one? I can only assume that some of this film was lost on the cutting-room floor and that in script form it actually made sense because if it didn’t, I think everyone involved (including Pacino) should take a sabbatical.

90 mins of unintelligible, inarticulate pap. After this and stinkers like “88 Minutes” and “Righteous Kill” it would seem that Al is losing his touch in recognising a good crime thriller. In fairness though, this might just come down to a bad case of editorial yips.

Mark Walker

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Heat * * * * *

Posted in Crime, Drama, thriller with tags 1995 on April 26, 2012 by Mark Walker

Director: Michael Mann.
Screenplay: Michael Mann.
Starring: Robert DeNiro, Al Pacino, Tom Sizemore, Val Kilmer, Jon Voight, Kevin Gage, Diane Venora, Amy Brenneman, Ashley Judd, Mykelti Williamson, Wes Studi, Ted Levine, Danny Trejo, Dennis Haysbert, William Fichtner, Natalie Portman, Tom Noonan, Hank Azaria, Henry Rollins, Tone Loc, Jeremy Piven, Xander Berkeley, Martin Ferrero, Bud Cort.

When this was released in 1995, most people believed it to be an original idea. It wasn’t. It was actually a more fleshed out and elborate version of Michael Mann’s 80’s TV movie “L.A. Takedown“. He obviously didn’t have the budget or the actors, to realise his vision at this time, so with a second chance, Mann grabs it with both hands and both of the best actors in the business.

Professional and precise thief Neil McCauley (Robert DeNiro) lives by a strict code and doesn’t take chances. He has a tight-knit crew that takedown big jobs for big money but he ends up drawing the attention of determined and obsessive robbery/homicide cop Vincent Hanna (Al Pacino). The two of them have more in common than one might think and as their worlds draw closer, they are led to an inevitable confrontation.

At it’s core, “Heat” can be viewed as an old fashioned cops-and-robbers tale but it’s done with such vastness and great attention to detail that it rises above most, if not all, of the genre. It not only focuses on the the lives of the two main characters – at opposite ends of the moral scale – but it pays attention to the city and environment in which they operate. What almost overshadowed the storyline, was the anticipation of seeing DeNiro and Pacino share the screen for the first time (They were both in “The Godfather part II” but never had any scenes together). Comparisons between their acting styles will obviously be made and without focusing too much on their different approaches, I found DeNiro’s more subtle, calculating delivery far more convincing than Pacino’s tendency to overact with random, explosive outbursts, bellowing at everyone he meets. There, I said it. However, the film is far more than just these two great actors. It’s a multi-layered character study and the supporting roles, particularly Sizemore and Kilmer (in a role originally intended for Keanu Reeves) are given a substantial amount of work and the female parts of Venora, Brenneman and Judd play a massive part in shaping the leads also. We are given a glimpse into their home lives and the struggle they all face in maintaining a ‘normal’ life – when it goes against their nature. The actors are all given roles to work with, allowing us to identify and care about them. It’s because of this, that when the action is delivered, it’s edge of your seat stuff. There are three great ‘Getaway’ scenes from movies that I found particularly powerful; Kathryn Bigelow’s “Point Break” had Keanu Reeves and Patrick Swayze (on foot) running through suburban houses and backyards; The opening of Nicolas Winding Refn’s “Drive” had Ryan Gosling (in a car) careening and speeding through a darkened urban jungle and this… the major characters (with weapons) shooting it out through a busy congested Los Angeles street. As much as this isn’t just about the two leads, it’s not just about the action either. It’s more about the city itself and it’s inhabitants. The refined dialogue allows these inhabitants to come alive and Mann’s meticulous, hypnotic direction and ethereal choice of music breathes life into the city as well.

An exciting and methodical piece of work from a highly accomplished cast and director. A near masterpiece of modern cinema.

Mark Walker

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L.A. Confidential * * * * *

Posted in Crime, Drama, Film-Noir, Mystery with tags 1997 on March 10, 2012 by Mark Walker

Director: Curtis Hanson.
Screenplay: Brian Helgeland, Curtis Hanson.
Starring: Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, David Strathairn, Kim Basinger, Danny DeVito, Graham Beckel, Brenda Bakke, Paul Guilfoyle, Ron Rifkin, Matt Malloy, Simon Baker.

James Ellroy is one of the finest of hard-boiled crime writers. For those not familiar, check out his “L.A. Quartet“; four novels, that delve into the seedy and corrupt world of the Los Angeles police force in the 1950’s. This film is actually based on the third novel in the series and director/screenwriters Curtis Hanson and Brian Helgeland have done a marvellous job in adapting Ellroy’s convoluted narratives and staccato writing.

