BEASTS OF NO NATION (2015)

October 16, 2015

beasts of no nation Greetings again from the darkness. Cary Joji Fukunaga has quickly established himself as an expert storyteller with his previous writing and directing of Sin Nombre (2009), Jane Eyre (2011) and the fascinating and conversation-sparking first season of “True Detective” (he did not direct the much-maligned Season Two).  He goes even deeper and darker this time by adapting Uzodinma Iweala’s novel about a child soldier.

When first we meet Agu, he is but an enterprising and fun-loving kid who thrives on mischief such as trying to sell “Imagination TV” – the empty shell of a console TV, complete with Agu and his buddies acting out scenes for those who peer through the picture tube opening. Agu describes himself as “a good boy from a good family”, and we believe him.

Somewhere in Africa is all we know about the location, and soon enough Agu’s village is under siege and he is separated from his mother, and forced to stay behind with the men – including his father and big brother. More terror forces Agu alone into the forest until he is brought into a mostly young group of rebel forces led by the Commandant (Idris Elba). It’s around this time that Agu begins “talking” to God through voice over narration that allows viewers to understand what’s going on inside Agu’s head – often quite contrary to what is happening on the outside as he transforms from mischievous kid to dead-eyed child soldier.  When Agu stops speaking to God, we understand that he believes he no longer deserves to be heard, but his words to the universe (directed to his mother) let us know, this boy has not yet lost his soul.

Though we never understand the war, or even who is fighting whom, this uncertainty is designed to help us better relate to Agu. He may be a tough-minded soldier, but we also never forget that he is mostly a little boy hoping to re-connect with his mother. Idris Elba plays the Commandant as part father-figure, part war lord, and part cult leader. He is a menacing presence one moment and a soothing voice of reason the next. When we (and Agu) learn the full story of his multiple sides, we are both sickened and disheartened. It’s the performances of both Elba and newcomer Abraham Attah (as Agu) that make this such a devastating and fascinating movie to watch, and it’s the filmmaking of Fukunaga that keeps our eyes glued to the screen when we would just as soon turn away.

This is a Netflix original film and they are experimenting with a simultaneous release in theatres and streaming. This approach has not previously been met with open arms by theatre chains when attempted by other distributors. It will be interesting to see if Netflix can make it work.

watch the trailer:

 

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Posted by David Ferguson

99 HOMES (2015)

October 8, 2015

99 homes Greetings again from the darkness. Thumping music, the aftermath of a suicide, and an arrogant and immediately dislikable real estate agent fill the screen in a tension-packed opening sequence. This is how writer/director Ramin Bahrani begins our descent back to 2010 during the severe housing and economic crash. While the foundation of the story is the “system” that screwed over so many homeowners, it’s really more a tale of morality and how we react during desperate times.

Andrew Garfield plays Dennis Nash, a skilled construction worker scrounging for jobs as he tries hard to make ends meet in the house-building industry so devastated by the economy. He lives in his childhood home with his mom (Laura Dern) and his young son. In an attempt to stave off foreclosure, Dennis goes to court pleading his case. See, he received contradictory instructions from his bank, and he ends up on the wrong end of the bailout. Watching a family getting booted from their home is excruciatingly emotional, and we empathize with the anger, frustration and helplessness of Dennis as realtor Rick Carver (Michael Shannon) and the Sheriff’s department execute the eviction.

In an odd turn of events, Dennis ends up working for Carver and quickly becomes addicted to the money. As Carver pulls him deeper into his scheme of bilking the banks and government agencies, Dennis rationalizes with the knowledge that he is providing for his family and on track to get his family house back. Watching Garfield’s emotionally vulnerable character interact with Shannon’s brutal businessman is pretty fascinating. It’s a bit Faustian as Dennis basically sells his soul to the devil (Carver), though he continually struggles with the moral issues until the final act … where the true line in the Florida sand is drawn.

Garfield makes the acting transition to adult in a fine turn, but it’s Shannon’s creepy Realtor who dominates the picture. From the beginning, we don’t like him – but we find ourselves better understanding his motivations after we finally get his personal explanation. The film does a nice job pointing out all parties who are somewhat responsible for the horrific housing downturn, and does so without sermonizing on the evils of big banks. In fact, it could be taken as a reminder that the “system” so many love to bash is actually made up of individuals who, in the words of Rick Carver, have learned to go “numb” rather than show emotion or respect. It’s a tough movie to watch, but a needed reminder of the importance of humanity during desperate times.

watch the trailer:

 

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Posted by David Ferguson

SURVIVING ME: THE 9 CIRCLES OF SOPHIE (2015)

October 8, 2015

surviving me Greetings again from the darkness. A director’s first feature film is often the most personal of their career, which always adds an element of interest. Leah Yananton writes, directs, produces and acts in this story that focuses on the self-discovery of a young woman who passes (loosely) through Dante’s nine circles of Hell on her way to becoming a better person … or at least one quite apologetic for her previous self.

