Tag Archives: drama

The Killing of a Sacred Deer – Review

18 Nov

There are certain film makers working right now where it’s pretty much guaranteed that anything they release will be a completely original piece of work. One of these film makers is the one and only Yorgos Lanthimos. My first experience with Lanthimos was with his surreal family drama/coming of age story called Dogtooth. Just last year I had the pleasure of seeing his dystopian romance titled The Lobster, which made me laugh as much as it made me think. Continuing this string of totally oddball films is his latest, The Killing of a Sacred Deer, which almost slipped under my radar. I watched a trailer for it the day before seeing it, but still didn’t really have a sense what it was about. I’m glad I went in that blind because what I saw was one of the most disorienting movies I’ve seen in a long time and I’m thrilled I didn’t miss it.

Steven Murphy (Colin Farrell) is a surgeon that has used his skills to help create a great life for himself. He’s celebrated in the community and has a really nice house with his wife, Anna (Nicole Kidman), and his two kids, Kim (Raffey Cassidy) and Bob (Sunny Suljic). He’s also taken a teenage boy who is in his daughter’s class, Martin (Barry Keoghan), under his wing since he’s had a hard time coping after his father died during heart surgery. The odd part is that Steven was the surgeon and he’s may or may not be hiding something from Martin concerning that day. When Steven’s children begin to get mysteriously ill and just keep getting worse after many different doctors can’t diagnose what’s wrong with them, it becomes clear that Martin may have something to do with it, and his ultimatum to make it all stop will change the Murphys’ lives forever.

The first thing I absolutely need to touch on is how this movie is written and how it is performed. From the very first line of dialogue, I knew something was weird. Everyone spoke so literally and used such a dull, matter of fact way of delivering these lines. It was very hard to get used to because pretty much no one talks like that. It made for some very cold characters that felt like they were miles away from the reality we are all living in. There’s one scene where Nicole Kidman and Colin Farrell both have a break down in their kitchen, and that was really the only time any true honesty or emotion was being conveyed. To many people, this will be a major deal breaker. This isn’t a straightforward narrative with straightforward characters. These characters almost feel programmed to say what should be said in a certain situation instead of saying what they feel. It’s almost sociopathic, but that’s just what this movie needs.

Not only is the acting very cold, but the cinematography seems almost non existent. This film is shot in hues of gray and blue with other, brighter colors coming in rarely. The locations are almost bare of any kinds of decorations, besides what is necessary for the characters to use to live, and this just mirrors their lack of any kind of moral or personal connection to the world they live in. They merely exist, and up until this point, existed free of consequences. The striking score of the film completely clashes with the bare cinematography and set design and succeeded wonderfully at sending shivers down my spine, even if the image was nothing all that off putting. The entire movie is made to make the viewer feel uncomfortable. Finally, and possibly most importantly, the camerawork is disorienting in the best possible way. It flows behind characters, often times going out of focus or losing them in the frame some other way. Zooms end with people on the far side of the screen instead of firmly in the center. It will also often times linger too long on somebody or something, just to add a new layer of creepy that otherwise may have slipped beneath the surface.

Finally, I can’t praise the originality of Yorgos Lanthimos and The Killing of a Sacred Deer enough. We have a film made by an artist that is totally unafraid of controversy and backlash. This movie doesn’t pull any punches and will leave you confused and wanting more. There are things that happen in the world of this movie that would surely be explained in any summer blockbuster, but Lanthimos isn’t interested in answering questions. He’s interested in telling a story that defies all logic, but demands you pay attention to the straightforward way he tells it. This isn’t an easy film and it can’t really be compared to any other film, other than maybe something else Lanthimos has done. He has a style all his own and I can’t wait to dive down this rabbit hole again.

I absolutely loved this movie. I loved this movie more than I thought I would and it’s been sneaking around in the back of my mind since I saw it. It’s hilarious, disturbing, awkward, cold, and ultimately original. When I see a piece of work done by a film maker who isn’t afraid to break any and all rules, I feel a sort of respect that’s rare. The Killing of a Sacred Deer isn’t for everyone, and it is admittedly hard to get into at first, but once you find its rhythm, I dare you not to remain hooked.

