Category: Crime

KILLING THEM SOFTLY – The Review

The life of the gangster isn’t as glamorous in the movies as it once was. Sure the title characters of THE PUBLIC ENEMY, LITTLE CAESAR, and SCARFACE all met horrific deaths before the final fade-outs, but their lives of excess must have looked pretty great for depression audiences. And then the Hayes Office, the studios’ censorship board, cracked down. In James Cagney’s last great crime epic WHITE HEAT, his Cody Jarrett is a vicious psychopath. And later with the classic GOODFELLAS and TV’s “The Sopranos”, mob life was shown as dangerous, dirty work. The easy cash is never really easy. And so it is with KILLING THEM SOFTLY which re-teams star Brad Pitt with his THE ASSASSINATION OF JESSE JAMES director Andrew Dominik. Few films have been as gritty as this “simple” score that goes bad in a big, big way.

The tale begins on the very mean streets of New Orleans in 2008. Frankie (Snoot McNairy) is fresh out of prison and ready for some fast cash (job placement is just not working for him). Low level mobster Johnny Amato (Vincent Curalta) wants to hire him as part of a robbery crew. He explains this “can’t miss” plan. Markie Trattman (Ray Liotta) hosts illegal, secret big money card games attended by many local gangsters. A few years ago he gets the idea to hire a couple of thugs to rob his own game. Instead of getting a cut of the night, he (and his cohorts) take all the cash. After a brutal questioning from mob enforcer/hitman Dillon (Sam Shepard), Markie is believed innocent of involvement with the robbery. A couple of years later, after a night of high spirits, Markie laughingly admits to some pals that, yes, he did rob his own game. But he’s bringing in a lot of dough, so he’s given a pass. Amato believes that if the game is robbed again, all fingers will point to Markie. Much to Amoto’s chagrin Frankie brings in his pal Russell (Ben Mendelsohn), a dog-stealing wannabe drug dealer, to be join him in the stick-up. After the deal goes down, the local mob’s representative (Richard Jenkins) hires Dillon’s associate Jackie Cogan (Pitt) to get to the bottom of this fleeced card game. Jackie, aided by jaded East Coast pal Mickey (James Gandolfini), tries to track down and dispatch those responsible.

Of course the big alpha dog in this bunch of mutts is Mr.Pitt. With his slick pompadour and neatly trimmed goatee he’s the Mr. Cool of hit men. He’s also a hard-edged cynical guy who delivers a blistering monologue summing up his jaundiced view of the world in the film’s final scene. When he arrives at the thirty minute mark, Pitt’s assured, smooth performance carries the rest of the film. Before he enters, the film belongs to two guys that barely register on the cool meter. McNairy’s Frankie is a sleazy, motor-mouthed weasel that’s just looking to score and avoid heading back to “the joint”. He’s always going to be a mob foot soldier (or cannon fodder) and never a general. Hard to believe he’s the same actor who was so good as the most nervous “guest of Canada” in ARGO. Mendelson as Russell AKA “squirrel” is much more laid back, not doubt due to constant self-medication. You can almost smell the stench of flop sweat from the guy in addition to the constant canine aroma. The actor’s convinces us the he may be the absolute lowest of the lowlifes. The Mickey character may be too similar to Gandolfini’s signature role of Tony Soprano. He whines and complains in his big scenes with Pitt (he’s boozing too). There’s a real beaten-down Willy Loman vibe with Mickey that wears thin fairly quickly despite Gandolfini’s best efforts. His Sopranos co-star Curatola is very funny as the little man crafting big plans at the back of his dry cleaning shop. Jenkins also scores big laughs in his scenes relaying mob directives to Pitt. This guy sounds more like a mild-mannered accountant or mid-level manager. The always entertaining Liotta does a great comic riff on his GOODFELLAS persona. You just wish this easy-going guy wasn’t mixed up with these thugs (he’s perhaps the film’s most sympathetic character).

The film’s marketing team are selling this as a zany, crime comedy full of loveable screw-ups. Sure, there are some funny bits, but Dominik is aiming for something darker. With the opening image of McCain and Obama posters side by side, he’s striving to blend mob life with (still) current politics. Talk radio blares out of cars. TVs are constantly tuned to a news network or C-Span with then Senator Obama or President George W Bush (usually speaking on the financial lending collapse). The blaring media Greek chorus is sometimes heavy-handed, and most often distracting. Dominik does establish a dark mood with the constant grey skies and pounding rain (it’s coming down so hard we almost feel sorry for the two goons beating down a poor chump on the street). That ultra-violent smack-down is almost tame compared to the brutal gunplay (a slow-motion hit is almost balletic) There’s also a sequence of the two stick-up men trying to converse after “riding the H train” that goes from clever to tiresome quickly. KILLING THEM SOFTLY doesn’t achieve Coppola or Scorsese greatness, but features a few good performance that help prove what the old short subjects and 1950’s comic books tried to hammer home: crime does not pay.