L.A. in the 50’s is rife with organised crime and corruption in the police force. Both intertwine in the glitz and glamour of the booming Hollywood movie business. The story follows the path of three very different police detectives. Jack Vincennes (Kevin Spacey) – the suave and ambitious type with an eye on stardom for himself. Bud White (Russel Crowe) – the brutal strong arm who will do anything to achieve his form of justice and rookie Ed Exley (Guy Pearce) – who does everything by the book and believes in law and order. A late night shooting in a coffee shop, which leaves one policeman dead brings these three detectives together in an elaborate plot involving corrupt politicians, prostitutes made to look like movie stars, gangster Mickey Cohen and sleazy tabloid journalists.

First of all, where this film succeeds – in it’s difficult adaptation – is capturing the mood and setting. Not since Roman Polanski’s “Chinatown” in 1974 has this been achieved. The music by Jerry Goldsmith taps into film-noir with a seedy jazz score, while Dante Spinotti’s rich cinematography perfectly captures the infancy of the city of Los Angeles, before it’s economical boom. It was a city that could make or break a person, with corruption at every corner. This rich attention to detail, is also captured by some outstanding performances. Kim Basinger won a supporting actress award but it’s Spacey, Pearce and particularly Crowe that own this film. Their performances have seldom been better. The story itself can simply be described as labyrinthine. There are so many facets that’s it’s hard to keep up. It demands your attention and commitment but it also rewards. Credit must go to Curtis Hanson, who does an excellent job in handling all the narrative arcs and teasingly fitting all the pieces together. This is filmmaking of the very highest standard.

An absolutely enthralling film, that’s so vivid and compelling that fans of the genre should not ignore.

Included in My Top Ten films.

Mark Walker

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Dog Day Afternoon

Posted in Crime, Drama with tags 1975 on February 17, 2012 by Mark Walker

Director: Sidney Lumet.
Screenplay: Frank Pierson.
Starring: Al Pacino, John Cazale, Charles Durning, James Broderick, Chris Sarandon, Sully Boyar, Penelope Allen, Carol Kane, Lance Henriksen, Dick Anthony Williams, Philip Charles Mackenzie.

“I’m a fuck-up and I’m an outcast. If you get near me you’re gonna get it- you’re gonna get fucked over and fucked out”

Al Pacino and John Cazale came into this film just off the back of completing The Godfather parts I & II together. Pacino also managed to do Serpico and Cazale The Conversation in-between. It was a good run they were both on in the early 70’s and this no less of a classic than the aforementioned ones.

On a hot day in New York, on 22nd August 1972, three men set out to rob a bank. It’s supposed to take ten minutes, but things start going wrong from the beginning when one of them bails at the last minute. Four hours later, the bank is surrounded by police, a media circus, and crowds of well wishers.

As the film opens, we are given a montage of New York life and it’s vastness and eclectic mix of people. Not before long though, we are then led into a bank by three men, who proceed to threaten the bank tellers with rifles. Within minutes, this true story has begun with such a tense and completely believable hold-up. The tension is, by-and-large, the masterwork of director Sidney Lumet and a strikingly powerful performance by Al Pacino. Lumet never let’s up for a moment, he has the camera moving at such a pace that the adrenaline of the bank robbery is also felt by the viewer. He has always been a highly respected director and on this evidence alone, you can see why. And then, almost suddenly, the pace is ground to a halt with a phone call… The police are watching everything that going on from across the street. This is when Lumet slows it down and gets closer to his actors and the claustrophobia of the situation. The performances are uniformly brilliant – making you forget that it’s actors you’re watching – but this is ultimately Pacino’s show. He highly on-edge, with despairing eyes and nervous ticks, desperately trying to hold everything together. He injects a real sympathy and believability to his character and it stands as one of his finest pieces of work. Added to which, with the body of work that Sidney Lumet has delivered over a career spanning 50 years (he died in 2011), this is one of his greatest achievements also.

An outstanding, naturalistic heist movie that boasts career highs and an unbearable tension that never let’s up. In a decade of fine cinema, this remains one of the best of the 70’s.

Mark Walker

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Shallow Grave

Posted in Crime, thriller with tags 1994 on February 2, 2012 by Mark Walker

Director: Danny Boyle.
Screenplay: John Hodge.
Starring: Ewan McGregor, Christopher Eccleston, Kerry Fox, Keith Allen, Ken Stott, Colin McCredie, Peter Mullan, Gary Lewis, Tony Curran, John Hodge.

“I’m not frightened. I’m a little terrified maybe”

Before moving on to work with such lucrative film stars as Leonardo DiCaprio in The Beach or reaching the Oscar winning heights of Slumdog Millionaire, director Danny Boyle cut his teeth on this low-budget Scottish crime thriller – which still remains one of his finest films to this day. Continue reading →

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Killshot * *

Posted in Crime, Drama, thriller with tags 2008 on February 2, 2012 by Mark Walker

Director: John Madden.
Screenplay: Hossein Amini.
Starring: Mickey Rourke, Joseph Gordon-Levitt, Thomas Jane, Diane Lane, Rosario Dawson, Lois Smith, Don McManus, Hal Holbrook.