Final Grade: A

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Serpico – Review

21 Oct

There are certain movies that I’m really surprised I haven’t seen yet. These aren’t movies that stay under the radar or anything, but movies that are well known and loved by audiences. Some of them are even considered classics. What can I say? Nobody’s perfect. I just got around to seeing one of these films that I’d list in these “movies I should have seen already” categories. That film is the 1973 classic by Sidney Lumet, Serpico. I can’t even say I knew what the film was really about. All I knew was that this movie helped form Al Pacino’s career, which is kind of a big deal if I say so myself. After seeing Serpico, I have to say that I didn’t love it. I liked it and it’s certainly a movie I’m not going to forget, but it had major issues that rubbed me the wrong way. Let’s get right into it.

All his life, Frank Serpico (Al Pacino) has wanted to be a police officer. When that day finally comes around, it’s a dream come true. Starting out as just a uniformed officer walking the beat, he begins to see signs that life on the force may not be what he expected, especially after seeing a suspect get roughed up in an interrogation room. As time goes on and he begins to adjust, he is bumped up to a plainclothes officer working more dangerous and criminal cases. What he sees is corruption on a massive scale with his coworkers shaking down drug dealers, pimps, and other criminals. Serpico looks everywhere for help, even going so far as to bring his grievances to the mayor. When no one is able to help, the biggest danger for Serpico isn’t the criminals he busts on a day to day basis, but his fellow police officers who feel he can’t be trusted.

Many people consider this movie a classic, and I believe that because of its impact on the genre. You won’t see any argument from me because my complaints are pretty minor in the grand scheme of things. I want to get the positives out of the way first because they truly do outweigh the negatives. This was a very early film in Al Pacino’s long and praised career, and if it wasn’t for Serpico, he may not have made it as big as he did. Let’s not forget that he was Michael Corleone in The Godfather movies, but this was just another notch in making his career. Pacino is excellent as Serpico. After having spent a lot of time with the real guy, it’s no surprise that he has his voice completely altered and a lot of these mannerisms you don’t really see in other roles that he’s done. This is a complete transformation and a performance that really helped define the times in terms of acting with it being the early 1970s, one of the largest times of change in film since sound was first introduced.

The story of Serpico is also incredibly engaging. As the narrative moves forward and Frank’s plight becomes more dire, I actually felt myself getting stressed out. It’s not terribly hard for a movie to have me guessing as to what’s going to happen or feeling some sort of suspense, but this movie made me physically feel stressed. Everywhere Serpico turns, he’s met with a brick wall, and we see that over the span of over two hours. Pacino’s performance and the writing really brings this character to life onscreen, so we as an audience truly want to see him succeed and finally be able to live the life that he’s wanted. Sidney Lumet is a very talented director who is able to turn characters’ environments into characters themselves. Just think of that one room in 12 Angry Men. What Lumet does for New York City in Serpico is something on a whole new scale. Having filmed this movie in mostly all of the boroughs of New York City, I saw different aspects of life clash and combine making the city live and breathe. It’s essential to this film’s story and Lumet pulled it off flawlessly.

Speaking of flawless, this movie as a whole is not. As I was watching the story play out, I could tell that time was passing. Serpico’s apartment changed furniture, his different friends come and go, and his hair, beard, and clothes change. I figured this was probably a 3 year period. Boy, was I wrong. Serpico‘s story starts in 1960 and spans to 1971! WHAT?! I never got the sense that that was how much time was passing until after the movie was over and I was doing some research on it. If I had known how long all of this was going on, that would’ve added a whole new layer of dread to the stress I was already feeling for our hero. That being said, how smooth can you turn 11 years into a 2 hour movie? There are elements to Serpico’s life that do feel glazed over, forgotten, or rushed in favor of other interests. This kind of muddles the overall story for me, and I can’t help thinking this may have been better as a miniseries on HBO.

Serpico is a very good movie that is full of great elements that is ultimately bogged down by an overabundance of information. Al Pacino’s performance is outstanding and the overall emotional and physical response this film got from me says a lot about the story. Sidney Lumet also films New York City perfectly which brought a whole new sense of realism to the crime drama film. I just wish the story was told a bit more cohesively and smoothly, but instead I felt like I was jumping all over the place without knowing exactly where I landed. Still, Serpico has earned its right to be called a classic, and I’m not going to dispute that.