3.5 Out of 5

SENSE OF HUMOR – SLIFF Review

Here’s an unusual movie mash-up from French Canadian writer/director Emile Gaudreaullt: a thriller set in the world of stand-up comedy. Films have been made about traveling comedians, spewing jokes while bathed in a bright spotlight against (usually) a bare, brick wall starting with LENNY through PUNCHLINE and the recent SLEEPWALK WITH ME. These guys have their bad gigs, but nothing like what happens to Luc (Louis Jose’-Houde) and Marco (Benoit Briere). First off, they really don’t care much for each other. Luc is a dry, cerebral, observational humorist who considers Marco a hack who relies too much on wacky props and costumes, bits stolen from the internet, and phony sentimentality. But what really irks Luc is the fact that audiences adore Marco. How did these two get paired up for a tour of small Canadian clubs? As part of his routine, Marco singles out a fellow from the audience as a “stooge” to be the butt of pre-written insults and jabs. At one of their stops, a bored Luc joins him in verbally pummeling a shy, somber guy named Roger (Michel Cote). But what the two comics don’t know (but was revealed in the film’s opening) is that the meek Roger, who’s bad-mouthed by his elderly ill-tempered Dad at home and teased at his job as a short-order cook, has a hobby. He’s a serial killer who’s turned the barn of the remote family farm into a torture chamber for his ‘guests”. After that night’s show, the comics retire to their dingy motel rooms and wake up in a cage at Roger’s barn. In tracking to calm him down, the two get Roger to reveal his hidden desire. He wants to be funny, so he can impress the pretty waitress at work. Luc and Marco must try to work together and turn the serious Roger into the life of the party during their evening while attempting to escape their cage while their captor’s at his day job. The three main principals turn in very funny performances and are well served by the actors playing Roger’s co-workers, Marco’s depressed wife, and Luc’s way-too-in-touch-with-her-feelings sister. There’s a great balance between the verbal sparring off the mis-matched comics on the road and the wild slapstick scenes as they try to gain their freedom. This is a very entertaining blend of genres that balances the chills and laughs.

SENSE OF HUMOR screens as part of the 21st Annual Whitaker Saint Louis International Film Festival on Wednesday, November 14 at 7 PM and Friday, November 16 at 9:30 PM at the Plaza Frontenac Cinemas

ROBOT & FRANK – The Review

Here’s a flick that opened with little fanfare. It may be tough to find, but it’s certainly worth the effort. I mentioned it to some friends, and I could almost hear their eyes roll when I told them the title over the phone, ” Yeah, that’s right. It’s called ROBOT & FRANK . No, really.”. I’m sure they imagined a zany, hi-tech buddy movie. Summing up the plot probably didn’t change their minds. But it’s a surprisingly moving, warm little character study with a top-notch performance at its center. Basically it’s perfect little film to watch on a rainy day. Or any kind of day, really. I just hope it gets a little love from the year-end best lists and award nominations.

As the film opens, we’re told it’s the near future ( not the far future like TV’s ” The Jetsons ” with their flying cars ). Frank ( Frank Langella ) is an ex-con ( did  a couple stretches for burglary ) living alone in his old two-story country house in the woods of New York state. His marriage ended long ago and his kids, Hunter ( James Marsden ) and Madison ( Liv Tyler ) have grown and left the nest. But Hunter is concerned because Frank is losing the battle against senility ( or perhaps Alzheimer’s ). Frank doesn’t keep the place clean or eat right. The only exercise he gets is from strolling into town to flirt with the pretty librarian Jennifer ( Susan Sarandon ). So, there’s no way that he’s gonna move out and live in one of those assisted care places. So, Hunter presents Frank with the gift of a service robot, a VGC-6OL ( performed by Rachael Ma, voiced by Peter Sarsgaard ). The little bot cleans, cooks, and nags Frank ( ” It is time to get up.” ” Let’s start a garden” ). Frank’s annoyed til he realizes that the bot is the perfect accomplice. He’ll convince the bot that it would be great therapy and exercise to do a ” job ” . Seems that Frank has some new yuppie neighbors with a taste for jewelry. At last, Frank is back in ” the game”!