Novelist Elmore Leonard’s writing is always sharp with snappy dialogue and well drawn characters. His stories are so descriptive that he’s practically already written the script, making his books easy to adapt to the screen. This was one that had all the ingredients for being another successful transfer from page to screen, but for the fact that it’s mediocre and lifeless.

Wayne Colson (Thomas Jane) and his estranged wife Carmen (Diane Lane) are placed in the Federal Witness Protection program after witnessing an extortion scheme go wrong. Under the protection of the F.B.I isnt enough though, when experienced hit-man Armand “Blackbird” Degas (Mickey Rourke) and psychopathic young upstart killer Richie Nix (Joseph Gordon-Levitt) are determined to track them down.

Notable successful adaptations of Leonard’s novels have been Steven Soderbergh’s “Out of Sight”, Barry Sonnenfeld’s “Get Shorty” and Quentin Tarantino’s “Jackie Brown” but this actually achieves something that none of them managed to do and something thats not easy to do either… making Elmore Leonard’s writing seem dull. This is devoid of any excitement at all. They have taken any form of suspense out and made a slow, lethargic excuse for a thriller. Rourke (as usual) is great in his brooding role and Gordon-Levitt adds some edge to the film as his pyschotic sidekick – roles that were originally intended for Robert DeNiro and Quentin Tarantino – but “Shakespeare in Love” director John Madden gets it all wrong. His treatment is flat, but I’m assuming that the fact the screenplay went through uncredited rewrites and the film itself was held back from release due to extensive cuts (Johnny Knoxville playing a crazy sheriff being a major one) that the whole troubled production has not been kind to its director. It all shows in the end result.

If it wasn’t for Rourke and Gordon-Levitt, this would be a complete waste of time. A wasted opportunity and an example of how a good story can be muddled in the wrong hands.

Mark Walker

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Edge Of Darkness * * *

Posted in Crime, Drama, Mystery, thriller with tags 2010 on February 2, 2012 by Mark Walker

Director: Martin Campbell.
Screenplay: William Monahan, Andrew Bovell.
Starring: Mel Gibson, Ray Winstone, Danny Huston, Bojana Novakovic, Shawn Roberts, David Aaron Baker, Jay O. Sanders, Damian Young, Denis O’Hare, Caterina Scorsone.

Having concentrated more on his directorial duties with “The Passion of the Christ” and “Apocalypto”, Mel Gibson had seemingly abandoned acting. This is his first acting vehicle since 2002’s “Signs” and straight away he’s back to doing what he does best; playing unhinged loose cannons.

When the daughter of veteran Boston detective Thomas Craven (Mel Gibson) is killed in front of him, police assume he was the target. But Craven begins to suspect it’s to do with the shady businessman Jack Bennett (Danny Huston) she was working for and begins to start digging to uncover the truth.

The advertising campaign for this film is quite misleading. This is no slam-bam actioner like they would have you believe, but if you are familiar with the 1980’s BBC television mini-series on which it’s based, then you’ll have a better idea of what to expect. This is a slow burning conspiracy thriller that’s very deliberately paced and certainly in no rush to tell it’s story. It’s mainly dialogue driven with Mel not giving too much away while teetering on the brink. Then all of a sudden there are graphic bursts of violence and action that have you jumping out of your seat. These moments are highly effective and realistic but unfortunately too few. The performances are good, Gibson can do this stuff in his sleep, the sleazy Danny Huston can do likewise, as can Ray Winstone playing yet another hard man. The problem is, they talk a good game. Sitting around bumping their gums when they should be bumping some heads and leave a few unexplained plot strands along the way.

A decent conspiracy thriller with highly effective and unexpected bursts of action. Unfortunately, the action is just a bit too sporadic for it to completely grip.

Mark Walker

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American Perfekt * *

Posted in Crime, thriller with tags 1997 on February 2, 2012 by Mark Walker

Director: Paul Chart.
Screenplay: Paul Chart.
Starring: Robert Forster, Fairuza Balk, Amanda Plummer, David Thewlis, Paul Sorvino, Joanna Gleason, Geoffrey Lewis, Chris Sarandon, Jay Patterson, Judson Mills.

This was one of those crime thrillers that came along in the wake of Quentin Tarantino’s emergence and tried to emulate his style for ‘cool’ violence. The only thing this has in common with Q.T. though, is Pulp Fiction’s Amanda Plummer and Jackie Brown’s Robert Forster in the cast. The rest pales in comparison and frankly, I don’t see much of a resemblance.

A young woman (Fairuza Balk) travelling through the desert on her way to meet her sister (Amanda Plummer) crosses paths with a psychotic physician (Robert Forster) who decides his actions on the flip of a coin.