Most movies have a protagonist that we can root for, or at least relate to. Sophie (newcomer Christine Ryndak) is a poet-wannabe in her junior year of college. She is also whiny, needy, self-centered, and altogether unlikeable (to this viewer). Her feel for literature and poetry catches the attention of a married professor (Frederic Lehne), and we know immediately that this will get messy. Sophie inserts herself into the home life of Professor Slateman and Jacqueline (Mira Furlan), and her immaturity causes her to miss out on a real opportunity.

Instead of true relationships, Sophie pursues the professor while leading on Jimmy (Vincent Piazza, “Boardwalk Empire”), a fellow student who really likes her. She also uses and abuses her best friend Kiera (played by director Yananton), who is equally misguided, but much more self-aware. Equally frustrating is Sophie’s treatment of Jacqueline, who initially takes a legitimate interest in Sophie’s talent. Jacqueline is far and away the most intriguing character here, and a movie centered on her would have been significantly more interesting.

Dante’s “Inferno” detailed the path to rejection of sin, and we follow Sophie through each circle … some are a bit of a stretch, but the effort is commendable. Her choices along the way can sometimes be chalked up to being a 20 year old, while others are simply inexcusable for anyone with a conscience. By the time Ms. Yananton’s own version of “Ring of Fire” plays over the closing credits, we are relieved that our time with Sophie is over. Still, given that it’s her first feature, we see enough good that we look forward to this filmmaker’s next outing.

watch the trailer:

 

 

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Posted by David Ferguson

THE KEY (2015)

October 8, 2015

key Greetings again from the darkness. Novelist Jurichiro Tanizaki was nominated for Nobel in Literature, and is one of the more revered modern era writers from Japan. His 1955 novel “Kagi” is the source for this direct-to-video effort from director Jefery Levy, as well as a 1983 film version from Italian director Tinto Brass. Mr. Levy’s production is some sort of experimental film approach that employs the LSD effect utilized by so many movies … only this one isn’t based in the 1960’s and the trippy drug plays absolutely no role here.

Jack (David Arquette) and Ida (Bai Ling) have been married 16 years, and have for the most part, ceased to communicate. This void especially bothers Jack as it pertains to their sex life. He is so focused on this aspect that he commits to writing down all his feelings on this topic in his diary. We learn this because he tells us. Narration is key to the film … well that and the headache-inducing strobe edits and combination lighting-color-texture used to bring the diary entries to life.

One day Jack leaves the key to his desk drawer out so that Ida has full access to his diary, and his deepest thoughts. She refuses to read it, and instead decides to start her own diary. These two are not so creative when it comes to tormenting each other … though they go to great lengths to avoid a conversation.

Somehow, despite the lack of a plot, the obnoxious strobe-lighting, the never-ending nudity, and the droning narration, Bai Ling manages to stand out in her role. For one thing, she is an infinitely better narrator than Mr. Arquette, but more importantly, she seizes the few opportunities to bring some depth and humanity to her character.

It’s a story of frustration, obsession, questionable sexual habits, and the price paid for an absence of communication. The dreamlike visuals and the incessant narration never allow us to really connect with either character … even with the Charlie Chaplin bits performed by Ms. Ling. The film might be worth exploring from a technical aspect, but the less-than-graceful translation of the novel makes this a tough one to watch, or even to understand who its audience might be.

watch the trailer:

 

 

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Posted by David Ferguson

ELEVATOR TO THE GALLOWS (1958) revisited

October 4, 2015

Ascenseur pour l’echefaud (France)

elevator to gallows For an introduction to the French New Wave, the first feature film from director Louis Malle is a good place to start. The neo-realism in this crime drama (based on the novel from Noel Calef) was new to film goers at the time, and even more startling was the natural lighting and minimal make-up used to photograph lead actress Jeanne Moreau. Beyond that, the haunting score from the legendary Miles Davis has been best described as “the loneliest trumpet”.