Has it really been 35 years since Langella made the ladies swoon as the cape-twirling immortal Count on Broadway ( and then starring on the screen in 1979’s DRACULA ) ? At an age when most actors are eyeing retirement, he’s doing some of his best screen work ( FROST / NIXON ). Now add his addled, cat burglar to his list of recent triumphs. This guy is not going gently into that good night. He’s regretful, bored, but mostly angry at the hand fate has dealt him. You can see the confusion on his face as he realizes that his brain has failed him yet again. He longs for his outlaw days, even using phrases straight from a 1930’s Warner Brothers gangster flick ( ” Crackerjack! ” ” What a maroon! ” ). We can’t help but root for him as he decides to go for one last big score. He’s briefly lifted out of the fog by this mechanical Felix Ungar.  And Frank develops real affection for the squirt. Langella’s skill brings out the best in all the actors that share the screen with him. There’s a couple of TV stars that have great bits with the cantankerous con ( won’t name them, so you’ll also be delightfully surprised ). This is Marsden’s second film as Langella’s son ( 2006’s SUPERMAN RETURNS ) and the two have a great rapport. He’s frustrated with his old man, but still has a lot of affection for the stubborn cuss. Tyler also has a great time with Langella as Frank’s globe-trotting Daddy’s girl. And Sarandon is her usual charming self as the local gal enjoying ( and encouraging ) Frank’s flirtations. There’s no big flashy CGI effects that detract from this film’s simple laid-back charms ( a weird car, clear picture phones, etc. ). ROBOT & FRANK is a film that warms the heart and tickles the funny bone. If Frank can warm up to this household tech aid, then maybe the future ( or near future ) will be a pretty nice place.

4.5 Out of 5

THE DARK KNIGHT RISES – The Review

Whenever a fan-favorite franchise as popular, and with such history is undertaken by Hollywood, the primary question is always “Will it succeed, or will it get butchered?” The Batman property first took theatrical form in the capable, yet recently more volatile hands of Tim Burton, who delivered us two very stylized but still enjoyable versions of the Batman lore. I’ll refrain from commenting on the 3rd and 4th entries into the Batman filmography, which then brings us to the relatively young, but extraordinarily talented — perhaps even genius — vision of director Christopher Nolan. Now seven feature films into the DC Comics based franchise, the question must still remain on the fans’ tongues… “Does it work?”

In short, the answer is an emphatic, ecstatic yes, Yes, YES! Christopher Nolan has for some time now led us to believe this third installment of his Batman interpretation will be his last. Following BATMAN BEGINS and THE DARK KNIGHT, THE DARK KNIGHT RISES serves as a superbly well-rounded grand finale to the trilogy. Co-written with his brother Jonathan Nolan and the writer who really gets around, David S. Goyer, THE DARK KNIGHT RISES is highly effective at utilizing every last second of the 164 minute running time. The film picks up some time after the previous film. Harvey Dent is dead, but his legacy lives on through the Blackgate Prison, housing some 1000 of Gotham’s most dangerous and violent criminals, essentially rendering Gotham City nearly crime free. As we discover what the post-Joker Gotham City has become, we also discover that Batman has seemingly retired as Bruce Wayne is now a reclusive hermit with health problems.

On the surface, one would think Gotham City is turning around and all is safe, but we know better than this, do we not? Commissioner Jim Gordon (Gary Oldman) is the only man in Gotham still uneasy about the fate of his city, as the mayor and the rest of the police force have bought into the new peace, mocking Gordon in his skepticism. However, there is one cop who shares Gordon’s uneasiness and his name is John Blake (Joseph Gordon-Levitt). Gordon’s paranoia is not without reason, as THE DARK KNIGHT RISES is a slow burn mystery as the master plan in progress by this film’s villain gradually develops and unfolds like a fiendishly intricate piece of paper origami with a deadly surprise waiting at the center.

Enter Bane, to whom we are introduced at a very early stage in THE DARK KNIGHT RISES. We witness the transport of a mysterious criminal/terrorist by the CIA, a large man bound and blinded with a black hood loaded onto a plane. From the very beginning, something feels unavoidably tragic about this transaction. This scene spares no time in showcasing Bane (Tom Hardy) as a powerful, strong and intelligent enemy. Bane is a hulking, bald man who wears an ominous mask housing what appears to be a breathing apparatus of some sort. For those who are not familiar with the storyline from the comic books, this plays a significant role in the film, one which I will not spoil. You’re welcome.

Tom Hardy (WARRIOR) truly captures the essence of Bane, the comic book villain that has become known as Batman’s greatest foe, even over his age-old arch-nemesis The Joker. What truly stands out about Hardy, aside from the shear bulk he developed for the role, is that he portrays the character so well with a performance that is solely physical in nature. As Bane must wear the mask at all times, Hardy is unable to use his voice, and is limited with his facial gestures, forcing him to convey every nuance and emotion through his body. It’s quite remarkable to watch, but I feel a second viewing is necessary to truly appreciate this, as the film is so fully engrossing that it’s quite difficult to focus on any one single element during the initial viewing.