When I seen this years ago, I was thoroughly entertained and thought it was a highly original and exciting film. On second viewing, it doesn’t quite stand up to scrutiny. The originality I thought it once had is basically taken from novelist Luke Reinhart’s “The Dice Man”. What is an intriguing premise is played out with such a lack of urgency that it becomes very tedious, very quickly. It picks up when Fairuza Balk arrives in town though and Forster’s psycho pychologist begins to reveal himself. However, he’s still a little tepid and despite a decent performance, he’s not nearly menacing enough. There are a few things worthy of admiration but it’s the pacing that’s all wrong, letting down a decent cast and missing an opportunity for genuine thrills.

A half baked psychological thriller that aims high but ultimately falls hard from it’s intended target.

Mark Walker

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The Next Three Days * * * 1/2

Posted in Crime, thriller with tags 2010 on February 1, 2012 by Mark Walker

Director: Paul Haggis.
Screenplay: Paul Haggis.
Starring: Russell Crowe, Elizabeth Banks, Brian Dennehy, Liam Neeson, Lennie James, Olivia Wilde, Ty Simpkins, Daniel Stern, Helen Carey, Kevin Corrigan, RZA, Jason Beghe, Aisha Hines.

Having cut his teeth on Television shows (“ThirtySomething”, “L.A. Law” and “Due South” among others) and writing screenplays for Clint Eastwood (“Flags of Our Fathers”, “Letters from Iwo Jima”, “Million Dollar Baby”) as well as a Bond film (“Casino Royale”), Paul Haggis has only really directed a handful of films. Quite a surprise, considering he’s been around for a while but also quite consistant in his directorial duties.

Out of the blue, businesswoman Lara Brennan (Elizabeth Banks) is arrested and convicted of murder, her teacher husband John (Russell Crowe) the only one who believes her innocence. When appeals are exhausted, Lara becomes suicidal, and as their son is suffering, John decides to break her out.

This film reminded me of the type of material director Ron Howard would be drawn to. In some ways it even starts out how he would have made it; underwritten characters; emotional family upheavel; the every man’s fight to keep his family together. Something along the lines of Howard’s earlier film “Ransom”. That film happened to be one of Howard’s better forays but he has made some crap and the beginning of this film shaped up like the usual Howard Hollywood hokum. However, Haggis is in charge and with the normally reliable Russell Crowe onscreen, as well as some nice short appearances by the likes of Brian Dennehy, Daniel Stern and Liam Neeson, this film trancends it’s uncertain material into a gripping fast-paced thriller. Credulity is in question on several occasions and the lack of drive in the beggining threatens to sink the whole affair but it takes a dramatic turn for the better in the second half, having more in common with 1993’s “The Fugitive” and almost as exciting. It’s not often we get a jail-break film from the outside perspective and with Crowe’s subtle show of strength and dynamic central performance, we get a story that just about manages to suspend disbelief by taking you to the edge of your seat.

It may be a slight step down from Paul Haggis’ earlier films “Crash” and “In the Valley of Elah” but despite this, it shows that he’s a capable director of suspense and thrills. Two thirds of a fine film.

Mark Walker

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True Romance * * * * *

Posted in Action, Crime, Romance with tags 1993 on February 1, 2012 by Mark Walker

Director: Tony Scott.
Screenplay: Quentin Tarantino.
Starring: Christian Slater, Patricia Arquette, Gary Oldman, Brad Pitt, Dennis Hopper, Christopher Walken, Val Kilmer, Michael Rapaport, Saul Rubinek, Bronson Pinchot, Chris Penn, Tom Sizemore, James Gandolfini, Samuel L. Jackson.

To fund his directorial debut “Reservoir Dogs“, Quentin Tarantino unfortunately had to sell his script for True Romance and as good a job as director Tony Scott does here, you can’t help but wonder what might have been had Tarantino been given the chance to helm it himself.

Shy and lonely comic store clerk Clarence Worley (Christian Slater) can’t believe his luck when he meets doting Alabama Whitman (Patricia Arquette) in his local cinema. What’s more, she shares all his interests and the two fall madly in love. There is one small problem however, as Alabama is actually a prostitute and still under the control of her abusive pimp Drexl (Gary Oldman). Taking it upon himself to pay Drexl a visit Clarence then finds himself high-tailing it with Alabama and a suitcase full of cocaine which invites the attention of gangsters, cops and Hollywood producers.