The film jump starts with an emotional and desperate phone call between lovers shown in extreme close-up: Florence (Ms. Moreau) and Julien (Maurice Ronet). The two have plotted to kill her husband (his boss) – war profiteer Simon Carala (played by Jean Wall) – so that they can be together. The details of the perfect murder plan are carried out with the intention of making it appear like a suicide. Unfortunately for Julien, a frantic attempt to hide some evidence leaves him trapped in an elevator. The fallout from this bad break finds Florence believing he has deserted her, and creates a secondary story line involving the theft of his car by a couple of youngsters out for a good time.

It’s here that the film bounces between the three sequences and really capitalizes on Malle’s expertise with a camera. Julien’s frustration in trying to escape the elevator generates the necessary tension, while the exploits of the young couple Louis and Veronique (Georges Poujouly, Yori Bertin) find them in a bad-situation-gone-worse when their impromptu party with a German couple (Ivan Petrovich, Elga Andersen) turns tragic. It’s easy to see how Jean Luc Godard was influenced by this young couple for his classic Breathless (1960). But best of all is the wandering woman of despair … we follow Florence as she tries to track down Julien on the rainy late night city streets.  These shots of Ms. Moreau are truly spectacular thanks not just to the lighting, but also the realistic emotions of her facial expressions … we never doubt her feeling of resignation.

Mr. Malle was only 26 when he directed this film, and the follow-up (also with Ms. Moreau) entitled The Lovers, also released in 1958. He had worked as an underwater photographer for Jacques Costeau and referenced this in the film. Malle had a long time marriage to Candice Bergen, and an incredible career that featured three Academy Award nominations (including Atlantic City, 1980). This was Ms. Moreau’s breakthrough film and led to her best known role in Francois Truffaut’s 1962 film Jules and Jim. She is still working today at age 87.  She also had a successful singing career, as well as numerous love affairs (Malle, Truffaut, Pierre Cardin, and Miles Davis).

Although there are some details and plot points that might annoy those who pay close attention, it doesn’t take away from the groundbreaking work of a young director who helped change the tone of movies. It’s interesting to note that Florence and Julien don’t share a scene in this film, outside of the opening phone call split scene. Additionally, the contemporary influence lives on through the line “Never leave photos lying around” (or on social media).  A special thanks goes out to The Texas Theatre in Dallas for bringing this classic back to the big screen.

Rather than post a clip or trailer, below is a video showing a young Miles Davis playing along to the film:

 

 

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Posted by David Ferguson

FREEHELD (2015)

October 2, 2015

freeheld Greetings again from the darkness. A touching story based on the struggles of two people in love … that description fits, but leaves out the crucial details that make the saga of Laurel and Stacie so poignant and important. Laurel Hester was an Ocean County, New Jersey police officer who, like most non-heterosexual people of the era, went to extremes to conceal that part of her life for fear of personal and professional reprisals.

We catch up with Laurel (Julianne Moore) and her police partner Dane Wells (Michael Shannon) while on a drug bust in 2002. This scene is meant to quickly establish that Laurel is an excellent cop who is fully trusted by other cops. Soon after, we find Laurel and her god-awful volleyball skills flirting with Stacie (Ellen Page), a much younger auto mechanic. The two strike up a romance that leads to buying a house and jumping through the legal hoops required under the Domestic Partnership Act.

When Laurel is diagnosed with late stage lung cancer, the battle for her pension benefits begins as she goes up against the Freeholders who control Ocean County. While Stacie holds out hope for a cure and full recovery, Gay activist Steven Goldstein (Steve Carell) swoops in to generate media attention through protests and chants against the County. His cause is Gay marriage, while Laurel simply wants equality. It’s an odd differentiation that the movie dwells on, but never quite explains.

A significant social issue, a stroll on the beach, a pet dog, and a terminal illness … this sounds like the TV Guide synopsis of the latest Lifetime Channel movie. Perhaps that was the goal of screenwriter Ron Nyswaner (Philadelphia, 1993), whose next movie is a sex-change love story. Fortunately, the extremely talented cast elevates the material to an emotional level that allows viewers to connect. Those opposed to the issue include the macho cops from Laurel’s own squad room, and the ultra-conservative faction on the County board – who predictably runs and hides when the conflict reaches its peak.

