Tag Archives: crime

Free Fire – Review

6 May

Have you ever been so excited for a movie, but knew you had to wait so long to see it that you were convinced it would never be released anywhere around you? Well, that’s how I felt about Ben Wheatley’s Free Fire. I saw the trailer for this movie months ago, and was so excited to see the cast and the insanity that the trailer had to offer. It also is worth mentioning that this movie has Martin Scorsese as an executive producer. All of the pieces were in place and I’ve finally gotten to see the movie I’ve been so excited for… The disappointment has really set in hard.

Chris (Cillian Murphy) and Frank (Michael Smiley) are two IRA members who have travelled to America to buy rifles from a known arms dealer and all around douche bag, Vernon (Sharlto Copley). Along for the ride is Vernon’s associate Ord (Armie Hammer), the intermediary Justine (Brie Larson), and some other hired hands to help with the transaction. This is a pretty volatile bunch to begin with, but once it’s revealed that Vernon has brought the wrong rifles and that there are hidden tensions shared between a few of the hired hands, things start to go south until shots are fired. Now the two groups are split at opposite sides of the abandoned factory they are meeting in with a suitcase full of money and crates of rifles and ammo standing between them. Whoever is left standing wins.

This as an idea sounds perfect. Put a bunch of volatile criminals in a room together with guns and money and see what happens. It’s not something we haven’t heard of before, but it looked like a movie that was going to take the idea and inject it with some high energy and lots of laughs. I’m not really sure what happened. As the movie started, I was into the dialogue and the characters. They were setting up the scene very well and when a new character was introduced, I liked seeing their personality matched with everyone else’s. I had this picture in my mind that this was just going to be a raucous clash that didn’t have time to slow down, but Free Fire is surprisingly boring. There’s a lot of sitting around and yelling insults and when a shot is fired, someone is either just clipped or missed all together. And this goes on and on it seems, until things finally pick up the way I wanted it to in the last act of the movie. If the whole film had the energy of the last act, this review would be going a whole other way.

I do have to give it to all the actors in this movie. All of them give their best to their performances, which is really the strongest point of the movie. The characters are what’s going to be remembered most. Cillian Murphy,Michael Smiley, and Brie Larson work off each other very well and they spend most of the movie together. If their chemistry didn’t work than that would have been a real problem. I also have to give it to Armie Hammer for being surprisingly hilarious as Ord, who just seemed to have an answer for everything. How could I talk about the good performances in Free Fire without talking about Sharlto Copley? This guy is one of my all time favorite actors, and for good reason. He has all of the best lines in this movie, and quite frankly, it’s clear that Wheatley wrote Vernon as his favorite character. It shows in every line Copley delivers. He’s the best part of the movie, hands down, and I know I may be a little biased in saying that, but I don’t really care.

When I think of all my favorite parts in this movie, they all come from the last half hour or so. I was looking at the time all throughout the movie wondering how they were going to fit in what I wanted to see with the time running out so quickly. This is not a long movie, so when I got to the 45 minute mark, I kinda lost hope that this movie was going to be as exciting as I originally thought it was going to be. Then the third act happens and it was a lot of fun, but I couldn’t help but wonder where all that energy and excitement and humor was for the beginning and the middle. Ben Wheatley did not handle the material well in his writing and seriously undersold what this movie could have been. The whole thing is a huge missed opportunity, which is sad because I see so much potential.

Free Fire had everything it needed to be a cult classic. It had a really cool idea, memorable characters, a great cast of actors, and a writer/director that has proven his skill in the past. I’m still not sure what happened. The finished product is a lackluster action/comedy that provides a good deal of laughs but is bogged down by an overly short run time and a surprising lack of energy. This film could have been an incident of hilarious contained chaos, but it never reaches this potential which left me wanting so much more. This is one of the bigger cinematic disappointments I’ve seen in quite some time.