Months ago, a talking point hit the Internet about Bane’s voice. The issue revolved around the audience’s ability to easily understand Bane’s dialogue given that Hardy was forced to speak through the mask apparatus the entire film. This was arguably an issue, and in the end, the film does prove to have employed ADR — Automated Dialogue Replacement, or looping — which allows the filmmaker to go back after filming has completed and replace the existing dialogue with that of a different or better quality. This was a smart decision, as many viewers would have likely found themselves distracted by a struggle to hear the character and understand the story. On the other hand, I do have one… let’s call this a curious observation, as it’s not really a complain, but, I found that Bane sounds surprisingly like Sean Connery. There is no evidence that he provided the new dialogue, but it sure sounds similar and I found myself minimally distracted, but curiously entertained by this notion.

There are those who had their doubts about Anne Hathaway being cast in THE DARK KNIGHT RISES, but I was not amongst their ranks. I’ve held an appreciation bordering on respect for her talent for some time, so finding her cast as Selena Kyle — known in the DC Comics Universe as Catwoman — has my interest peaked. As it turns out, Hathaway (LOVE & OTHER DRUGS) delivers a low-key performance with the appropriate sarcastic humor and sharp wit without over-reaching in her role. With the help of a very well written character, Hathaway captures the physicality, sexiness and personality of Selena Kyle with astonishing accuracy, ranking her above Michelle Pfeiffer, in my book.

THE DARK KNIGHT RISES does an exceptional job at staying relatively true to the source material, an area in which I could spend endless and lengthy words, going into great detail elaborating and analyzing, but that wouldn’t do you — the reader — any justice whatsoever. IF you’re a reader of the comic books, little of the story itself will be of much surprise, but the film itself will be a highly rewarding experience to accompany your existing knowledge. For those unfamiliar with the comic books, SEE THE MOVIE FIRST! Why? This film is so well done, and serves as such a solid introduction, it will be best to delve into the comic books after seeing the film to fill in all the details and texture of the monumental Batman story arc.

Director Christopher Nolan continues to prove he is a force to be aware of in Hollywood, rapidly becoming the most powerful filmmaker in Tinsletown. To our great benefit, he has developed a strong, ongoing relationship with cinematographer Wally Pfister and composer Hans Zimmer. Thank God, because this has led to a trilogy of films that look and sound absolutely breathtaking. Batman demands the criminal’s attention, so it’s fitting that this trio of creative artists render the Batman lore as equally demanding of the viewer’s attention. Christian Bale continues to deliver as Bruce Wayne/Batman, still growling at the bad guys, but slightly less so as to water down the excess and becoming less of a distraction.

Viewers prepare yourselves. Get ready to rumble and relish in Batman’s action-packed swan song, or is it? I’ll say no more, but I will merely point out that this film has plenty of surprises, suspense, incredibly choreographed fights between Batman and Bane, and even some bad-ass, long-legged butt-kicking by Anne Hathaway. As usual, there are plenty of cool toys featured in the film, a couple of distinctly hilarious tongue-in-cheek moments, one of which is a humorous epiphany delivered by Batman himself. THE DARK KNIGHT RISES also delivers on the heart strings, featuring one specifically tear-inducing moment between Alfred (Michael Caine) and Bruce Wayne. Marion Cotillard rounds out the cast, playing fellow philanthropist Miranda Tate, along with return performances from Morgan Freeman as Lucius Fox and a cameo appearance from a previously featured villain.

While THE DARK KNIGHT RISES serves as the perfect finale for an incredible three chapter story, it also raises many questions for the audience, especially fans, while not leaving any significant loose ends. If your cinematic experience with THE DARK KNIGHT RISES is anything like mine, you’ll leave the theater energized, excited and fulfilled, while also desperately desiring more from the new master of “the caped crusader.” Personally, I feel privileged to have been exposed to Batman in such light, but also feel like the cinematic legacy of The Dark Knight has only just begun to tap it’s true potential.

Overall Rating: 4.5 out of 5 stars

Tribeca 2012 Review: DEADFALL

DEADFALL is bound to get comparisons to FARGO. With a few minor script tweaks and slightly different accents, this could have been passed off as a direct to DVD sequel. It is not that there are any similar characters or storylines but more so in the look and feel of the film. Had this been FARGO 2, I’d call it a worthy successor although I’m sure others will want my head on a platter (or my body in a woodchipper) for saying that. Prior to seeing the film, I heard some strongly negative feedback and was even told to avoid it completely by someone who attended an earlier press screening. Since then I’ve noticed a slew of negative reviews calling it an absolute mess and much worse. Honestly, I don’t know why everyone is ranking on this film so much because I loved the hell out of it.