Julianne Moore and Ellen Page do outstanding work in allowing us to accept a romance that at times looks more like a mother/daughter relationship due to the age difference. Humor is injected with a rare drywall joke and possibly the first ever on screen tire-rotation contest.  However, this isn’t a story for laughs.  Rather, director Peter Sollett (Nick and Norah’s Infinite Playlist, 2008) shows one of the many personal stories that have led to the legal authorization of gay marriage and rights. We view this acceptance through the eyes of Laurel’s partner Dane, and Michael Shannon’s low key performance prevents the role from being too clichéd. The film suffers a bit with Steve Carell’s over-the-top portrayal of the over-the-top Goldstein, but it does ring true in that desperate times call for desperate measures.

Certainly the film suffers from technical and script issues, yet the true story and the emotional subject matter, along with the fine performances, provide a clear look and reminder of some of the obstacles faced by good people over the years. Be sure to watch the closing credits for photographs of the real Laurel, Stacie, Dane and Goldstein – each (except Laurel, of course) have cameos in the film.

watch the trailer:

 

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Posted by David Ferguson

SICARIO (2015)

September 24, 2015

sicario Greetings again from the darkness. Really good thrillers – the kind that make our palms sweat and cause us to forget to blink – are increasingly rare in the world of cinema these days. Writer Taylor Sheridan’s script doesn’t choose the good guys, but instead highlights the terror and lack of rules and morality that guide the border wars and drug cartels. It turns out the border isn’t the only line being crossed. Director Denis Villeneuve (Prisoners, Incendies) elevates Sheridan’s excellent script further with a strong cast and some outstanding camera work from the best Director of Photography working today, Roger Deakins.

The opening sequence is about as tense as anything we could ever hope for on screen, and it introduces us to FBI Agent Kate Macer, played by Emily Blunt. We soon learn Kate is a focused and dedicated tactical expert, who also happens to be idealistic enough to believe the raids conducted by her team are making a difference … at least until this belief is later challenged.

Kate quickly finds herself “volunteering” for a special task force with muddled goals, uncertain tactics, and secretive leadership. Josh Brolin plays Matt, the leader of the team. He charms his way through answering Kate’s questions without offering any substantive intel. When asked about the mission objective, Matt responds with “to create chaos” and a smirk. Adding to her confusion and wariness is the mysterious “consultant” Alejandro (the “hitman” of the title) played by Benecio Del Toro. Part of the brilliance of the script is that everyone seems to know what’s happening except Kate and us (the viewers)!  Our understanding comes through the slow-drip method and keeps us fully engaged.

Similarities to both Zero Dark Thirty and Apocalypse Now struck me as the film progressed, but the sheer number of stress-inducing sequences set this apart as something different. A family dinner with a drug lord is one of the more fascinating and tension-packed scenes of the year. The moral complexity is thought-provoking, and the abundance of corruption and politics in relation to the cartels and war on drugs, leave us wondering not just whether this war can be won, but through what methods is it being fought.

“Welcome to Juarez”, says Alejandro, as the SUV motorcade makes its way past the remnants of a brutal crime scene. Although there are some tremendous sequences of tactical raids (and the best traffic jam you’ve seen), this should not be labeled as an action film … it’s so much more. Ms. Blunt’s character is the conscience of the film, but it’s Brolin’s Matt that makes us curious as to his background and motivation. And as interesting as are those two characters, they pale in comparison to Benecio’s man on a mission. Del Toro doesn’t act frequently, but he possesses the gift that has him dominating the screen … forcing our eyes to follow his every movement. Rumors have a prequel in the works that will focus on Alejandro’s roots. It’s the “land of wolves”, and Alejandro is an alpha.

Lastly, it must be stated that the film is a technical treat. The unique score from Johann Johannsson is never overbearing, and often mimics our pounding hearts. It’s worth taking note. Best of all is the work of the great Roger Deakins. His photography is astounding and this could be his best work yet. The desert landscapes are just as crucial as the claustrophobic raids or the impromptu strategy sessions, and Deakins puts us right where we need to be. As a companion piece to this excellent film, I would recommend Matthew Heineman’s extraordinary documentary from earlier this year, Cartel Land.

watch the trailer:

 

 

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Posted by David Ferguson

STONEWALL (2015)

September 24, 2015

stonewall Greetings again from the darkness. Dramatized versions of real life events are always a bit tricky, and hindsight often proves it’s best left to the documentary format. However, sometimes, a dramatized version helps us more easily relate to, and empathize with, those who were involved. That seems to be the approach taken by director Roland Emmerich in his re-telling of events so important to him and the LGBT movement … the Stonewall Riots of 1969.