Final Grade: C-

T2 Trainspotting – Review

7 Apr

One of my favorite movies of all time is the 1996 Danny Boyle film Trainspotting, which is based on a 1993 novel of the same name by Scottish author Irvine Welsh. This film seems to have always been with me since it seems like a week can’t go by without me referencing it or just having it cross my mind when a certain song comes on. I just love this movie to death, and to me it’s a perfect film. For years, a sequel has been talked about and going through different phases of production, but here we are in 2017 and we finally have T2 Trainspotting. This is a time of sequels and reboots and remakes, so a lot of people may be turned off by this idea, but Welsh did write a sequel in 2002 called Porno. With Boyle, screenwriter John Hodge and Irvine Welsh all back on board for this sequel, I was also on board and this film did not disappoint.

20 years after deceiving his friends and running off with a whole bag of money, Mark Renton (Ewan McGregor) finally returns to Scotland with the hopes of reuniting with friends and family. His friends all seem to be in different states of decay with Simon (Jonny Lee Miller) managing a run down bar and addicted to cocaine, Spud (Ewen Bremner) still a heroine addict who’s lost nearly everything, a Begbie (Robert Carlyle) in prison with a strong personal vendetta against Mark fueling his every action. Pretty soon, Mark and Simon get over their troubles with one another and turn, once again, to a life of crime with the plans of converting Simon’s bar into a brothel. They enlist the help of Spud and Simon’s girlfriend Veronika (Anjela Nedyalkova) to help wth the transformation. Things start to get out of hand, however, when Begbie escapes from prison and starts gunning for Mark, while Simon and Spud do their best to cover for him. Amongst all of the crime and the business plans, this gang’s past is quickly catching up to them and there’s nothing they can do about it.

I’d be lying to you if I said I didn’t nearly jump out of my seat when I saw each character return in their respective introductions. These are some of my favorite characters ever put to the screen, because no matter how troubled and deceptive they are, you can’t help but love them. It’s been 20 years since the original film came out, but the way these actors seamlessly return to their roles, it feels like the first film could have come out yesterday. The shenanigans they get into are very reminiscent of the first film without it ever feeling like Danny Boyle, John Hodge, and Irvine Welsh are just capitalizing on its success. This isn’t a film about nostalgia for the audience, but more so about the dangers of becoming to enraptured in your past that you’re unable to look forward, which is the case for most of the characters in this movie.

If  were asked to describe this movie in one word, I could easily give you the answer: seamless. This is a seamless transition into a sequel that feels so natural, it’s almost as if this were always meant to be. The end of the first film isn’t quite a cliffhanger, but it does leave the audience wondering if the certain betrayal that happens is enough to make them change their lives. This film answers that question with a resounding “no.” This is an excellent postscript to the questions that can arise at the end of the first film while offering a deeper understanding of these complicated characters as they enter middle aged life. While there is a sense of nostalgia and love of Trainspotting with small references to scenes from that movie, it comes with the danger that too much nostalgia will ruin your foresight, a theme that I just can’t get enough of.

While T2 Trainspotting is just the sequel I needed, it does come with a storytelling flaw that stops it from reaching the esteemed heights of its predecessor. I this movie, Mark and Simon are turning back to a life of crime in order to turn Simon’s bar into a brothel. Cool. I’m into that story. Meanwhile, Spud is dealing with his own problems, which get explored more when he’s brought into Mark and Simon’s plan. Also cool. What’s upsetting is that certain interesting plot points go nowhere after awhile in favor of something completely different to happen in the final act of the movie. Luckily, the plot points that are abandoned are not the most interesting parts of the movie, but it feels like a lot of time was wasted for such a big part of the story to just be completely abandoned like it never existed. It leaves the second act of the movie feeling disjointed and certain scenes feeling unnecessary. It’s kind of a weird decision and I’m not sure I fully understand why they took the movie in that direction.

T2 Trainspotting is exactly the sequel that the first film needed even if it doesn’t reach the level that its predecessor did. The bottom line is that I loved this movie. I really, really did. It’s like these actors never stopped playing these characters since they return with what seems like such ease. Danny Boyle and his crew also seem to not miss a beat with the kinetic editing and often outlandish style of the film. If certain plot points were cleaned up, I would have been very pleased, but the most interesting parts of the movie remain intact as the characters face elements of life that they just aren’t prepared for. I can’t wait to see this one again.