Final Grade: B+

To Live and Die in L.A. – Review

11 Oct

I’ve talked about William Friedkin before on this blog, and I’m sure I’ll be doing it again in the not too distant future. He’s a brilliant film maker who has very rarely allowed his vision to be compromised, so even if his movies aren’t always gems, you have to respect the guy. I mean he did The Exorcist and The French Connection for heaven’s sake. One of his movies that doesn’t get nearly enough attention that it deserves is his 1985 neo-noir thriller To Live and Die in L.A. While the film has gotten a cult following over the years, it’s not one that I hear discussed too much. I’ve just recently watched it and at first, I didn’t really know what to make of it, but then when it was over I really stopped and thought about the movie as a whole, and I gotta say that it’s one of his stronger films. It may not be quite on the level of The Exorcist and The French Connection, but like those movies, it defies Hollywood norms and turns the concept of a clean narrative completely on its head.

Richard Chance (William Petersen) and Jimmy Hart (Michael Greene) are two secret service agents who are tracking down notorious counterfeiter Rick Masters (Willem Dafoe), whose fake bills can never seem to be contained. After a routine check of what is believed to be Masters’ printing lab, Hart is shot and killed by Masters and his bodyguard. This fills Chance with an overwhelming need for vengeance, a need that he makes explicit to his new partner, John Vukovich (John Pankow). As the investigation turns up new leads and the two earn Masters’ trust as two potential buyers of fake bills, more problems arise with the legality of their actions. Vukovich sees the danger in how deep they are getting, but Chance is so blinded by his hate for Masters that they may both fall down a criminal abyss and never find their ways out.

At its surface, this sounds like a pretty standard revenge thriller, and for most of the movie that’s how I saw it. I want to get my initial reactions out of the way first, because a lot of my complaints about the movie are still valid. For one thing, this film has a very strange way of editing that can either be seen as way too stylistic or just plain sloppy. Scenes end before it seems they should and we are transported to another time and place entirely. It’s hard to keep track of how much time has passed between these cuts and where we have just jumped to. It was also kind of hard to take Petersen’s performance seriously at some points. He’s supposed to be a hard boiled anti-hero, which does come across well at times, but other times it’s a bit too much and resulted in some unwanted laughter at his overly dramatic performance. Finally, for a while, the story seemed so plain and generic that I had a hard time getting into it. A serviceman who is consumed by revenge goes against authority to get what he wants. It’s your everyday “play by my own rules” scenario. Luckily, To Live and Die in L.A. offers a lot more than your standard revenge film, and that’s where this movie really stands out.

This is a movie that has to be seen in full to really appreciate everything it has to offer. It got to a point pretty late in the film where it kicked into high gear and made everything before it come into focus. Chance’s character is one of the tragic anti-heroes of film and the subtle manipulations he made throughout the movie may not hit you immediately, but it soon hits you like a brick. He manipulates his partner who get pushed further and further to the edge throughout the movie. He also manipulates a woman named Ruth, played by Darlanne Fluegel, a parolee who he extorts through his power as an officer of the law and through sex. It’s an odd relationship that fits in very well with the off putting nature of the movie. Along with the manipulation, which begs the question of just how evil Chance is compared to Masters, is deception all across the board that is revealed in the last scenes of the movie. This turns a standard revenge plot into a slow game of deceptive progression that heats up and finally explodes in the last act of the movie. This narrative progress is one that has be seen in full and made me appreciate the movie so much more.

Many people have linked this film to The French Connection because of the plot and the themes of crime and corruption. I definitely see it and I also see a link with the hopelessness that both films feature. The way this film is shot is classic Friedkin, with the dramatic scenes in close up, the fights almost uncinematic, and actions set pieces that are, on the flip side, very cinematic. Highlights of the movie include a brawl in a living room, a fantastic car chase that ends on the wrong side of the freeway, and a scene in a locker room that will make you feel like an anvil just fell on you. The cinematography by Robby Müller is excellent and really brings out the noir sensibilities this film clearly has. I know I keep saying this, but all of these elements are what save this movie from being generic and raises it to a movie that I haven’t really stopped thinking about since I’ve seen it.

To Live and Die in L.A. is a very well made movie that isn’t without its flaws. Some of the editing really didn’t work for me and Petersen’s performance was sometimes a bit too over the top for the realistic vibe that Friedkin was obviously going for. It’s still a very memorable, gritty, and ultimately tragic modern noir tale that takes viewers deep into the grimy underworld of criminal Los Angeles. It’s not Friedkin’s best work, but it’s a movie that deserves a lot more credit than it’s given. I definitely give this movie a recommendation. Give it a watch.