DEADFALL opens with a car crash. Addison (Eric Bana) and his sister Liza (Olivia Wilde) make it out alive but their driver is not so lucky. Addison kills the first cop on the scene while Liza stuffs a bag full of the scattered money they just stole from a casino. They decide to split up as they each attempt to make it across the border. Addison ends up killing his way through the woods and Liza uses her looks to secure a ride with Jay (Charlie Hunnum) to his family’s cabin near the border. It is Thanksgiving and he is going to see his mom (Sissy Spacek) and dad (Kris Kristofferson) despite their strained relationship. Problem is Jay just got out of prison and may have accidentally killed a former business partner who refused to give him the money he owes. Addison faces some obstacle himself with the police after him investigating the murder of the trooper he killed. Despite the wishes of her father / police chief  (Treat Williams), among the search party is the very capable Hanna (Kate Mara) who just so happens to be old friends with Jay and his family.

Believe it or not, there are even more side stories and important characters that I’ve chosen to excise for time. Yes, the film is convoluted. Yes, it has moments of needless complications and mass coincidence. Yes, it can be a bit campy and has heavy-handed moments that feel a bit forced. Yes, the fairly incestuous relationship between Addison and Liza is a bit weird. Yes, the insanely sexist attitudes within Hana’s police department feel horribly outdated. Yes, I’m starting to see why some people didn’t like this film after typing all that.

But none of that really matters because DEADFALL is damn fun. And the single biggest aspect that will suck you in and keep you watching no matter how ridiculous things get is Eric Bana. If this film came out before KNOCKED UP, this would be the movie they were all toasting to in the nightclub. Eric Bana’s performance is brilliantly twisted and wildly unhinged without ever going too far over the top. Addison is a badass who does some truly awful things with a wink and a smile. The film has plenty of other great things going for it like some wonderful visuals, thrilling action set pieces, the beautiful Kate Mara, and unnecessary Olivia Wilde nudity. But the only real reason you need is ERIC F***ING BANA!

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

Tribeca 2012 Review: JACKPOT

Oscar Svendsen (Kyrre Hellum) wakes up in a seedy strip club, underneath the body of a dead oversized stripper, and surrounded by cops. What follows is the story of how he got there told mostly through flashbacks while being investigated by a very thorough and incredibly compelling detective (Henrik Mestad). This is a tale of lottery, greed, corruption and fake recycled Christmas trees.

JACKPOT is bloody good fun, pure and simple. It is a pitch black Norwegian comedy that tosses around clever dialogue and dead bodies with glee. The structure is similar to films like THE USUAL SUSPECTS and there are familiar elements throughout, although it all still feels fresh and fun. Jo Nesbo’s writing is sharp and each character is a good mix of quirky and dangerous. Director Magnus Martens handles the material quite well and strikes a good balance of comedy, blood splatter and intrigue. There are some really great visual gags including some set up early that lead to fine payoffs later on. I’d rather not spoil any of them but my favorite is on display at the very end of the trailer below if you are curious. Personally, I suggest only watching the trailer up to the title card if even that far.

If this sounds at all like a film you want to see, I highly recommend seeking it out rather than wait for the (most likely) inferior American remake, which is always a strong possibility with films like this.

Jerry Cavallaro – @GetStuck – JerryCavallaro.com

THE RAID: REDEMPTION – The Review

Once more, an incredible film emerges from an once unlikely corner of the world, to many a place virtually unknown to Americans. This time, its Indonesia and the film is THE RAID: REDEMPTION. Do you think you know action? No, not Schwarzenegger and Stallone, but true badass, butt-kicking, jaw-dropping action that sticks to your ribs like so many seen brutally busted? If so, then this is one film you had better not miss… or else!

THE RAID: REDEMPTION — from here out referred to simply as THE RAID — is written and directed by Gareth Evans. You may be wondering why or how a film from Indonesia is made by a guy who certainly doesn’t sound Indonesian, but really… who cares?!?! [From what I gather, Evans is Welsh-born and a cinephile uniquely obsessed with Eastern culture. I’m down with that.] Evans clearly has a firm grasp on the culture, the setting and the hardships of the Indonesian people. The film takes place in a crumbling, urban setting, primarily a towering housing complex/fortress controlled by the local drug and crime boss who rules with a heavy hand, blatantly providing safe haven for all the worst type of subhuman beings — for a price — mocking the authorities who fear to enter his domain, as many have tried and failed.

