Category Archives: Movie Reviews – C

REVIEW: “Cop Car”

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Over time I’ve come to realize that often the best thrillers aren’t bigger budgeted movies with an attention grabbing cast. No, often the best thrillers are small budget pictures that take a strong concept and build on it with a smart, focused, and economical script. Look no further than last year’s fabulous “Blue Ruin”. In that same mold, this year we get “Cop Car”, a crafty, early Coen-esque styled thriller that earns its feelings of danger and discomfort.

“Cop Car” is directed and co-written by Jon Watts. He may not be a familiar name but that could change as he is slated to direct the next re-rebooted Spider-Man film. While that project doesn’t excite me, “Cop Car” certainly did. Within a tight and fluid 85 minutes, Watts spins his minimalist yarn across the expansive fields and long straight roads that surround his hometown of Fountain, Colorado. With a stressful patience he unfolds his story that starts with adolescence mischief but ends up in a much darker place.

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The story begins with two 10-year old boys Travis (James Freedson-Jackson) and Harrison (Hays Wellford) crossing a large field playing some weird game involving cursing (Not a good start for me as I normally hate when filmmakers require young children to spout obscenities). It appears as if the boys may have run away from home as they make a number of boyish miscalculations. One figures they have already walking 50 miles while the other speaks of rationing their Slim Jim beef jerky.

Neither Jackson or Wellford come across as trained young actors which is both good and bad. In some early scenes you sense the strong pull of the director while in others the children’s natural curiosity and playfulness play out perfectly. We see the latter when the boys stumble across a Quinlan County sheriff’s car in an isolated, sparsely wooded area. Their curious nature gets the best of them and soon they are driving the car across open fields and rural roads, screaming and laughing in a mix of childlike mischief and pre-teen rebellion.

They are impervious to the real trouble they are in. In one scene that highlights their puerile logic, the boys ponder what they will do if caught with the car. One innocently and sincerely says ” We’ll just tell them we’re cops”. But the cop car belongs to Sheriff Kretzer. He’s played Kevin Bacon armed with thick mustached mug and a shady air about him. From the very first glimpse of Bacon we know his character is no good and we know the boys have stumbled into a dangerous mess. When finding his car missing, Sheriff Kretzer panics and sets out to get his car back at any cost.

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“Cop Car” has its share of darkly funny moments that can be both humorous and unsettling. About midway through the film the story takes on a more serious and sinister tone and the humor becomes scarce. And I’m convinced that neither Jon Watts nor co-writer Christopher Ford (also known for the much tamer “Robot and Frank”) have children because of the torturous emotional wringer they run the kids through during the film’s second half. This isn’t necessarily a criticism. It just amps the tension up to panic-inducing levels for parents.

The movie ends on just the right note by leaving several specifics up in the air and several questions swirling in our minds. The story’s intensity boils to what seems like a satisfying crescendo only to hit us with a new set of stakes and then leave us on an emotional edge. It’s a satisfying conclusion to a solid movie that navigates a few hitches to still give us a potent, edge-of-your seat thriller. And then there is that tenacious performance from Kevin Bacon – one of my favorites of the year.

VERDICT – 4 STARS

4 Stars

 

REVIEW: “Child 44”

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CHILD POSTER

“There are no murders in Paradise”. This is a phrase repeated several times in the period thriller “Child 44”. The line is a reference to the former Soviet practice of denying the existence of murders and serial killings within their Communist model. In the film we see the propaganda machine clash with a series of brutal child murders in Moscow and surrounding areas. The film is produced by Ridley Scott who was originally in line to direct. Instead the directing duties were handed to Swedish filmmaker Daniel Espinosa.

“Child 44” is adapted from British writer Tom Rob Smith’s 2008 novel which was based on the serial killings of Andrei Chikatilo. The film begins by establishing the system and bureaucracy of the Stalinist Soviet Union in the early 1950s. Tom Hardy plays Leo Demidov, a decorated agent from the Ministry of State Security. His main job is enforcing the rigid laws and capturing anyone the government deems to be traitors. And we see their methods of law enforcement as manipulative, suppressive, and sometimes violent.