Final Grade: B+

mother! – Review

11 Oct

When I was first getting heavily into film, one of my main inspirations was Darren Aronofsky. He went places with his movies that I never thought were possible. Requiem for a Dream has had an impact on me that not a lot of films have and that impact kept going when I saw his films PiThe FountainThe Wrestler, and Black Swan. I thought this guy could do no wrong. Then came Noah and I saw that maybe he isn’t perfect. Noah was a huge disappointment for me and I always thought it was a strange project for Aronofsky to take. When I saw his next film, mother!, was going to be a strange psychological horror trip down the rabbit how, I felt like it was a return to form and I was super excited. Well, I’ve seen the movie and I still can’t get a grip on what I saw. This is going to be a rough review to write because I still have no idea how I really feel. One moment I hate it, and the next I find something to truly respect. Call for help.

A woman known only as Mother (Jennifer Lawrence) lives in a secluded, dilapidated house with her husband who is only credited as Him (Javier Bardem). Him is a poet who is struggling with severe writer’s block while Mother works day in and day out trying to fix the house, which is actually Him’s old house which was destroyed in a fire. One day Man (Ed Harris) shows up at Him and Mother’s door, and Him allows Man to stay the night. The actions of Man upsets Mother and things only get worse when Man’s wife, Woman (Michelle Pfeiffer), shows up and Him also allows Woman to stay. As Mother is quietly tormented by both Man and Woman, more and more people begin inviting themselves into Mother’s house and invading her life to the point where her very existence is threatened by the endless mob of people.

This movie really is something else. mother! is one of the most polarizing movies of the year, and not just with me, but also with critics and audiences. The structure of the movie, itself, even feels like polar opposites of one another. The first hour of this film is outstanding. I was sucked into it and I was ready to defend this film against anything negative one said. The dynamic between Mother and Him was intense. The abuse that Mother was receiving was quiet and nonviolent but abuse all the same. That’s when I thought, “Oh, this movie’s about toxic relationships where the pain is never from anything physical.” I thought that was a really interesting thematic journey to be on and an idea that isn’t explored all that much. Lawrence, Bardem, Harris, and especially Pfeiffer were all at the top of their games in this half of the movie. When more people began entering the home, I also thought it was a wild idea to think of and then actually execute and execute well onscreen. So far, mother! was gutsy, well paced, original, and had a clever artistic balance. Then the movie slowed down, and that was fine. A slow down was necessary. But then, we get into the second half of the film, more specifically the third act…

It is at this point that both Darren Aronofsky and mother! goes off the rails. Without spoiling anything, more people show up to the house and the great idea Aronofsky had is spoiled by doing way too much with it. Not only that, but he shamelessly bashes the viewer over the head with his religious symbolism that completely destroyed what my theory of the movie was about. It’s a relentless mish mash of violence and allegories and pretension. I get it Darren. We all get it. Settle down. It’s also at this time where both Man and Woman are nowhere in sight, and they were only one of the most interesting part of the movie. The tracking camera work that worked so well in the first half just becomes nauseating as things start getting crazier and crazier. I wasn’t really affected by what I was looking at. I wasn’t feeling angry anymore or upset for Mother. I wasn’t even laughing at the insanity. I was just getting so confused and annoyed at how far things were going that I was getting bored. It was a very strange feeling.

So let’s weigh the good with the bad. The good is the first half of the movie that is filled with excellent performances, an idea I found very unique, and camera work that was very sure of itself. Like I said, I was sucked in for a while. The bad is pretty much everything else. The actual point of the entire movie is pretentious and completely destroyed what I thought about the film. The themes themselves are pretentious, but the obvious way Aronofsky uses them is just annoying. The idea that was great in the first half also goes way too far and is also ruined in the second half. It seems like it may be balanced, but when I  say I hated the second half I mean that I HATED it. I really can’t talk too much about what I didn’t like in the second half because it would spoil the film.

mother! is an anomaly of a movie. There are times where I admire it and there are times that it just bothers me. At this very point in time, I can still say I’m torn, but the film did anger me more than I wanted it to. I like when a movie can be angering for the emotional response that it needs. Detroit was angering, but that was the response that Bigelow wanted. mother! was angering just because of how annoying and pretentious the film got and how Aronofsky went way too far with his idea. I don’t know how I’m going to feel about this movie down the line or after repeat viewings, but this is how I feel right now.