Reluctant but loyal to his duty and eager to do his part in ending the reign of criminal terror, this is where our hero Rama (Iko Uwais) enters the story. Rama is a young, but lethal soldier for justice, a husband and soon-to-be father with a glimmer of giving his unborn child a better future twinkling in his eye. This will ultimately be what drives Rama through the pain as he takes on the highrise from hell. What Evans does that I appreciate is to introduce our hero in a way we’re not normally accustomed to seeing, a montage cutting between shots of Rama training in solitude and shots of Rama praying in solitude as well. He’s a complete man, father and husband, at peace and clear-headed… making him dangerously focused and powerful.

THE RAID spends a little time up front introducing the characters on both sides, a little time setting up the premise for what is about to take place on screen, then quickly throws the audience right into the police raid which rapidly unravels into chaos and bloodshed, a vertical monsoon of bullets followed by a barrage of unbelievable feet and fists that will have you on the edge of your seat. The fight choreography in THE RAID is superb, and without the (apparent) use of wires, this is a feature film showcasing a whole new cast of awe-inspiring martial artists. At first, hot lead is everywhere, followed by cold steel and hardened fists when the bullets run out. This is when the fun really begins and the pain takes hold.

The story, while simple and direct, has a team of SWAT-like police infiltrating the corrupted high rise with the implied intent of ridding it of the criminal cockroaches plaguing their city. What eventually reveals itself is a twist at the end, one I will not divulge, but will elude to it being a fairly formulaic but effective plot tool which takes a backseat to the great portion and focus of the film, which is the magnificent fight choreography, conceived by Yayan Ruhian (remember this name) and Iko Uwais himself. Truly amazing stuff on display here guys, and gals. THE RAID features more moments of phantom pain amidst the audience than I can recall in so many years. I found myself on multiple occasions reacting with an “Oooh, ow!” or flinching or briefly turning away, then morbidly looking back for more. Busted heads, broken backs, faces, ribs, necks, limbs… it’s all demolished on both sides of this epic conflict with fantastic, painful realism. I do love Jackie Chan, but these guys make his real-life stunts and fight choreography look tame in comparison.

Remember that guy whose name I said to remember? In addition to co-choreographing THE RAID, Yayan Ruhian also plays Mad Dog, the crime boss’ enforcer, opposite his right hand man, who has a secret of his own to be discovered when you see this film. Mad Dog is the little psycho killer who could, and seemingly NEVER FREAKING DIES! This short, long-haired little mutt’s bite is way, way way worse than his relatively quiet bark. It’s rare that I find myself actually rooting in a way for the bad guy, but Mad Dog in a monster in a small package. He does more damage to this crew of tactical enforcers of good than Godzilla has down to Tokyo. Pain is his middle name and he prefers fists and feet to guns, as he explains before utterly annihilating Rama’s #2 guy Jaka (Joe Taslim), but not without a lengthy and spectacular fight to the death.

THE RAID only has one, relatively minor flaw, hence receiving 4.5 rather than 5 stars. The film is light on depth of plot and back-story, but not so much that it detracts from the overall enjoyment of the film. Hey, sometimes you just want to be entertained by extraordinary, excessive violence, right? Otherwise, why would mixed martial arts be so popular? Speaking of which, imagine the best MMA fighters being thrown together into a massive multi-level royal rumble a la Donkey Kong and you still wouldn’t have the level of awesomeness available to you in THE RAID: REDEMPTION. ‘Nuff said!

Overall Rating: 4.5 out of 5 stars

THE RAID: REDEMPTION opens today, April 13th, in Saint Louis at Landmark’s Tivoli Theatre.

CONTRABAND (2012) – The Review

It’s been over twenty years since Al Pacino as Michael Corleone uttered, “Just when I thought I was out… they pull me back in! “in THE GODFATHER PART III, but this bit of plot motivation is still a major device in most action/crime thrillers for the lead character. In the new film CONTRABAND, the guy who thinks he’s out of the life is Chris Faraday played by an actor who had a few run-ins with the law during his teen years, Mark Wahlberg. Chris had a reputation as an expert smuggler many years ago (he brags about being able to bring in a pricey sports car), but now he’s legit with a home security business, a beautiful wife, Kate (Kate Beckinsale) and two adorable young sons down in New Orleans. Uh-oh, it seems that Kate’s nere’do well kid brother Andy (Caleb Landry Jones) has decided to enter the smuggling game.