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Then there is Leo’s relationship with his disillusioned wife Raisa (Noomi Rapace). When out with friends they look like the perfect couple, but she clearly shows a disconnect at home stirring up a number of suspicions within Leo. But in the background of the political and personal storylines, a growing number of murdered young boys’ bodies are turning up. The government wants to cover it up. Families are suffering. And eventually Leo finds himself caught in the middle.

I went into “Child 44” expected a murder mystery thriller. It is definitely that, but Richard Price’s screenplay ventures off into a number of different directions. The marital tensions between Leo and Raisa evolves into a deeper sidestory. A layered political drama builds throughout the film. Then there is the hunt for the serial killer. These and a few smaller subplots are interwoven within the fabric of the film resulting in the vision sometimes feeling clouded.

But the film leads us through this haze and unfolds each story angle, bringing them together in a deliberate, slow-burning method that clearly didn’t work for many. I love the tense political drama and its ominous, ever-present threat which bleeds into ever other facet of the film. There is a tension boiling behind every conversation large or small. There is a proactive paranoia within the bureaucracy which leads to some of the film’s more disturbing moments. And the oppressive nature of the politics hangs over the people like a shroud. It is very well done.

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The same could be said of the strained and uncomfortable marriage between Leo and Raisa. The edge to their story angle gets sharper as the movie progresses and the film does a fine job of giving them moments to flesh out their relationship. A number of outliers and influences play into their angle taking it into some very interesting directions.

That leads to the central storyline – the murder mystery and the hunt for a savage serial killer. At least it appeared to be the central storyline based on the film’s promotion. Actually this story angle gets less screen time than the others which was disappointing. The urgency grows with each grim and unnerving discovery yet it languishes in the shadow of the other stories. It is intensely intriguing yet strangely handled. I mean even with a running time of 2 hours and 17 minutes, it doesn’t feel like the film gives the murder mystery enough time or attention.

Plenty of criticisms were hurled towards some of the performances and particular casting choices. Gripes about the heavy accents and the decision to use predominately non-Russian actors. Honestly I think the film pulls it off nicely. A strong supporting cast features Rapace, Gary Oldman, Jason Clarke, Vincent Cassel, Joel Kinnaman, and a host of others.

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But it is Tom Hardy’s fiercely committed performance that carries the picture. His blanched complexion and weary eyes gel well with his consistently serious and solemn demeanor. In fact I think he may smile once in the entire film and even then the sincerity is in question. Hardy harnesses all of his character’s inner conflicts and various states of mind and presents them all with a robust confidence. Its a great performance.

“Child 44” is considered a bomb. It bombed with critics. It bombed at the box office. But I just can’t go along with the majority of criticisms. Yes, the film is a slow-moving experience. Yes, the film often lacks a clear and specific focus. But never once was I bored by the pacing or lost due to its narrative structure. Clearly the screenplay and direction could have tightened things up a bit, but there is still so much the movie does right. It ends up being a unique and compelling procedural that I found satisfying even in its messiness. I’m happy to go against the grain with this one.

VERDICT – 4 STARS

4 Stars

2015 Blind Spot Series: “The Champ”

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Hidden under the guise of a ‘down on his luck boxer’ movie lies one of the most vibrant and authentic father/son relationships ever put on film. It’s this relationship that is at the heart of the 1931 film “The Champ”. Throughout the decades to follow a number of movies would follow a similar blueprint in exploring the father/ son dynamic. “The Champ” is unashamedly melodramatic, but it’s very effective thanks to a strong script and two fantastic lead performances.

The Best Actor Oscar went to the film’s star Wallace Beery who plays a washed-up former boxing champion named Andy Purcell. He lives in a small run down apartment in Tijuana, Mexico with his adoring eight-year-old son Dink (played by Jackie Cooper). Andy’s self-destructive behavior keeps him from making things better for himself and his son. Every time an opportunity comes his way Andy finds a way to squander it and it could eventually cost him what he holds dearest.