Final Grade: C-

The Devil’s Backbone – Review

3 Oct

When I think of some of the best film makers working today, one of my go to names will always be Guillermo del Toro. At his most personal, his stories delve into the darkest of fantasies and bring them to life using real world consequences. We see this with films like Pan’s Labyrinth and Crimson Peak. On the flip side, del Toro can create spectacles for the big screen with a vision completely different from any other big budget film maker. Think of the two Hellboy films and Pacific Rim. With it being the beginning of that wonderful season of Halloween, I thought it would be a great time to check out one of del Toro’s most praised ghost stories, The Devil’s Backbone, from 2001. He’s stated that this film is a sort of cousin to Pan’s Labyrinth and it’s clear why. This is a sombre tale of war destroying people’s lives, while also offering a spooky ghost story and a message of strength that bursts through the sadness to offer hope. To put it simply, The Devil’s Backbone should be considered a modern classic.

Carlos (Fernando Tielve), an orphan who’s father was recently killed in the Spanish Civil War, is taken into an orphanage the wise Dr. Casares (Federico Luppi) and his fellow administrator and teacher for the kids, Carmen (Marisa Paredes). Upon arrive there, Carlos finds something very odd about the place, and it’s a something that’s quite obvious. There’s a bomb in the middle of the courtyard that landed and got lodged in the ground, but never detonated. He also hears stories from the kids there about an orphan named Santi (Junio Valverde), who mysteriously went missing when the bomb landed. One night, Carlos is out looking for water and comes across what seems to be the ghost of Santi who warns Carlos that many people are about to die. This apparition keeps appearing to Carlos, and it doesn’t take long for the other kids to believe him. Meanwhile, the groundskeeper, Jacinto (Eduardo Noriega), with the help of his friends begin scheming to rob the safe that Casares and Carmen have hidden in one of the buildings. As tensions rise between all parties, Santi’s warning of violence and death becomes an inevitability.

There’s so much to love with The Devil’s Backbone, it’s hard to find a place to start. Let’s go with the story. Guillermo del Toro is a master storyteller, and he works really well with telling these creepy tales through the innocent eyes of children. We see what Carlos sees and we know only what Carlos knows. There are only a few scenes where we are privileged enough to look behind the closed doors of the adults at this orphanage and see an establishment that is haunted by both the ghost of a young boy, but also crime, deception, and lust. While being a horror story and a drama and an allegory for war, The Devil’s Backbone has a strong mystery at its core. What’s the deal with the bomb in the middle of the courtyard? How did Santi really die? What does the warning of violence and death that Santi give mean? There’s so many questions asked during the slow burn of the plot that it had me riveted. I had to keep watching to find out more, and the payoff is quite literally explosive.

One of the most fun reasons to watch one of del Toro’s movies is his blending of genres and the fantastical with the brutal realities of life. The Devil’s Backbone is definitely a traditional ghost story at its core. A boy goes to an orphanage during a time of violence and is haunted by a ghost of one of its former residents. That may have been enough to support the movie, but it goes the extra mile. The humans in this movie often become creepier than the little ghost boy. The talks of the war and brutality that is happening in Spain is an ever present discussion by the adults in this movie that the kids can’t seem to comprehend. Jacinto also provides most of the actual horror in this film. He’s conniving and unpredictable and a true sociopath if I’ve ever seen one. Who’s stuck in the middle of all this? The children. They’re caught between the horrors of the real world and the people who inhabit it on one side and on the other the manifestation of the consequences of their actions. It’s not horror in the traditional sense, but it’s horror nonetheless.

Amidst all this terror is a film that’s shot beautifully. There’s something about Guillermo del Toro’s eye for things that isn’t extravagant, but it’s enough to hold your attention. It’s hard to explain, but he just has a way of showing just what needs to be shown in the exact way it needs to be. Can I get any more vague than that? Probably. Just give me the chance. The design of the ghost is also great, and it’s clear that he puts a lot of effort into creating his different specters and creatures for his movies because they always seem to stand out in some way. Santi is one of his greatest creations. He’s just a pale ghost that can be seen through, but what really makes it special is the trail of blood that comes out of his head and slithers through the air. Try to get that image out of your head. I dare you.

What else more can I say about The Devil’s Backbone? I absolutely loved this movie. It’s a haunting tale of ghosts, violence, and war but ultimately ends with a message of strength and bravery even for the most innocent of people. This is a film that masterfully blends gothic horror and the drama of the real world with the victims here being children. Sounds pretty heavy, right? It is and I respect del Toro for making a movie like this. He truly is a master and this is one of his greatest creations.