The Stonewall Riots of June 1969 are often cited as the beginning of the Gay Liberation movement. Of course, there had been many previous clashes between gays and police, as discrimination was so extreme that these folks were labeled as mentally ill, and it was actually unlawful for gays to be hired for many jobs. On the streets of many big cities there existed a melting pot of minorities and the LGBT community. Many were young and homeless, and did whatever necessary to survive. So how best to tell this story?  Director Emmerich and writer Jon Robin Baitz put blonde, white, Midwestern, pretty boy Danny (Jeremy Irvine, War Horse) front and center.  How insulting to those involved.

To his credit, Emmerich does cast actors of various races in many roles, and he does seem to treat this as a sincere tribute or homage to those street kids who finally pushed back. Unfortunately, it’s these characters that seem to be the drag on the story. Despite such names as Queen Cong, Little Orphan Annie, Quiet Paul, and the inclusion of real life activists as Marsha P Johnson (Otoja Abit), Bob Kohler (Patrick Garrow) … and other key players like Ed Murphy (Ron Perlman) and Deputy Seymour Pine (Matt Craven) … the film comes off more like a staged musical sans music. Street life here is more gloss than grit, and the closest thing to a developed character is Ray, played with aplomb by Jonny Beauchamp (“Penny Dreadful”).

Having the Columbia University-bound pretty white boy as the focus might make it easier for mainstream audiences to connect, but it skims over the real struggles going on at the time. We see Danny at home with his worried mother, observant little sister (Joey King), and macho football coach/father (David Gubitt). Everyone is uncomfortable over what is not being said, and the breaking point occurs when a tryst with the star quarterback becomes public knowledge. Just like that, Danny is booted from home (Indiana, not Kansas) and lands on the streets of New York. The comparisons to Dorothy (gay icon Judy Garland) and the Land of Oz are obvious, and repeated numerous times for those a bit slow on the take.

Christopher Street and the Stonewall Inn are the main settings. The mob involvement is noted, as is the desperation of the community, the use of flop houses, and the long-standing “quiet” demonstrations. Even the practice of gays trying to “fit in” to society – to prove they belong – by wearing suits and acting “normal” is addressed. The riots are reduced to a single evening in the movie, and of course, the pretty white boy gets to heave the first brick. As a ‘roots of the movement’ film, it’s hard to believe this film won’t create more anger and frustration than thanks and awareness. Fortunately, there are many exceptional books and yes, documentaries that provide a better perspective on the events that occurred more than 45 years ago. We do see the first Gay Liberation Parade held the following year in honor of the riots – a tradition that continues today. The closing credit sequence catches us up on the key activists, and even provides a startling statistic: 40% of today’s homeless youth are LGBT.

watch the trailer:

 

 

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Posted by David Ferguson

MISUNDERSTOOD (Incompresa, Italy, 2015)

September 23, 2015

misunderstood Greetings again from the darkness. Asia Argento is a multi-talented filmmaker – actress, writer, director and producer. Her father is Dario Argento, well known for directing gialo horror films, and her mother is Italian actress Daria Niccolodi. Add in her grandmother, who was famed documentarian Leni Riefenstahl, and it’s understandable why Asia has created (with co-writer Barbara Alberti) this semi-autobiographical story of Aria … a young girl struggling with self-absorbed parents and a world where she doesn’t seem to fit.

It doesn’t take long before we realize the film is poorly titled. “Abused and Mistreated” or “Sucky Parents” would be more accurate. Aria, wonderfully played by Giulia Salerno, is a very observant, tougher than we might expect, skinny kid who is fifth in the household pecking order behind her bombastic parents (Charlotte Gainsbourg, Gabriel Garko) and her two older sisters (Carolina Poccioni, Anna Lou Casoudi).  Aria has a good friend at school, but is mostly an outcast due to her superior essay writing ability and her semi-famous, but rarely present parents.

Featuring one of the more dysfunctional family dinners you’ll ever see, the filmmaker’s deft touch allows us to pull for Aria as she is booted from her mom’s house, and then from her dad’s … and then the cycle repeats. Realizing that a connection with her parents (or sisters) will never be more than surface, Aria adopts a wild cat named Dac and proceeds to tote him everywhere. Dac’s blackness plays off the color surrounding others – especially her flashy dad and always pink sister.