Unfortunately, he’s not as good as his brother-in-law. He’s part of the crew on a ship that’s boarded by custom authorities (they even lower down drug-sniffing dogs from a helicopter) and Andy tosses his backpack filled with cocaine over the railing into the sea. The violent, lowlife drug dealer Briggs (Giovanni Ribisi) who hired him is not so understanding once Andy and his partner are on dry land. He rams their car with his truck. Andy survives the attack and tells Chris what happened. Chris tries to cut a deal with Briggs, who insists that he be reimbursed for his lost revenue (700 grand!) otherwise the debt falls to Chris and his family.

Chris has no choice, but to go for one last big score. He contacts another runner who’s gone legit, his old pal Sebastian (Ben Foster) who suggests making a drug run to Panama. But like the Corleones, Chris wants nothing to do with that “dirty business” and hatches a plan to bring in several loads of counterfeit cash. Thanks to Sebastian’s connections Chris becomes a crew member on a cargo ship headed south (several pals are already planted on board to help along with Andy). Once they reach Panama, Andy and a couple of guys will dash over in a van, collect the funny money, and be back in an hour when the ship’s ready to leave the dock. In and out! No problems, right?! If you think that’s the case then you don’t know your movie crime capers! And of course, that mad dog Briggs and his thugs are bearing down on Sebastian and the Faraday family back in the states. Talk about getting pulled back in (and pulled in several directions)!

The world of smuggling makes an interesting new venue for the crime thriller. It’s a nice change from the bank vault or museum break-in. Unfortunately the film makes too many side trips and cuts back and forth from the Big Easy to the big ship, so the forward momentum can’t gain any speed. It’s fun to see Chris stay one step ahead of the ship’s captain (JK Simmons in full surly, grumpy J. Jonah Jamieson-mode), but quickly we’re back watching Briggs hovering near a kids soccer game. In Panama Chris and his pal are recruited by a wild-eyed crime kingpin (an under-used Diego Luna) in an armored car hit (how long before the ship leaves?). The actors do their best with this disjointed thriller.

Wahlberg commands the screen as a good man forced to do bad things (but no drug running!) who tries to survive using his skills and street smarts. You can almost hear the gears in his head grinding as he has to come up with a new escape idea. Beckinsale’s always a lovely screen presence, but she spends way too much time here being bounced around like a rag doll by the different lowlifes. Speaking of lowlifes,  Ribisi seems to be doing a riff on the growly, grizzled  creep he just played in RUM DIARY. I hope in his next role he gets to clear his throat and clean up a bit. Foster’s Sebastian may be the most complex of the bunch. He’s given up booze and crime, but seems to miss the old thrills. Ben Foster really show us this guy’s inner conflict. It’s another interesting performance by an actor who’s compiling an impressive resume. It’s just a shame they aren’t all involving ain a better thought thriller. The film’s final action climax (there’s at least two or three) is right from THE PERILS OF PAULINE. As a cinema crime caper CONTRABAND doesn’t quite deliver (or smuggle) all the goods

Overall Rating: 3 out of 5 stars

THE INTERRUPTERS – The Review

Every day thousands of people across the nation grit their teeth in frustration while reading the daily papers and weekly news magazines. Many more clench their fists against their armchairs while watching local TV news broadcasts. It seems the country ( or state or home city ) is going to ” Hell in a hand basket”! But they’re not part of the government-what can they do? Film maker Steve James ( HOOP DREAMS ) and author/producer Alex Kottlowitz addresses this dilemma in the powerful new documentary THE INTERRRUPTERS. the individuals profiled here, armed only with their wits and a cell phone, may be the most heroic action stars that you’ll see in the cinemas this year.

THE INTERRUPTERS documents the effort of an organization called CeaseFire to stem the rising tide of the youth violence ( particularly in the south side of Chicago ). As the title suggests these people, men and women ranging in age from their early 20’s through their 50’s, step in during heated altercations and attempt to restore calm before fists ( and rocks,bottles,knives, and guns ) strike out. We first meet the group’s founder, epidemiologistGary Slutkin, a man who traveled the globe battling disease and now wants to eradicate the disease of violence that is ravaging the community. One of the main Chicago co-ordinators, Tio Hardiman the creator of the “Violence Interrupters” program, meets the street team at a large table and helps map out trouble spots where they must concentrate their efforts. Like most of the Ceasefire members Hardiman’s youth involved gangs and crime. The film follows the team during a brutal year on those mean streets and focuses on three of these people trying to make a difference. While much of the work is with the African-American neighborhoods, the film spends some time with a former Latino gang member, Eddie Bocanegra ,who takes us to the spot where he took a life many years ago. He then conducts an art class with children at an inner city grade school that helps them deal with their fears. Later Eddie interacts with a family who lost their fifteen year old son to a stray bullet. We observe their daily gathering at his grave site and hear his younger sister tell of how he died in her arms. The most charismatic and vocal of the trio is Ameena Mathews, daughter of legendary gang leader Jeff Fort, who is one of the first CeaseFire workers to step in ( near the the start of the film she tries to diffuse a fight right outside their offices ). She tells of her time as a party girl and how the party ended when she was shot. Her struggle to reach out to a troubled nineteen year old girl, is full of setbacks and small victories. The busiest of the group may be Cobe Williams, who seems to doing a variation of the old plate-spinning act. He attempts to reconcile a single mother and her two teenage sons who belong to rival gangs. Then he’s doing his best to cool off a street hustler known as “Flamo” ( ironically enough ) who seeks revenge on whoever called the police on his family home ( Mom was put in handcuffs while his wheelchair-bound brother was taken to the station ). Finally he picks up a young seventeen year old after serving two years for armed robbery. After a tearful reunion with his sisters and kid brother, Cobe takes him to the barber shop he and his gang had robbed in order to apologize to his victims. Soon they’re trying to score a job for him . Unfortunately it seems that the CeaseFire team is always on the move with ver few breaks.