 

Champ1Frances Marion’s story (which also won an Oscar) paints a vivid picture of the unwavering confidence and blind love that small children have in their parents. Dink sees his dad as a larger than life superhero of sorts. Yet he is constantly let down by his father’s drinking, gambling, and carousing. Jackie Cooper was such a treat. Watching him deliver young Dink’s roller coaster of emotions was a surprise. He avoided most of the traps that many golden era child actors often fell into and gave the film a ton of heart.

Cooper had caught attention with his work on “Our Gang”. Hal Roach, seeing Cooper as a potential film star, sold Cooper’s contract to MGM. “The Champ” soon came afterwards and it marked one of several collaborations Cooper would have with Beery. The two had a charming and believable chemistry which is a surprise considering that Beery made their off camera relationship difficult.

 

Champ2At the time this film was a part of Beery’s career resurgence. He had been a popular silent film star but had seen his star fade with the influx of ‘talkies’. “The Champ” solidified his return and spotlighted his knack for deeper and more dramatic performances. Beery gives us a character that is hard to like yet there is something about him (aside from our affection for Dink) that makes us want him to turn things around. Beery grounds Andy in reality which connects us to him and his circumstances.

“The Champ” is heavy on melodrama and some could argue that it milks emotions dry. I think all of that works because we never lose our investment in the two lead characters. Beery and Cooper drive the film which is full or heart, humor, and authenticity. It’s a very straightforward and unashamed look at one of the most important relationships we can have. More importantly, the movie doesn’t just look at it. It presents it in a way that touches the audience deeply. That in itself is an accomplishment.

VERDICT – 4.5 STARS

REVIEW: “Camera Buff”

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Camera Buff poster“Camera Buff” is a 1979 film from Polish director Krzysztof Kieslowski about an eccentric and reserved man and his infatuation with his newly purchased movie camera. Jerzy Stuhr brilliantly plays Filip, a loving and content husband who spends two weeks worth of salary on a small 8mm video camera in order to film his new baby girl. Filip is a nervous, circumspect man who you feel is perfectly happy with his quiet and confined life.

But things change when a local Communist Party boss assigns him the task of filming a celebration at the plant where he works. Filip reluctantly agrees. His film is deemed a success and eventually is entered into a competition at an amateur filmmaker’s festival where it wins third place. Filip’s films become his obsession and he grows impervious to the destructive effects that his new addiction is having on his crumbling marriage. He also fails to understand the serious consequences of unbridled enthusiasm.

In “Camera Buff”  Kieslowski touches on numerous weighty subjects including the oppressive nature of communism. The film takes place in Communist Poland sometimes during the 1970′s and you can really sense the heavy authoritarian feel. From the cinematography to the conversations, I really felt as if there was a bigger, ever-present enemy lurking in the background. Not just an enemy to the people but to their freedom of creation and expression. It’s brilliantly realized.

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Kieslowski also does a remarkable job showing the power of filmmaking. For example, Filip makes a film about a “dwarf” who has been working at the factory for years and is nearing retirement. We see the power of film as the man tells Filip how deeply moved he was by it. One of Filip’s neighbors seriously struggles with the death of his mother but recalls that Filip filmed him and his mom in a happier time. Filip shows him the film and it gives him a much needed level of comfort and peace. These things fuels Filip’s love for filming but it also clouds his vision and keeps him from seeing the damage it’s doing to his home life.

“Camera Buff” deals with an assortment of other themes and does so very effectively. As the film progressed, it had me wondering if I was witnessing a young filmmaker realizing and finding his dream or watching an obsessed husband and father heading down a path of self-destruction. The movie is marked by an amazing performance by Stuhr, a stimulating story, and strong direction, both handled by Kieslowski. It doesn’t shy away from emotional or even provocative material and is nearly perfect in it’s execution. This is a magnificent film and a nice introduction to Kieslowski’s work for anyone who hasn’t seen his pictures.

