Greetings again from the darkness. There is always a risk in stamping a movie with a particular label … “Greek” in this case. It can limit the audience to which it appeals if there are too many in-jokes or cultural references. Despite the heavy dose of Greek-ness, writer/director Marcus Markou offers up a terrific little story that most can enjoy. It’s certainly not at the level of My Big Fat Greek Wedding, but it’s charming and entertaining enough.
Stephen Dillane stars as Harry Papadopoulos, a self-made millionaire who loses everything during a financial market collapse. You will recognize Mr. Dillane as Thomas Jefferson from the excellent HBO mini-series “John Adams“. Here he plays a single dad to 3 kids: a stuttering plant loving son, a pop star-wannabe teenager daughter, and a nerdy young son with a penchant for picking stock trends. Joining them is screen veteran Selina Cadell as the housekeeper/nanny. The crisis sends the family back into the life of Harry’s brother Spiros (Georges Corraface), and they proceed to re-build the old family business … Three Brother Fish & Chips.
Sure, it’s a formulaic story, but the characters are interesting enough and Uncle Spiros is so full of life and spirit that he can’t help but get you excited for this second chance. Watching the family re-connect with each other and their past is not just pleasant, but also well presented. Mr. Dillane is wonderful as the uppity millionaire type, however, when he gives his hospital soliloquy regarding never feeling “so alive”, I do wish we had actually seen more proof of that.
While I most enjoyed the interactions between Harry and Spiros, the two musical/photo medleys seemed to interfere with the flow … rather than shortcuts, they proved a bit annoying. However, it’s always refreshing to see a movie where a family bonds together, and puts the past where it belongs.
Greetings again from the darkness. Beginning with “Based on a True Story”, the movie takes us on a bumpy ride known as the life and times of Ward Allen, a silver-tongued duck hunter with a free spirit like few others. Director Annette Haywood-Carter utilizes Jack Cay Jr’s “Ward Allen: Savannah River Market Hunter” as her source material, and the marsh lands of Savannah make for a beautiful setting.
Jim Caviezel dives into the role of Ward Allen and it’s initially quite startling to see him play such a loqacious character … we are so accustomed to his normally quiet and stoic nature. Caviezel seems to revel in the courtroom scenes where he recites Shakespeare and charms the judge (Hal Holbrook) and gallery. Flip a switch and the next scene will have Allen exchanging familiar glances and verbal jousts with his duck hunting buddy Christmas (Chiwetel Ejiofor), a freed slave who is the perfect companion for Allen.
Evidently the real Mr. Allen was smart and engaging, but drank too much and constantly pushed the limits of legal hunting. His loyal dog, Rock, follows him everywhere and seems to anticipate his every need. This odd life takes a turn towards normalcy as Allen falls for a beautiful socialite played by Jaime Alexander. The two hit it off and get married, against the wishes of her father played by the great Sam Shepard. Unfortunately, it’s at this point that the movie gets convoluted and loses focus, trying to be too many things at once.
Caviezel and Ejiofor have a really nice screen presence together, but the interjections of home life between Caviezel and Alexander just stomp out any flow to the story telling. The attempts to make Mr. Allen a legendary, larger-than-life figure fall short because of the clunky script structure. The bookend with Christmas telling the stories to both a young and adult Jack Cay (Bradley Whitford) just beg for continued focus on the bond between kindred spirits Allen and Christmas. The enigmatic Ward Allen was clearly an interesting man and I look forward to reading Cay’s book … it’s just disappointing that the script was not sharpened prior to filming. It should be noted that there are a few tremendous songs throughout, including two very different versions of “Wade in the Water”.
Greetings again from the darkness. It’s not politically correct to criticize this movie, yet it seems only fair to treat it as I do every other movie on which I comment. If that sounds like a bashing is coming, you are mistaken. In fact, this is an emotionally-charged, well written and exceptionally well-acted movie that provides much anticipation for the future projects of its first time director Ryan Coogler. However, in my opinion, it is also flawed in its “Based on a True Story” placard that is then followed by much manipulation (3 Oprah references), some of which could even be considered misleading.