Final Grade: A-

Death Wish Series – Review: Part 2

31 Mar

I vow to finish this series no matter what it takes, even if it kills me. The first Death Wish film, at this point, feels quite dated but it still presents the viewer with interesting points of discussion and some memorable sequences. Everything after that just got progressively worse to the point of being brainless and downright silly. Let’s see if that progression, or regression in this case, continues with the last two films in the series.

in 1987, Death Wish 4: The Crackdown was released, but this time Michael Winner was out of the director’s chair and replaced by J. Lee Thompson.

Paul Kersey (Charles Bronson), an architect by day and vigilante killer by night, seems to have finally found a place for himself with his girlfriend, Karen (Kay Lenz), and her daughter, Erica (Dana Barron). This stability is shaken to the core when Erica dies of a crack overdose one night, which angers Kersey to the point of once again picking up his weapons and cleaning up the mean streets of Los Angeles. Before he gets very far, Kersey is contacted by magazine publisher Nathan White (John P. Ryan) who tells Kersey that his own daughter died of a crack overdose and puts him on the trail of two big time rival drug dealers. Kersey now has a larger plan of action schemes to pit the two factions against each other while systematically wiping out their business on the streets.

I can believe I’m saying this, but Death Wish 4: The Crackdown may very well be the best sequel in this series so far. That isn’t really saying too much, but it at least keeps things minimally interesting. It’s still, at its core, the same exact thing. Someone close to Kersey dies so he goes on a revenge spree until he finds his way to the person truly responsible. It’s the formula for this series that has grown so old at this point. What this film does differently is show Kersey going against to warring factions and making them suspicious of each other, which at least adds a newer level that wasn’t in the other films. The unfortunate thing is that this doesn’t really amount to a whole lot in the grand scheme of things, and the effects that he has on them is over before you can fully appreciate what it is he’s doing. It was still nice to at least see the film makers trying something different with the material.

Death Wish 4 is still lacking in areas that the other films were, despite there being some improvements to the formulaic nature the series found itself in. For one thing, this film is still completely devoid of any emotional resonance which is garbage considering this is a revenge film. If you’re going to make a movie where a character feels the need to get revenge on someone, there should be some feeling expressed by the character. Instead, someone dies and Kersey kills people because that’s what it says in the screenplay, not because that’s what he feels he has to do. It’s so routine, and Bronson just looks like he’s going through the motions. It’s a very robotic feeling movie. Nothing happens because the characters feel this is what should happen next. Everything happens because that’s the way to move the story forward. That doesn’t make for good entertainment and that’s not the way a story should be written.

Death Wish 4: The Crackdown is a slight improvement over Death Wish 3, but not by a whole lot. It introduces some new concepts, which is fine, but doesn’t really go anywhere with them. The whole film just feels part of the same routine that other movies have already established. It also has one of the worst scenes involving a dummy I’ve ever seen, which can also be said about Death Wish 3. This isn’t a good action movie, but it isn’t the worst this series has to offer. I still found myself wishing I was just watching something else.

Final Grade: C-

As if 4 movies just wasn’t enough, a fifth and final movie was released in 1994. God help us all.

Paul Kersey, now living in New York City under the name Paul Stewart, has been madly in love with fashion designer Olivia Regent (Lesley-Anne Down) and has recently proposed to her. He also cares deeply for Olivia’s daughter, Chelsea (Erica Lancaster), who sees Kersey as a father figure. This happiness Kersey has found soon comes crashing down when Olivia’s gangster ex-husband, Tommy O’Shea, (Michael Parks) moves in on her business and eventually ends up disfiguring and killing her. This forces Kersey to once again pick up his weapons and bring real street justice to this band of criminals before they have the chance to hurt anyone else.

I really hate saying this, but I am so sick of writing about these movies. They wore out their welcome long ago, yet here I am commenting on another Death Wish film. Death Wish V: The Face of Death has few positives working for it. For one thing, Kersey has some interesting methods of killing people, and it sometimes borders into dark comedy territory. I also really enjoyed the villains in this movie, and they are much more memorable than any of the other antagonists this series had to offer. Michael Parks really hams it up as Tommy O’Shea and he comes of as slimy and down right villainous. I at least really wanted to see Kersey get his revenge on him and it works well. There’s also a really interesting character played by Robert Joy that is quite unique, but he’s never really touched upon except in a few very brief scenes.