If you can imagine this film being shot in the same split-time frame structure that “Pulp Fiction” had, then this would give you an idea of how Tarantino intended this to look. His original screenplay was certainly layered in this way, with the characters appearing then reappearing at different times throughout the film. Sadly, we’ll never get to see this, but it doesn’t matter very much, as this is still an excellent ultraviolent foray into Tarantino’s criminal underworld. What really makes this standout is his astute ear for dialogue, played out by an impressive ensemble of wonderful actors. There are so many excellent scenes (and performances) it’s hard to pick a favourite. Crime boss Don Vincenzo (Christopher Walken) and Clarence’s dad Clifford (Dennis Hopper) having a tete-a-tete over the historical inter-racial relationship between the Moors and Sicilians and Clarence’s confrontation with wild-eyed, white rastafarian pimp Drexl being just a couple of numerous quality ones. Added to which, there’s a brief but brilliant turn from Brad Pitt as a stoner flatmate, who uses all the toilet paper and has a liking for beer and cleaning products and James Gandolfini as a cold, sadistic hitman. Like I said, there’s too many to mention. Influenced by previous ‘lovers on the lam’ films such as, “Bonnie & Clyde” and “Badlands” but most notably like “Wild at Heart” with it’s numerous violent confrontations and it’s array of colourful characters. Holding it’s own against any one of them. I’m not director Tony Scott’s biggest admirer but his hyperkinetic style actually suits the pace and explosive nature of this story and it’s characters and he actually compliments Tarantino’s writing.

Stylish, gripping, violent, profane and endlessly quotable. What more do you expect when sitting down to a Tarantino flick? He may not have directed it but it still stands as one of his finest.

Mark Walker

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Surveillance * * * 1/2

Posted in Crime, Mystery, thriller with tags 2008 on January 30, 2012 by Mark Walker

Director: Jennifer Chambers Lynch.
Screenplay: Jennifer Chambers Lynch, Kent Harper.
Starring: Julia Ormond, Bill Pullman, Pell James, Ryan Simpkins, Cheri Oteri, Michael Ironside, French Stewart, Kent Harper, Caroline Aaron, Gill Gayle, Hugh Dillon.

Jennifer Chambers Lynch (daughter of the great trancendental David Lynch) made her directorial debut in 1993 with “Boxing Helena”. That film received some scathing reviews and if my memory serves it was an absolute turkey. However, this second shot at directing is a vast improvement.

Hunting a vicious serial killer, FBI agents Hallaway (Bill Pullman) and Anderson (Julia Ormond) pitch up at a police station to question three survivors and the cops who saved them. But with the stories failing to match up, can anyone be trusted – and is anybody safe?

You can tell that Jennifer Lynch’s auteur filmmaker father has had a heavy influence on his daughter. She employs a similiar eerie atmosphere; similiar characters with odd, unexplained behaviour and similar small, remote american settings like “Twin Peaks”, or “Wild at Heart”. Although she’s still a far cry from the genius or intelligence of her father, she can be proud of what she’s crafted with this one. The performances are spot on from a cast that has obviously put their trust in their director and Lynch’s visual style complements the cast. It’s not without it’s flaws however, and sometimes verges on implausibility but I really liked it. Certainly not for all tastes but it’s very effective and disturbing feeling of dread lingers long after viewing it. The fact that it’s set in a deserted rural American town adds to the lonliness and fear from the characters and the audience.

In only her second film, it looks like Jennifer Lynch still has a bit to learn but with this unusual serial-killer thriller it looks like she may still have something to offer, despite living in her fathers shadow.

Mark Walker

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The Girl With The Dragon Tattoo * * * * 1/2

Posted in Crime, Foreign Language, Mystery with tags 2009 on January 29, 2012 by Mark Walker

Director: Niels Arden Oplev.
Screenplay: Nikolaj Arcel, Rasmus Heisterberg.
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Sven-Bertil Taube, Peter Haber, Peter Andersson, Ingvar Hirdwall, Marika Lagercrantz.

Swedish Cinema seems to have hit a new high note of late with the successful adaptations of “Let the Right One In” (as well as it’s American remake “Let Me In”) and now novelist Stieg Larsson’s “Millenium Trilogy” (also remade in America). This is the first of the trilogy and proof that Sweden are delivering top quality material at the moment.

Journalist Mikael Blomkvist (Michael Nyqvist) is hired by aged tycoon Henrik Vanger (Sven-Bertil Taube) to look into the 40 year-old disappearance of a favourite niece. Computer hacker Lisbeth Salander (Noomi Rapace) checks out Mikael as a preliminary to his hiring, and is intrigued by the old mystery. The two investigators team up and find themselves pursuing several serial killers.