VERDICT – 4.5 STARS

The Public Movie Defender – “Clash of the Titans” (2010)

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MOVIE DEFENDER

The idea behind The Public Movie Defender is to take up the cause of a particular movie that I believe is better than the majority of reviews it has received. These are movies which I feel are worth either a second look or at least a more open examination considering the predominantly negative opinions of them. The films chosen are ones that I like so therefore I’m taking their case and defending them before the court of negative opinion. Let the trial begin…

DEFENDANT #3 – “Clash of the Titans” (2010)

CLASH POSTERWhen I first came up with the idea for this fun little thing called The Public Movie Defender there were several movies that immediately came to mind for inclusion. Some are personal favorites that I am deeply passionate about and others are simply movies that I feel are good yet that get pounded a bit unfairly. Some aren’t that difficult to defend while others are a REALLY hard sell. 2010’s remake of “Clash of the Titans” is one of those hard sells. And while I wouldn’t categorize it as a personal favorite, I do think it’s a good movie that doesn’t deserve the level of disdain it has received.

“Clash of the Titans” had its work cut out for it. It’s a remake of a cult classic from 1981 that featured a wonderful fantasy adventure as well as the final work of stop-motion special effects master Ray Harryhausen. This time advanced makeup and a ton of CGI would serve to bring the world to life and that in itself was quite the task. While my deep affection for Harryhausen’s brilliance trumps the new computer effects, this “Clash of the Titans” features some fantastic effects that easily overshadows the few visual hiccups that we get.

And then there’s the story. There were two different approaches that the remake could have taken. The film could have taken a grittier and more serious look at the material or it could try and capture many of the nostalgic elements of the original. By that I mean the over-the-top language, the massive cheese, the classic fantasy movie plot dynamics. The filmmakers made a deliberate choice to modernize the story a bit but also tip their hat and incorporate a lot of these late 1970’s and 1980’s approaches to fantasy storytelling.

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I think this is what alienated some people. I think this clashed with people’s familiarity with modern filmmaking and current cinematic storytelling that we get today. Personally I ate it up. The stilted and uber cheesy dialogue along with several old school plot mechanics brought back memories of the “Sinbad” films, “Ice Pirates”, “Conan”, and “Kull”. These are films that I grew up watching and I clearly see how the movie uses and embraces them. The great actors Liam Neeson and Ralph Fiennes ham it up as Zeus and Hades. Are they cheesy? Yes, more so than a pizza. But they are supposed to be. I completely understand if that doesn’t work for some people, but I don’t see it as a deep flaw in the movie itself. I responded to it with a nostalgic smile and appreciation.

Now it’s not like everything in the movie imitates the original. A tightly shorn Sam Worthington replaces a mop headed Harry Hamlin as Perseus. Some have had issue with Worthington’s character and performance. Not me. I like this grittier and more solemn turn. Considering all that his character faces I can understand him being a bit angry and coarse. I think Worthington brings a toughness and physicality to the role that I welcomed. Add to that an interesting and fun supporting cast of traditional survival-fantasy characters (again a tip of the hat to those old-school flicks). None are better than the great Mads Mikkelsen as the gruff and tough Draco, captain of the King’s Guard.

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The movie features the classic fantasy tale. A quest is in place which takes Perseus and crew on a ‘who will survive’ adventure. Along the way they face threats such as witches, Medusa, and of course giant scorpions. And what a scene it is when the giant scorpions appear. Incredible visuals and a beautifully filmed sequence. And then there’s the Kraken. There’s perhaps nothing in this film ridiculed more than Liam Neeson’s command to “Release the Kraken”. And while I wouldn’t call it the equivalent of a great thespian’s oration, it’s not that bad of a line. Sure it’s absolute cheese, but the mockery was really fueled by the the line’s use in the trailers and TV spots. The Kraken itself looks cool and Neeson’s over-the-top unleashing fits in perfectly.

I believe that your opinion of this film will be dictated by expectations and preferences. It’s worth recognizing what the filmmakers are doing and the type of movie they’re making. I think they set a cool nostalgic target and hit it dead center. Now to be clear, I’m not saying this is a perfect film. But I really like what they did. It took me right back to those movies that I would lay in the floor and watch on Saturday afternoons. That made this a fun and entertaining experience and when considering the film in that light I see it as a success. The sequel was a massive disappointment, but for my money “Clash of the Titans” was a blast.