Everything else about this movie is recycled, and I honestly don’t have too much to say about it. It’s all the same formula. Someone hurts one of Kersey’s loved ones and so he, in turn, kills them. It’s the same exact thing over and over again, and by this point it’s tired. Bronson, himself, seems bored out of his mind and this is obviously just a paycheck for him at this point. There’s nothing exciting about anything in this movie except for the end credits because I knew that it was at this point I was done with these movies.

I don’t have anything more to say about Death Wish V: The Face of Death that I haven’t already said for the other 4 movies in this series, especially concerning the sequels. This is a pretty boring movie that plays by the formula that it dares not change. There are only a few redeeming qualities, but it doesn’t really help that much.

Final Grade: D

The Death Wish series really didn’t have a whole lot of steam to start with, so the fact that there are 5 movies is really an anomaly of film. I will admit that it’s fun seeing Charles Bronson do what he does best, but there really isn’t much else worth while in these movies. I hate to use this term when it comes to movies, but this series is a prime example of cinematic garbage.

Death Wish Series – Review: Part 1

24 Mar

One of the most iconic action stars of the past century is the one and only Charles Bronson. He has a charisma about him that is undeniable, so it’s no surprise that he’s a name still remembered to this day. The film that got him raised to such a status is a well known thriller called Death Wish. While controversial for its time, and even this time in a way, it has garnered a lot of fans and a possible remake from Eli Roth. Like with other films of this time and genre, one movie wasn’t enough, which resulted in a total of five Death Wish movies. What can be said about them? Well… they’re certainly something else.

Let’s start with the original from 1974.

Paul Kersey (Charles Bronson) is a liberal minded architect living with his wife (Hope Lange) and daughter (Kathleen Tolan) in New York City during a time when crime is sky rocketing. One afternoon, a group of thugs break into Paul’s apartment and assaults his daughter and murders his wife. Overcome with grief, Paul doesn’t know what to do and his beliefs are all starting to go down the drain. After a business trip, Paul comes home with the answer and a brand new revolver. He takes it upon himself to start working as a late night vigilante, walking the bad streets of New York and shooting anyone that threatens him or another person. This causes the media, citizens, and police to start paying attention to his actions, and things in New York begin to slightly change. With the people starting to fight for themselves, NYPD Lt. Frank Ochoa (Vincent Gardenia) begins his nearly impossible task of tracking down the vigilante and putting an end to his spree.

Death Wish was made in 1974 and based off of a novel of the same name that was published in 1972. This was a time when crime was really getting bad in major cities, and people just didn’t know what to do about it. This brought about a new age of action films, with the most resonant being the Dirty Harry series. This film doesn’t quite hit as hard as some other films because the idea of vigilantism isn’t explored nearly enough. The novel takes the idea and shows the dark side that it can create, while the film shows Kersey as a straight up hero who can do no wrong. This makes the film feel incredibly dated and kind of a shallow experience, especially if you’re approaching this wanting to see an action classic that can stand the tests of time. It can also come off as very preachy in terms of its right wing political ideology. I don’t care if a movie leans a certain way, but make it subtle and don’t talk down to an audience.

There are things in Death Wish that do stand out. For one thing, Bronson’s performance is good even though the character sort of feels a little bit underdeveloped. Instead of being this boisterous vigilante, he plays the role very quietly, which actually reflects the whole tone of the movie. As the series goes on, it gets more and more off the walls, but this film is much more down to earth. In fact, it’s hard to call this movie a full blown action movie when it often times feels like a drama. The plot moves along slowly, which in retrospect actually works better than I originally thought. There are also no grand action set pieces. The “action” happens very quickly with Kersey pulling out his revolver and shooting a criminal, and once that’s done he just leaves the scene. It felt gritty and real and wasn’t at all what I originally expected this movie to be.