Former journalist turned novelist Stieg Larsson’s books were released after his untimely death, to remarkable success. Due to such success, they were always likely to be adapted into films. Well, here is the first and it’s a very faithful adaptation. A tightly structured and gripping whodunnit that takes it’s time in revealing the pieces to it’s elaborate puzzle. This film is in no rush and plays out in a way that respects the audience’s intelligence and patience.
Mikael Blomkvist is an endearing character, the moral male to Lisbeth Salander’s feral female. Both genders acting against type in Stieg Larsson’s misogynist world and both Michael Nyqvist and especially, Noomi Rapace are excellent in their roles. Rapace getting the part of a lifetime as one of the best heroine’s to hit our screens for a very long time. She takes no shit and turns the tables on the depraved men of society, who have nothing more on their minds than abuse and rape. Misogyny is a strong theme throughout. Even reflected in the original title of the film ‘Man Som Hatar Kvinnor’, which literally translates as “Men Who hate Women”. It’s a very dark and graphic film that has an escalating sense of foreboding from the get go. The only gripe I have is that, being a major part of the story, the Vanger family are a little on the underdeveloped side. It can often be confusing as to who is who and when the big reveal is made, it doesn’t quite have the surprise or impact it should. However, this is a minor fault in an otherwise taut and well structured thriller.

Murder mysteries don’t come much better than this. Thoroughly rewarding stuff.

Mark Walker

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The Girl Who Played With Fire * * * *

Posted in Crime, Foreign Language, Mystery, thriller with tags 2009 on January 29, 2012 by Mark Walker

Director: Daniel Alfredson.
Screenplay: Jonas Frykberg.
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Peter Andersson, Yohan Kylén, Yasmine Garbi, Paolo Roberto, Georgi Staykov, Mikael Spreitz, Per Oscarsson, Hans-Christian Thulin.

Second installments of a trilogy have a history of being just the midriff of the story. They tend to lack the essential elements of coherence. No real beginning and no real end is the common problem. This has a few snags like that but it’s still a solid enough follow up.

Lisbeth Salander (Noomi Rapace) returns to Sweden, becomes a suspect in three murders and goes on the run. Journalist Mikael Blomkvist (Michael Nyqvist) is sure Lisbeth is innocent, but realises she is being pursued by dangerous criminals who have a connection to her troubled past.

Not as gripping as the first, (which is mainly down to the investigation, it doesn’t have the hook the first one had). What it does have in it’s favour though, is the backstory of Lisbeth. We learn a bit more of her motivation and what her history has done to shape her character. Blomkvist doesn’t really contribute very much this time around, mainly just providing support and keeping the flag flying as a decent male character. This second installment is not afforded the same time as the first. It doesn’t develop the characters or story in the same way and as a result it seems rushed, as if director Daniel Alfredson was eager to get onto the third part. Like all middle segments, it’s stutters. Having a change of director can sometimes be a hindrance also, as is, the lack of any proper conclusion. However, it still grips and a major plus is having Lisbeth as the main focus this time, with Noomi Rapace once again a joy to watch, when handing out her form of tough justice on some unsavoury menfolk.

It was always going to be a hard task to emulate the first part, but the additional interesting characters add much more to the story in terms of Lisbeth’s history, preventing it from being just another mid-section.

Mark Walker

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The Girl Who Kicked The Hornet’s Nest * * * *

Posted in Crime, Drama, Foreign Language, thriller with tags 2009 on January 29, 2012 by Mark Walker

Director: Daniel Alfredson.
Screenplay: Ulf Ryberg.
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Annika Hallin, Jacob Ericksson, Sofia Ledarp, Anders Ahlbom Rosendahl, Mikael Spreitz, Georgi Staykov.

Stieg Larsson’s “Millenium trilogy” draws to a close with this third and final installment and after amassing a collective running time of nearly 7 hours, it still grips like a vice.

Outlaw hacker Lisbeth Salander (Noomi Rapace) awaits trial for attempted murder. Journalist Mikael Blomkvist (Michael Nyqvist) gathers evidence about her tragic past to help her case. A Swedish intelligence agency wants her silenced and her maniacal half-brother (Mikael Spreitz) wants her dead.

What with the mystery of the first installment and the action of the second, now we are given the talky final act. The cover-up of all the past scandals and indescretions and justice handed out in legal forms. Daniel Alfredson once again takes the directorial reins after the Second film. This time though, he’s learned his lesson about pace. It’s not as rushed, preferring instead, the slow investigative pace from the first film. Once again, the hook isn’t as good but the tension builds slowly and assuredly as we learn the eventual fate of Lisbeth. Like the second also, Lisbeth and Blomkvist’s relationship is very distant. They share very little screen time and whenever they do, it is strained and awkward. Blomkvist’s love unrequited. Lisbeth is less active this time. She is mainly bed ridden and displays very little in her communication with everyone around her. This however, proves to be just another master stroke in her battle for survival. On the surface, it seems that Noomi Rapace has less to work with, now that her strong-willed character has been seriously wounded. Nevertheless, when you watch the ever so subtle facial expressions from her, as she tries to remain stoic, you realise how much of a wonderfully reserved performance she puts in. With less dialogue, it’s probably her finest display from all three films. Although this is an altogether more solid narrative than the second, some parts feel rushed and some questions are left unanswered. Still, it’s a very fine trilogy and the characters inhabit a world – although not altogether pleasant – that’s been a gruelling yet rewarding experience.