VERDICT: “CLASH OF THE TITANS” – 4 STARS

REVIEW: “Casablanca”

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How is it that I have been movie blogging in some fashion for over three years yet I’ve never reviewed my favorite movie of all time? Well it’s time to remedy that. That opening line probably spoils any mystery about my final score, but that’s perfectly okay. To me “Casablanca” is a perfect film and I owe a lot to it for broadening my appreciation for classic cinema and for introducing me to my favorite actor of all time – Humphrey Bogart.

The world of cinema has long regarded “Casablanca” as a true classic. Often times I rebel against that kind of establishment recognition but in some cases they get it right. This is one of those instances. “Casablanca” is a classic in every sense of the word. Whether your talking about the flawless direction from Hungarian born Michael Curtiz, the brilliant screenplay brought together by a number of people including brothers Julius and Philip Epstein, Casey Robinson, and Howard Koch, or the spectacular cast led by the cool confident Bogart and the stunningly beautiful Ingrid Bergman. “Casablanca” not only has all of the ingredients for a true classic, but it doesn’t waste any of them.

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Warner Brothers didn’t have very high expectations for the film. In fact it was rushed through to its release in order to capitalize on the North African campaign of World War 2. The initial response was lukewarm but the film would quickly prove itself and ended up winning three Oscars including Best Picture. Over the years the appreciation for the film has only grown and with good reason. It truly is something special. Romance, patriotism, humor, suspense – “Casablanca” has it all.

Bogart leads the way as the complex Rick Blaine. He owns and runs Rick’s Café Américain, a popular nightclub in 1941 Vichy controlled Casablanca. He keeps his business flourishing during a tumultuous wartime by being neutral and “sticking his neck out for nobody”. He’s surrounded by a great assortment of supporting characters, many played by some of Hollywood’s best at the time. Claude Rains received an Oscar nomination for his turn as a corrupt Vichy Captain with a special interest in Rick. The great Sydney Greenstreet plays a rival club owner. Consummate character actor Peter Lorre plays a crook who is in way over his head. And there’s Dooley Wilson as Rick’s loyal friend and club piano player Sam. Fun fact – Dooley was a drummer and didn’t know how to play the piano at all. Yet his character’s singing and playing of “As Time Goes By” is unforgettable.

But Rick’s well controlled life takes a dramatic turn when the former love of his life Ilsa (Bergman) shows up at his club. Ilsa’s husband Victor Laszlo (Paul Henreid), a well known Czech resistance leader and fugitive from the Nazis, is with her. They seek Rick’s help to get out of the country before the Nazi Major Strasser (Conrad Veidt) catches up to them. Rick is reluctant due to the bitterness of having his heart broken and his desire to maintain his establishment’s neutrality. Does he risk it all for the woman he once loved?

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“Casablanca” captures and utilizes so many things well. There’s a high level of suspense. There’s a touch of humor. There is a great realization of wartime tensions. And right in the middle of it all is what may be the best romance in cinema history. Bogie and Bergman have a sizzling chemistry and the looming threats and high stakes all around them adds such a pop to their relationship. Bogie is a hurt man hiding behind a convincing facade of tough coolness. Bergman is brave but torn and she was never more beautiful than in “Casablanca”. It’s impossible not to be completely absorbed in these two and the intense circumstances surrounding them.

There isn’t a bad performance in “Casablanca”. There isn’t a wasted line or wasted shot. There’s never a down moment. It’s pacing its absolutely perfect. The camera work and stage design is impeccable. The romance simmers. The story is smart and fluid. I could go on and on. As I said, “Casablanca” is rightly called a classic. It accomplishes so much that modern movies with their massive budgets and greater technologies seldom lay hold of. It’s beautiful storytelling with one memorable line after another and a Bogart performance that forever etched his name in film history. It’s my favorite movie and I can never see it enough.

VERDICT – 5 STARS

5 STARSs

5STAR K&M