Death Wish is an interesting time capsule of a movie, but it’s one that hasn’t really aged well. It’s political ideology is rammed down the audience’s throat to the point of being obnoxious and it features a well known main character that didn’t always feel too complete. It does feature some cool scenes that feel gritty and realistic and the whole approach of not making a grand scene of the violence is a good choice. I just wish that the idea of vigilantism and its dark side was explored more instead of the whole concept just being praised. It’s an interesting movie for any film history buff and fans of Charles Bronson, but it’s really lacking in many ways.

Final Grade: B-

Eight years later, in 1982, a sequel crept its way into theaters and dragged things down even further.

After his vigilante spree in New York City, Paul Kersey has found a peaceful home in Los Angeles. His daughter (Robin Sherwood) is in a mental hospital and improving significantly, and he’s also found new love with radio reporter Geri Nichols (Jill Ireland). All of this comes crashing down when his daughter is kidnapped and murdered by a gang of criminals, which forces Kersey to once again pick up his revolver and hit the mean streets. As Kersey starts his revenge quest on the group of thugs, Detective Ochoa gets wind of what’s happening and travels to L.A. to put an end to Kersey’s spree, but it can never be that easy.

Death Wish II is straight up garbage. There’s no use beating around the bush with this one. It doesn’t even try to be anything different than the original. Kersey is living a happy live, then someone he loves is killed which brings him to his vigilantism. That’s the same exact plot as the original Death Wish. At least that one raises some questions and presents the material in a subtle way. This one, however, is just violence for the sake of it without any interesting material to back it up. That would be acceptable if this film had any sense of style, but it doesn’t even have that. It’s just a gray, ugly looking movie filled with cannon fodder for Bronson to take his anger out on. It’s absolutely mindless and devoid of any sort of flash to pull the viewer in.

Death Wish II succeeds at only the most base level. I will say that compared to the first one, there’s a bit more mindless entertainment. There’s no real set up to the movie. Things happen right away which leads Bronson to start his vengeful murder spree. If you want to see an action star just blow criminals away, this is the right movie to look at. There’s a lot more action and the violent scenes do feel bigger and more exciting, which is definitely a plus. The only problem, like I said before, is that there’s no style and the motivation feels completely stunted by Charles Bronson’s lack of dramatic presence.

There’s really not much to say about Death Wish II. It feels like a rehashing of the first film, but more loud and more violent. This would be a welcome addition if the story felt different and something new was added. There’s really nothing new here at all. The only time there was a plot development that could lead somewhere interesting, the film makers decided to cut that off prematurely in favor of more mindless proceedings. This film is really a waste of time and only die hard Charles Bronson fans should give this movie any sort of respect.

Final Grade: D-

But the series wasn’t done with the stinker that is Death Wish II. Not by a long shot. In 1985, Death Wish 3 was released, and this is where things really started to go off the rails.

Paul Kersey has been living the life of a vigilante for too long and has finally decided to put away the revolvers and lead a normal life. This personal promise to himself is shattered upon his return to New York City where he finds his long time friend bleeding to death after being attacked by a group of thugs in his apartment. Kersey is than approached by Inspector Shriker (Ed Lauter), who makes an off the records demand of Kersey to return to his old ways and clear the neighborhood of the goons responsible for all the mayhem. Kersey finds allies in the tenants of the apartment building, especially with WWII veteran Bennett Cross (Martin Balsam) and the mild mannered Rodriguez (Joseph Gonzalez). With the support of his neighbors and other victims of the community, Kersey wages war with the criminals and their leader, Fraker (Gavin O’Herlihy).

Death Wish 3 is one of the most unintentionally hilarious movies you or I may ever see. To be fair to it, it’s a slight step up from the second film but for some of the wrong reasons. I do like that the plot deviates from someone hurting his family, but it just goes right to someone hurting his friend. Where the movie really differs in that Kersey becomes something of a guardian angel to the neighborhood, and by the end they all join him in his war against Fraker and his goons. The third act of the movie, by the way, is an extended shoot out in the streets that seems to never end. It’s so much fun to watch but it’s some of the most absurd, mind numbing violence. By the end of it, there’s no emotion or excitement to be felt, other than the moment of joy when the first end credit begins to scroll up the screen.