Like HOOP DREAMS James lets the participants guide the stories. There’s no flashy graphics, recreations,and animation in this portrait of a community in turmoil. James’s camera where there when the fatal beating of high schooler Derrion Albert made the national news after a grainy video of his murder hit the Internet. The CeaseFire team swoops in and stays with the family as the national media quickly moves on. There is some use of local TV news clips and newspaper headlines along with family photos and videos. The most haunting images maybe the piles of stuffed toys and makeshift posters and cards on street corners where a slaying has recently occurred. This film has more tension that the last five Hollywood thrillers combined. The team is determined not to use violence, but unfortunately they get caught in the crossfire. There’s no magic force field that protects them. In one scene Tio Hardiman is overcome with emotion when visiting an interrupter was was shot in the back while walking away from a street fight he thought had ended. With all this misery, THE INTERRUPTERS leaves you with a great belief in the good of humanity. Along with this horrific tales of carnage, there are stories of redemption, courage, and forgiveness. But they have little time to celebrate those little victories. The street is calling. But, maybe someday….

Overall Rating: Five Out of Five Stars

Today at the Plaza Frontenac Theatre in St. Louis co-producer Zak Piper will appear with Cobe Williams and CeaseFire national trainer Marcus McAllister for a Q and A after the 3:40 and 6:30 PM shows. On Saturday September 10 McAllister will join East St. Louis CeaseFire group members Chris Smith, Kyle Blackmon, and Renard Eastern for Q and A’s following the 3:40 and 6:30 PM shows.

THE ROBBER – The Review

The stoic, determined , enigmatic loner has been the subject of many thrillers and action films. On either side of the the law, the single-minded protagonist has been a fixture in cinema perhaps best exemplified in the sixties and seventies movies of actors such as Clint Eastwood and Charles Bronson. In the new film THE ROBBER we get to see a character based on a real person from the Austrian director Benjamin Heisenberg.

We first observe Johann Rettenberger ( Andreas Lust ) running in circles around a small patch of grass. Soon we learn that he is in prison. Taking up most of the space in his small cell is a electric treadmill, which he immediately puts to use. Johann meets with his parole officer prior to his imminent release. Thr officer wants to make sure that he has a plan for the outside and does not become part of another bank robbing gang. Johann tells the man what he wants to hear. After his release he rents a tiny, dreary apartment close to the train station. He then goes to a job placement center and re-connects with a counselor Erika ( Franziska Weisz ). The talk a bit about his old gang. Soon Johann is back robbing banks, but this time he goes solo. He also continues his running regimin and enters a marathon race. Visiting Erika in the spawling apartment she had shared with her late mother, Johann is invited to live there in one of the empty bedrooms. The roommates soon become lovers as his crime spree continues. Can he keep his criminal activites a secret from her? And when will the authorities catch up?

THE ROBBER is a fairly simple story told with a great deal of energy by Heisenberg. You can almost feel the adrenaline rush doing the hold up sequences perhaps more than in THE TOWN since Johann has no partners. One robbery goes terribly wrong and Johannn must abandon his stolen car and flee on foot. This is a wonderfully suspenseful bit of editing and camerawork as he dashes through buildings with no idea where the exit doors are located. In another great chase scene he bolts out of a police station and eludes his pursuers in the dark streets. Lust portrays him as a mystery. We don’t understand why he makes no attempt at living a normal life. Is he addicted to the danger? There’s no back story that explains his behavior. Erika tries to break through his tough demeanor with no success. THE ROBBER is a tense, taut, little thrill ride that is an interesting European spin on the American crime noir classics.

Overall Rating: Four Out of Five Stars