Final Grade: A+

Duck, You Sucker! – Review

3 Oct

Sergio Leone had a really incredible film making career, even if he didn’t create as much as some other very fine film makers. It’s impossible to ignore how A Fistful of DollarsFor a Few Dollars More, and The Good, the Bad, and the Ugly made a huge impact on the aesthetics of a movie, the western genre, and pop culture as a whole. Leone’s next foray into film happened in 1968 with another classic, Once Upon a Time in the West. Finally, his last piece of work, and arguably his most ambitious, was the gangster epic Once Upon a Time in America. Aren’t these all unmistakable classics? But wait. What’s that movie hiding in between West and America? Why, it’s a pretty unknown movie that has one of the most incredible titles ever. This is, of course, his 1972 film Duck, You Sucker!. Upon its release, this movie got very little attention and bombed in the United States. It hasn’t really fared much better, and is still Leone’s most unknown film, besides maybe The Colossus at Rhodes. Does this movie deserve to be overlooked? Not at all, but it is Leone’s weakest work in the western genre.

In the midst of the Mexican Revolution, people have to do whatever they can to survive. Juan Miranda (Rod Steiger) is a bandit who, along with his family, robs from the wealthy who are making their living off the violence of the revolution. After a successful robbery of a stagecoach, Juan runs into John Mallory (James Coburn), and IRA explosives specialist exiled overseas after a heavy betrayal. Despite being at odds with one another, John is wooed by Juan’s idea to rob the Mesa Verde National Bank. The job seems to go off without a hitch, but things at the bank are not what they seem and the actions of Juan and John plunge them deeper into the world of the revolution. Now on the run from the sadistic Col. Reza (Antoine Saint-John), Juan and John are forced to join up with revolutionaries and help them fight while also reevaluating their own beliefs and moral code.

Sergio Leone is a classic example of an epic film maker. He never shied away from making a movie as grand as he possibly could. Duck, You Sucker! is no exception. This is huge movie with great set pieces and over the top action sequences that seem to span an entire country. It has the look I’ve come to expect from a Leone movie, which is surprising as to why this one gets so overlooked. There’s a really exciting scene at a bridge where the Mexican army is trying to cross, but John and Juan pick them off using machine guns and dynamite. It was explosive and exciting, and those are the reasons to watch this movie. The idea of having this story set within the Mexican Revolution is also interesting and makes for more epic scenes. Leone stated that he was not trying to offer any political statement, and I agree. It clearly is just showing the horrors of conflict and the effects it can have on the people of that country, especially in a more lower class environment. This makes for an interesting bridge between his more classic Once Upon a Time in the West and his more thoughtful effort with Once Upon a Time in America.

There is something that is severely lacking in this movie that is always ever present in Sergio Leone’s best movies. That is the dynamic between good and evil. We see an interesting arc with Juan where his character completely changes his ways, and that’s one of the better parts of Duck, You Sucker!. Unfortunately, Juan and John just aren’t the most exciting heroes, and don’t even come close to matching the Man With No Name. Col. Reza is also a sorry excuse for a villain. He’s in the movie for a matter of minutes and has no real impact until the very end. Remember the showdowns in The Good, the Bad, and the Ugly and Once Upon a Time in the West? Those were outstanding climaxes that featured larger than life representations of good versus evil. Duck, You Sucker! certainly tries to keep that level of energy, but it just doesn’t quite make it. The arcs of the characters are much better than the characters themselves.

Something you can always count on with these movies however is that they are going to look superb. Duck, You Sucker! has sweeping cinematography of the landscapes that is juxtaposed with the traditional Leone close ups and zooms. Leone knew how to capitalize on the actors’ faces and expressions over dialogue, which is why some of his best scenes just feature the actors using their faces to speak. All of this works in tandem with Ennio Morricone’s always excellent score. Comparing this score to some of his others he did for Leone probably isn’t the best way to go about it, but I’m going to do it anyway. This isn’t one of his strongest and it doesn’t really stay in my head like the others. That being said, while the movies on it heightens the drama and the action considerably which is just what these musical pieces are supposed to do.

Duck, You Sucker! is far from being Sergio Leone’s best film, but it’s still a testament to his larger than life and highly artistic film making. It’s story shows an evolution from his simple drifter swoops in to save the day kind of stories and more to an internationally aware tale that showcases morality and change. The characters aren’t as exciting as I would have liked them to be, and a lot of this has to do with a lackluster villain. Still, Sergio Leone’s film making and Ennio Morricone’s music is more than enough for any fan of movies to check out this little known entry in Leone’s filmography.