The rest of the movie is also devoid of any kind of emotional or dramatic impact, which would be fine if the rest of the movie was as entertaining and off the walls as the third act. It isn’t unfortunately, and this is where things really get bogged down. It does have more memorable characters than the previous film, but they don’t really have to much to say or do until things really start happening. There’s a few scenes of Kersey gunning down people throughout the movie, but it’s just all part of the formula by now. Even with a storyline that’s changed, it’s not enough.

If you want a good laugh, Death Wish 3 might be worth checking out, if only for the outrageous finale. It still keeps up the same trend that the other ones did, so the whole routine is feeling kind of stale at this point. It is a step up from the second movie, but that’s hardly saying much.

Final Grade: D+

So that’s the first three films in the Death Wish series. I still have two more movies to go, so keep an eye out for the next part of this review.

Ghost Dog: The Way of the Samurai – Review

9 Mar

Jim Jarmusch is quite possibly one of the most critically acclaimed film makers working in the industry today. Even with all of this critical feedback, his films rarely see the light of day in terms of the mainstream market, but Jarmusch never compromises his vision for something more accessible, and I respect that. While most of his films are very interesting an defy genre conventions, one that really stands out to me is Ghost Dog: The Way of the Samurai, which was released in 1999. It’s a story that combines a mafia crime story with an urban drama that has elements of an Eastern samurai tale. It’s a very unique movie that has a lot of elements working together, but sometimes at the expense of other aspects that could have been explored more.

Ghost Dog (Forest Whitaker) is a mysterious hit man that lives by the code of the samurai, which was written in the Hagakure. Part of the code is to honor his boss, a mobster named Louie (John Tormey) who saved his life some years before this story takes place. Part of his honoring Louie is to perform contract hits without question. One of the hits is Handsome Frank (Richard Portnow), a made man who is in a relationship with mafia don Vargo’s (Henry Silva) daughter (Tricia Vessey). After successfully performing the hit with the daughter being unexpectedly present for it, Vargo puts a hit on Ghost Dog, much to the chagrin of Louie, who is forced to go along with it to some degree. Now, Ghost Dog is going to have to come out of seclusion, and in the traditional ways of the samurai, get his revenge on the mafia family that wants him dead.

So while this does have a pretty classic revenge story going on, the core of this movie is Ghost Dog. It’s more of a character study than anything else. There’s bursts of violence that happen, but it’s the downtime that sticks with me more. There’s a great scene in a park where Ghost Dog is talking to this little girl he just met about different kinds of books. This scene added a lot of humanity to Ghost Dog, a man who is essentially a murderer for hire. This kind of humanity makes him a very conflicted and complicated character whereas he can be gentle to most anyone he meets, but also kill you without batting an eye. This study of Ghost Dog makes for slow paced storytelling, but it works for this movie. What doesn’t really work is when the slow pace slows down to a halt. There’s a lot of scenes where Ghost Dog is just driving and listening to music, which is brilliantly composed by RZA. As great as the music is, these scenes go on way to long, and unless you’re 100% invested in everything in this movie, you’ll probably find yourself drifting from time to time.

What really makes Ghost Dog: The Way of the Samurai unique is the seamless genre blending. Like I said before, this film works as an urban drama and a crime thriller with sprinklings of Eastern philosophies and styles. I really love when movies defy all genre conventions, which is a major strength of Jim Jarmusch. The combination of RZA’s hip hop score with the imagery of Ghost Dog practicing with his katana on a rooftop in the middle of the city is just super cool, and when he’s comparing the philosophy of the samurai with the violent revenge he’s getting on the mafia also makes for a really cool blend. Now, the problem with having all this stuffed into one movie that isn’t even 2 hours means that some stuff is lost or pushed aside. Not a lot of Ghost Dog’s past is explored and a lot of side characters are just pushed away for long periods of time when a little bit of development would have went a long way. I know this story is more about Ghost Dog, but having certain characters stand out more would have made his actions have more consequence. It’s a small price to pay for fitting in all of the cool stuff that is prominent.