Being as this is Italian cinema, the characters are always emotional (sometimes way up, sometimes way down), periodically violent, and always passionate. Aria is the tortured young soul simply trying to survive this coming-of-age story with a socially and morally unacceptable parental structure. It’s so apparent that with some semblance of love, Aria would fully blossom.

There are flashes of levity, including the dad’s over-the-top superstitions, and the expert use of Lou Christie’s “Two Faces Have I”, that provide us a glimmer of hope. However, when Aria says “There are many ways to cry”, we know those flashes and that glimmer are all but gone. Though the film is set in 1984, Aria’s plea for us to “Be Nice” is as timely today as ever.

watch the trailer:

 

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Posted by David Ferguson

BLACK MASS (2015)

September 19, 2015

black mass Greetings again from the darkness. Movie goers tend to fall into one of two groups when it comes to Johnny Depp – big fans or denigrators. Whichever side of the line you fall, there are few actors who can claim such a diverse career of on screen characters ranging from Edward Scissorhands to Gilbert Grape; from Donnie Brasco to Captain Jack Sparrow; from Willy Wonka to Sweeney Todd; and from John Dillinger to Tonto. Depp now turns his talents towards one of the most unsympathetic real life characters imaginable … South Boston’s infamous crime lord James “Whitey” Bulger.

Director Scott Cooper (Crazy Heart, Out of the Furnace) proves yet again that he is an actor’s director, rather than a visual technician or story addict. In this adaptation of the book from “Boston Globe” reporters Dick Lehr and Gerard O’Neill, Cooper has Depp and Joel Edgerton as his two leads, and an incredibly deep supporting cast that provide the look and feel for this period piece dramatizing the crime and corruption during Bulger’s reign.

When one thinks of the memorable kingpins of crime/gangster movies, those that come to mind include Michael Corleone (The Godfather movies), Tony Montana (Scarface), Jimmy Conway (Goodfellas), and Frank Costello (The Departed). The Costello character was supposedly partially inspired by Bulger. What made each of these characters fascinating to watch was the insight we were given into the psychological make-up of each and the inner-workings of their organization.  And that’s the disappointment of Cooper’s film.

For the Whitey Bulger story, there are two distinct directions to explore: the building of Bulger’s criminal empire, or the motivation of the FBI Agent John Connolly (Edgerton) as he juggled his job and relationship with Bulger. Unfortunately, the approach here is to show a hand full of cold-blooded murders to prove Bulger’s management style, and a few FBI meetings that show the obvious uncertainty within the agency. Rather than a muddled mash-up, a more interesting movie would have chosen a path and dug in deeply.

Despite the story issues, it is fun to watch how Depp and Edgerton tackle their roles. Under heavy make-up (wrinkles, receding hairline, hillbilly teeth, and crazy contact lenses), Depp becomes the intimidating force of Whitey Bulger. Just as impressive is Edgerton as Agent Connolly, as we witness the Southie neighborhood boys all grown up, but still playing cops and robbers … and it remains difficult to tell who the good guys from the bad. Edgerton’s cockiness and strutting capture the ego and ambition necessary for a federal agent to bend so many rules. In fact, despite the vastly different approaches, it’s not entirely clear which of these two fellows possesses the greatest ambition.

Benedict Cumberbatch plays Billy Bulger, Whitey’s younger brother who became a State Senator. We get very few scenes featuring the brothers, and in fact, Cumberbath’s best scenes are instead shared with Edgerton. It’s difficult not to chuckle at their first meeting in a restaurant as we watch a Brit and Aussie talk it out with south Boston accents. Kevin Bacon, David Harbour and Adam Scott play Edgerton’s fellow FBI agents, while Jesse Plemons, Rory Cochrane (especially good) and W Earl Brown make terrific Bulger crew members. Peter Sarsgaard leaves quite the impression as a doped-up associate, while Julianne Nicholson, Dakota Johnson and Juno Temple provide the film’s minimal female presence. Corey Stoll storms onto the screen as a Federal Prosecutor who is not amused by the relationship between Connolly and Bulger, but this movie belongs to Depp and Edgerton.

The concern is that any viewer not already familiar with the Whitey Bulger story may find the story not overly interesting, despite the terrific performances. Fortunately, this viewer was mesmerized by last year’s exceptional documentary entitled Whitey: United States of America v James J Bulger … a must see for anyone who wants full details into the Bulger reign of crime and terror, as well as his 20 years on the lam.

watch the trailer:

 

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Posted by David Ferguson

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