If the Americans (or director David Fincher to be precise) can capture half of the spirit of these films with his version of the trilogy, then hopefully, mature writing and exstensive filmmaking will become the norm.

Mark Walker

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Matchstick Men * * * 1/2

Posted in Crime, Drama, thriller with tags 2003 on January 29, 2012 by Mark Walker

Director: Ridley Scott.
Screenplay: Nicholas Griffin, Ted Griffin.
Starring: Nicolas Cage, Sam Rockwell, Alison Lohman, Bruce Altman, Bruce McGill, Beth Grant, Jenny O’Hara, Steve Eastin, Sheila Kelley.

It’s hard to imagine after all his war and gladitorial carnage that the playful tone of this film belongs to director Ridley Scott. It’s a nice and very welcome change of pace for him.

Roy (Nicolas Cage) and Frank (Sam Rockwell) are a mismatched duo of low-level con men, considering that one is an obsessive-compulsive and the other a louche chancer. But their dysfunctional partnership and Roy’s teetering sanity face an even bigger challenge in the shape of his 14 year-old daughter Angela (Alison Lohman).

The con artist’s profession has always looked like a great way to make a living. Well, maybe that’s just the romanticism of Hollywood but nonetheless it still makes a great way for entertainment. Watching the inside plays and set-ups, feeling as if you’re part of it and privvy to hush-hush information is always an audience winner. You can also be sure of a few narrative curve balls here and there, before finally getting the rug pulled out from right under your unsuspecting feet. This is no exception. Ridley Scott wisely plays it very low-key from the get-go, leaving the film to play out in the more than capable hands of his actors and he’s rewarded with three excellent performances. Nicolas Cage is all tic-ridden and full of phobias and nervous energy. Sam Rockwell is his usual wise-ass sidekick, lending (as always) more than able support and Alison Lohman delivers a spot on portrayal of a naive teenager fascinated by her fathers profession. It’s through these performances that we become involved in the story. They’re believable characters and despite their swindling ways, they’re likeable.

Not normally the type of film that Ridley Scott has been turning his hand to of late but it’s still a finely crafted hustle and the performances are top-notch.

Mark Walker

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London Boulevard * * 1/2

Posted in Crime, Drama with tags 2010 on January 29, 2012 by Mark Walker

Director: William Monahan.
Screenplay: William Monahan.
Starring: Colin Farrell, Ray Winstone, Ben Chaplin, Keira Knightley, David Thewlis, Anna Friel, Stephen Graham, Eddie Marsan, Sanjeev Bhasker.

William Monahan is better known for his screenwriting duties. Namely, the Oscar winning “The Departed”, leaving him no stranger to a gangster yarn. What is strange though, is despite being American he marks his directorial debut with a ‘Landan’ Cockney geezer gangster yarn.

Hardman Mitchell (Colin Farrell) gets out of prison and tries not to be lured back into crime by an old friend (Ben Chaplin) and a gang boss (Ray Winstone). He takes a job as bodyguard for a reclusive film star (Keira Knightley), but still finds it hard to go straight.

Even though Monahan is from across the pond, his attention to detail and setting for his British gangster flick is very impressive. Surprisingly, what disappoints – from a screenwriter – is a tight screenplay. The plot has more holes than the unfortunate victims of crime in this. Which is a real shame, as it’s boasts an excellent cast. Farrell channels a brooding intensity and his showdowns with Winstone’s gang lord are hightened with tension. The Irishman holding his own against the ‘daddy’. These brief confrontations are the highlight of the film, as the rest of the cast are given nothing to work with. David Thewlis’ stoned murderous hippie is unconvincing and the love interest with Kiera Knightley’s pampered thespian is plain dull. The one that comes out with the plaudits is Ben Chaplin as a greasy haired weasel-like accomplice. The biggest crime in this crime film though, is the misuse of Stephen Graham (“This Is England”). He’s a fabulous actor who’s sadly given a thankless character and very little screen time. On the plus side, the build up to Farrell’s character is intriguing. We are privy to is his reputation, but never really know what he’s done or what he’s capable of, until his ruthless character unravels.

It’s nothing new. I’ve seen better, by better. A reasonably decent gangster yarn but with the actors involved, it should have been something special. Check out Brian DePalma’s “Carlito’s Way” instead, it’s much more rewarding.

Mark Walker

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Trainspotting * * * * *

Posted in Crime, Drama with tags 1996 on January 28, 2012 by Mark Walker

Director: Danny Boyle.
Screenplay: John Hodge.
Starring: Ewan McGregor, Robert Carlyle, Ewen Bremner, Kevin McKidd, Jonny Lee Miller, Kelly MacDonald, Peter Mullan, James Cosmo, Eileen Nicholas, Shirley Henderson, Pauline Lynch, Stuart McQuarrie, Keith Allen, Kevin Allen, Dale Winton, Irvine Welsh.