Ghost Dog is a really good example of the kind of writing that Jarmusch does and why it’s really a style all his own. There’s a lot of really cool bits in this movie that shouldn’t be under appreciated. There’s a Haitian character that doesn’t speak or understand a word of English, but he’s also Ghost Dog’s best friend even though they don’t understand each other. There’s also a gangster on Ghost Dog’s hit list that has a passion for Public Enemy, especially Flavor Flav. This whole movie is filled with these strange moments that make it feel surreal, but also down to earth since everyday life can be surreal. Jarmusch is as much a writer as he is a director, and it really shows in this movie.

Ghost Dog: The Way of the Samurai is definitely a cool and well made movie, and it’s one that should be remembered for being something so unique. It’s a blending of so many different genres and themes and styles while also being an in depth character study. I just wish it was a little bit longer. There’s a lot of different characters and elements to the story that could have been explored a little bit more. Still, what does remain is a very cool story about a one of a kind character. It’s definitely worth a watch or three.

Final Grade: B

Kill List – Review

23 Feb

I’m always up to the task of watching a movie that challenges the idea of genre and narrative form. It’s an excellent mode of expression to take preconceived notions of storytelling and flipping them on their head to create something new. For this to be a success, however, it has to be done right. Movies are archetypically based, so changing the formula can be a tough thing to do. This is exactly what Ben Wheatley attempted to do with his 2011 film Kill List. This was a very strange movie to watch, and I’m still kind of processing it, but it’s really a very interesting film to say the least, even if some of it doesn’t really work.

kill-list-poster

Jay (Neil Maskell) is a hitman who has been out of work for months after a particularly traumatizing assignment in Kiev. Shel (MyAnna Buring), Jay’s wife, talks their friend, Gal (Michael Smiley), and convinces him to recruit Jay to help in an assignment with a large payout. After some arguing, Jay agrees and the two hitmen meet their employer (Struan Rodger), who gives them a list of three people and all the information they need to execute the hits. As the two hitmen start their mission and begin working their way down the list, things seem a little bit out of the ordinary, and a dark secret connects the three targets on the list; secrets that contain brutality and sadism on such a level that it horrifies the contract killers and sends them spiraling into a mystery that they may not come out of alive.

I think it’s kind of a compliment to say that a movie keeps rattling in your brain and forcing you to think about it, even when you don’t particularly want to. That’s the relationship I’m having with Kill List. This film blends two genres together to create a mash of oddness. I can’t think of another movie that takes a crime thriller and puts it together with sadistic horror to create something that is as chilling and unforgettable as Kill List. I don’t think this movie is a masterpiece or anything like that, but I do have this feeling that Kill List will forever be somewhere on the back burner. I also have to give Wheatley credit in how he handles a lot of the subject matter. There are scenes that will make the squeamish leave the room post haste, but never does it go over the top into an exploitive affair. This movie effectively crawls under your skin without it being too much or overdone. It’s very well thought out film making and storytelling.

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At the core of this movie, though, is a really intriguing mystery. This is where I got really hooked. The film starts off easy enough with a story of a hit man forced back into the business, but it was enough to keep me watching. When things started getting strange for no reason is when I really started to pay attention. It was great trying to figure out just what in the hell was going on, and for the most part, there really aren’t any clues. You’re left to sit and watch and wonder. I was really dying to know what happened, but this is very ambiguous movie that is left for you to interpret. This might be where the movie falters for me just a little bit. I really wanted to know everything and have concrete answers, but Kill List has none of these to offer. That being said, this is an incredibly frustrating film that succeeds in leaving the audience baffled and freaked out.

When I say freaked out, I really mean freaked out. I’m a real sucker for well made and effective horror movies, so I do expect horror movies to go the extra mile. Technically speaking, I don’t know if I’d call Kill List a horror film. I really don’t know how I’d define it. Still, the last third of this movie is frightening, and I’m not ashamed to say it royally messed with me. I would love to get deeper into what happens, but the most fun you’ll have with this movie is the tension and suspense of it building to what is actually going on. Saying anything more would spoil some of that, so just know that I thought it was one of the creepier displays I’ve seen in a while.