Final Grade: B+

Good Time – Review

28 Sep

Every now and then, a movie comes along that completely destroys the conventions of its genre. Sometimes that works well, and other times it holds the movie back. It all depends upon the creative force behind the project. Ben and Josh Safdie have recently proven that they are more than capable to create a movie that defies all the rules expected in a feature film. Their newest film, Good Time, is the perfect example. The trailers for this movie had me really intrigued, but I didn’t get the proper feel of the style going into it. I honestly had no idea what to expect, but what I got was something so different and disturbing that I dare say this is a movie that should not be ignored. Good Time is a piece of art that defies all expectations and rules but also feels like one of the realest movies of 2017.

Constantine Nikas (Robert Pattinson) is a petty thief who is looking for a score that could potentially change his life. He’s careless in many ways, bust most of all by utilizing the help of his mentally challenged younger brother, Nick (Ben Safdie), with his crimes. After successfully robbing a small New York bank for $65,000, Constantine and Nick think that they’ve made it out scot free. That is until a police officer gets too close to Nick and scares him, which sends the two brothers off running with the police in hot pursuit. After a chase, Nick is arrested, while Constantine ultimately gets away. After hearing about the abuse Nick is forced to put up with, Constantine begins an odyssey into the underbelly of New York City to raise $10,000 to bail his brother out of jail. As the night progresses and more altercations keeps Constantine from the money he needs, his desperation starts to wear him down and reveal a side of himself he didn’t want to believe existed.

Something that I sort of guessed about Good Time is that it would feel very episodic. I had Collateral in mind before seeing this movie, but the two really don’t share many similarities. Good Time is very un-cinematic in the way it tells its story, and I found it a bit hard to grasp onto at first. The beginning of the movie really pulled me in, but it became hard to find the rhythm the story was moving at. After awhile, I decided to stop looking for it. I would simply let the film wash over me and wherever it went, I went. This is one of those movies that it all makes sense after it’s over and looking back on it, I appreciate it more than I did as I was watching it. Scenes lead into the next almost at random as small occurrences that seem minor are enough to shake up the lives of the few characters that share the screen. There’s little rhyme or reason as to why things happen, just that it’s the sole consequences of the characters and not for the sake of driving the plot forward. Some may say it’s anticlimactic. I say it’s brilliant.

Speaking of un-cinematic, the look of Good Time is really something to behold. It was sort of marketed as this neon lit trip down the rabbit hole like something out of the mind of Nicolas Winding Refn. There are a few scenes that do go a little over the top with the lighting, and sometime it was a bit distracting. For the most part, however, that is not the style of this film. This is a grimy, dirty, and highly unflattering film. The sets are run down and gross and the actors are made to look their worst. These are bad people operating out of bad places and the Safdie brothers really work to make that clear. A lot of scenes are also shot using off balanced angles with the foreground obstructing the view or close ups that come across as jarring. This is a disturbing film and this is really the only way this film could’ve been shot. Any other way would’ve robbed the audience of the proper tone. I do wish that some scenes toned it down with the lighting however. They didn’t always fit.

A while ago, I reviewed The Rover and I commented on Robert Pattinson’s understated but superb performance. Pattinson is one of those actors who can give an unexpectedly brilliant performance when paired with the right script and film maker. His understated performance in The Rover works really well, but his performance in Good Time is something else. This one is much more kinetic, dark, and completely devoid of innocence. His command of the screen is evident in this film and the weight of the character is clearly heavy, but he carries it all very well. Ben Safdie as his mentally challenged younger brother also gives a startlingly real performance that I wasn’t really expecting. There’s a strange cameo in the beginning by the always excellent Jennifer Jason Leigh to top off the cast of excellent performers. This may be one of the best acted movies of the entire year.

Good Time is a truly unique cinematic experience by the Safdie brothers. I’m unfamiliar with their earlier works, but if it’s anything like this I really need to check it out. That being said, I’d love to see more from them in the future because this felt like pure, in your face cinema. This is a darkly disturbing film that will make you long for the shower after the credits start to roll. If you have become overwhelmed with the summer blockbusters that have all come and gone, take a look at Good Time, but make sure you buckle in first.

Final Grade: A