Director Danny Boyle’s marvellous debut “Shallow Grave” was always going to be a hard act to follow but to attempt an adaptation of the ‘unfilmable’ Scottish novel “Trainspotting” by Irvine Welsh, seemed like lunacy. Boyle, however, captures Welsh’s book brilliantly and despite “Slumdog Millionaire” gathering him a best director Oscar, this still remains his best film.

It follows the lives of a group of friends from Edinburgh as they experience the high’s and low’s of life through heroin use. Renton (Ewan McGregor) decides to go clean and rid himself of his affliction and his low-life chums but finds that’s easier said than done. Spud (Ewen Bremner) is too needy, SickBoy (Jonny Lee Miller) is too controling, Tommy (Kevin McKidd) has just taken some bad direction and Begbie (Robert Carlyle) is just plain pychotic. Renton, however, enters into making a one off drug deal with his old pals, so as to make a new life for himself altogether.

Boyle’s film has often been criticised as glorifying drug use. Glorifying drug use? Really? People who believe this must have been watching a different film. The characters involved all behave despicably. They are responsible for thefts, fights, deaths – including the death of a baby. Get imprisoned. Contract HIV. Ruin their lives and others’, all because of their drug habit. What this film has in depth, vibrancy and fun, is the reason it could be mistaken for being pro-drug use but having these qualities is more of a testament to the filmmakers involved, in making a bleak and depressing subject matter, very entertaining. The characters are extremely well written (kudos to writer Welsh) and acted by an ensemble of excellent actors. It made a star of Ewan McGregor, who’s character, although likeable – and brilliantly played – is essentially the person responsible for the downfall of many of the other characters. Notable other performances are Ewen Bremner as “Spud”, the most endearing of the group and a character too gentle for his lifestyle. The best of the bunch though, is Robert Carlyle as the psychotic “Begbie”, who’s choice of drug isn’t heroin but violence, and he’s just as destructive with it. He’s a dangerous and highly volatile person and Carlyle perfectly captures the on-edge feeling of his terrifying unpredictability. It’s an award worthy performance that was sadly overlooked. Everything about the film reeks of class. From it’s rollicking soundtrack, to the rich, snappy dialogue, with great characters in hilarious situations and kinetic fast paced direction. This film has everything going for it and stands as one of the finest films of the 1990’s.

A relentlessly energetic experience that leaves you craving for more, much like the habit of it’s protaganists.
Pure uncut, Class A.

Included in My Top Ten films.

Mark Walker

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Funny Games * * * * 1/2

Posted in Crime, Drama, thriller with tags 2007 on January 28, 2012 by Mark Walker

Director: Michael Haneke.
Screenplay: Michael Haneke.
Starring: Naomi Watts, Michael Pitt, Brady Corbet, Tim Roth, Devon Gearhart.

Admittedly, I haven’t seen Michael Haneke’s 1998 original Austrian version, but then nor did many people, hence the reason he has made an almost scene-for-scene remake. This time hoping to reach it’s target audience.

While spending time at their holiday home, middle-class couple Ann and George Farber (Naomi Watts and Tim Roth) and their son Georgie (Devon Gearhart) are visited by a young stranger (Brady Corbet), who seemingly only wants to borrow some eggs. He is then joined by a friend (Michael Pitt) and together they physically and psychologically terrorise the family, giving them until the next day to somehow survive the torment.

Aimed at America and it’s ‘torture porn’ obsession with violence. It also exposes the gaping holes in society and the classes. Despite it containing very little on-screen physical violence, the psychological side to this film is exhaustive and leaves you feeling drained and disturbed. I’m curious as to how the original plays out but can it really be any better than this? This is frayed fingernail stuff with an outstanding performance from Naomi Watts. That gal can emote and expose her frailty better than any actress around at present. To capture a person writhing in pain, look no further than Tim Roth (see also Reservoir Dogs). However, I’ve never entirely been convinced by him in the past, and I’m still not. He seems to try very hard but doesn’t quite cut it for me and is completely outshone by everyone around him here, with Michael Pitt and Brady Corbet putting in astonishingly good shows as the evil young sociopaths. Director Michael Haneke shows the mark of a very fine film-maker at top of his game and confident in his abilities to remake his own film. It may not suit everyone and some people may even find it distasteful but thats the whole point and I for one, absolutely loved it. Sometimes, a film can sneak up on you without you having any preconceived ideas or expectations from it and really make an impact. Of recent times, this along with “Children of Men” is one of those films. I went into it expecting nothing and came out of it with everything.

It’s a deeply disturbing and haunting experience but a riveting and unconventional one, that stays with you long after it’s over.

Mark Walker