To me, Kill List is a lot of things. It’s frustrating, stunning, difficult, but also extremely memorable. Despite all of the confusion I felt watching it and all of the questions left unanswered, I’m really thrilled that this movie didn’t remain under my radar forever. It’s one that I’m going to want to show to people just so I can see their reaction to it because there really isn’t another movie quite like this one.

Final Grade: B

Once Upon a Time in America – Review

8 Feb

Sergio Leone is best known for helming the epic spaghetti western trilogy that features A Fistful of DollarsFor a Few Dollars More, and perhaps his most famous film, The Good, the Bad, and the Ugly. His final feature film, however, was something very different from his previous works. In 1984, Leone released Once Upon a Time in America, a film that has become a sprawling gangster epic. When it was first released, its run time was cut down to two hours and twenty minutes and the chronology of the movie was changed to make it happen in chronological order, while the original length was more like 4 hours with a story told through flashbacks. The shorter version is the one people would much rather forget, so today I’m going to be looking at the longest cut, which runs over four hours, set in the proper order, and features scenes not shown in previous American releases.

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After living a life of crime and excitement, small time New York gangster Noodles (Robert De Niro) is forced to leave the city and go into hiding for over thirty years. After all this time away, he is mysteriously called back to New York City by an unknown part for an unknown reason that involves a bag full of money that was stashed in a locker at a train station when Noodles and his friends were kids and just getting started in their life of crime. Upon his return, he is overwhelmed with memories of meeting his best friend and partner, Max (James Woods), a friendship that over the years got more and more strained as motivations and relationships stood in the way of their goals. As Noodles starts piecing together the mystery of who summoned him, he also takes the time to reflect on the decisions and the action that got him to the lonely place he finds himself in the later years of his life.

One of the most important thing about any movie is the characters that are created for the audience to relate to or understand or anything like that. To me, some of the most memorable characters come from gangster movies because I really enjoy the depth of the best gangster characters, but I also see the more revolting sides of the personality as something that truly gives their characters weight. That how most of the characters in Once Upon a Time in America are created. Noodles and Max are two sides of the same coin and create a relationship dynamic that is typical for this genre but feels different and, because of the film’s run time, explored in a much finer way. Even the side characters in the film have unique character traits that make them memorable, and never does the large cast ever seem to blend together in any way. De Niro and James Woods are both excellent in their roles, and I also have to give props to Elizabeth McGovern for her role as Deborah, a character with one of the most unsettling stories of all the characters in the film.

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While crime and typical gangster themes are explored in this movie, the themes explored in Once Upon a Time in America feel grander in scale than most movies in this genre. Part of the reason these themes resonate so well is the fact that the story is told through flashbacks and not in chronological order. When Noodles returns to New York City, there’s this noticeable level of sadness and disconnect that he feels towards everything. When the story goes back in time to the 1930s, we see why these feelings exist. This creates themes of loneliness, friendship, loss, and the strongest of all those explored, regret. To me, that’s what stuck with me the most is the regret that Noodles feels towards his life and his choices. This makes every death or separation feel all the more powerful.

I can’t talk about a Sergio Leone movie without talking about his artistry behind the camera. Like all of his other films that I’ve seen, Once Upon a Time in America is a gorgeous cinematic experience. The sets that are built combined with his wide angle style of shooting makes this epic film seem grander than most. The color pallet is also something to notice with the past having a much warmer pallet as compared to the present time where the world is covered with neon lights and blues and grays. His collaboration with cinematographer Tonino Delli Colli, who worked with him on his previous two films, also adds a lot with his camera work and lighting. Finally, I have to mention Ennio Morricone’s beautifully realized score that turns the emotions, loves, and losses of the characters into incredible music. It’s a solid reminder of why he’s my favorite film composer.

Once Upon a Time in America is both a technical achievement while also acting as a haunting tale of impulsion and consequences. This is the kind of movie that can serve as a reminder to any cinephile as to why they love movies and the process behind their creations. Sergio Leone is truly a master of his craft, and everyone involved successfully created one of the most memorable gangster films ever made. Just make sure you stray away from the heavily cut American release and find the longer versions to truly get the full impact of the story. It’s not one to be missed.

Final Grade: A+