If you are unfamiliar with the tragic story, 22 year old Oscar Grant was inexplicably shot and killed (while subdued and face down) by a BART (Bay Area Rapid Transit) cop after watching New Year’s Eve fireworks with his girlfriend and buddies. An altercation/fight occurred on the train and the officers pulled Grant aside to detain/arrest. Much of this was caught on cell phone video by train passengers, and the aftermath brought protests in the city. The officer was tried and found guilty of involuntary manslaughter and sentenced to two years. He claimed he mistook his gun for his Taser.
No one can argue that this was anything but a senseless tragedy. Director Coogler even begins his movie with actual cell phone footage of the incident. The ending is known and seared in the viewer’s mind before the story even begins. Whether the senseless shooting was racially driven is a topic for debate, but the current media focus on the George Zimmerman trial, and his killing of Trayvon Martin, makes the timing of this movie quite compelling.
Coogler certainly points out that Grant (adeptly played by Michael B Jordan) was no angel. We learn about his prison stints, his drug dealing, his unfaithfulness to his girlfriend (the mother of his daughter), his lack of responsibility (losing his job due to chronic absence), his string of lies, and most glaringly … his terrifyingly quick and violent temper. My issue with the film is the seemingly inordinate amount of time Coogler spends on the flip side — the focus on Oscar’s desire to get his life back on track. So much effort and so many scenes are written to exhibit how Oscar is a charming guy with a big heart. He helps out a white lady in the grocery store, he takes a big step towards leaving the drug dealing life, he plans his mother’s birthday party, heck … he even cradles a poor dog that was hit by a car. This inequity in storytelling apparently has only one purpose … to create another symbol of racial injustice. We are not left to ponder if the real Oscar is the one who inspires his daughter to brush her teeth or the one who bows up to a foul-mouthed convict, rather than ignore him. Instead, Coogler wants us to believe that Oscar was now a good guy who had put his past behind him … all in the 24 hours leading up to his death.
The fact is, there are two sides of Oscar, just like everyone has multiple facets to their personality. Most of us learn to control the sides that don’t mesh well with society … others really struggle to do so. Michael B Jordan delivers a powerful performance as Oscar, and he and Octavia Spencer (who plays his mom) will both garner awards attention. Other supporting work is provided by Melonie Diaz as his girlfriend, Ariana Neal as his precious daughter, Ahna O’Reilly as the shopper, and Kevin Durand and Chad Michael Murray as the BART cops.
This film was the hit of both Sundance and Cannes, and was produced by Forest Whitaker. A major tip of the cap to BART for allowing the filmmakers to work on location at the actual Fruitvale station, for a level of authenticity. Coogler chooses one last bit of manipulation with his closing video of Oscar’s daughter Tatiana at a recent memorial outside of Fruitvale station … followed by on screen text of the officer’s two year sentence. We get no details on the trial, only the assumption that the sentence does not deliver justice, but rather another example of racial bias.
Lastly I’ll say that the decision to make a dramatization rather than a documentary was interesting. This allowed the director to focus on Oscar the good guy. A documentary would have required facts from the trial, a better perspective of the train disturbance and probably fewer Oprah references. The dramatization makes the movie more emotionally charged and more effective at inspiring outrage, rather than debate. Despite all of that, this is extraordinary filmmaking from a first time director, and I will certainly look forward to Ryan Coogler’s next project.
**NOTE: An interesting take on the real life events that led Oscar to this moment, could have been an analysis of the many decisions he made in his short life. Parents are always trying make their kids understand that every decision and every choice has a consequence. What if Oscar had never dealt drugs or gone to prison? The altercation on the train would not have occurred and the tragedy would have been avoided. I am by no means blaming Oscar for what happened that night, it’s just another example of how even the smallest decisions add up to impact our life.
***WARNING***
Rather than post the trailer to the film, I have elected instead to post a 1:42 YouTube video of the actual incident, The video is short but contains very harsh language and you can hear the gun shot. It is not easy to watch and certainly not appropriate for kids
Greetings again from the darkness. This is one of those indies that has all the pieces in place to be not just a terrific “little” movie, but also a surprise box office hit. It played well at festivals, critics love it, it has a very talented cast, it mixes humor with human emotion, and the co-directors and co-writers won an Oscar (with Alexander Payne) for writing the script to The Descendants. It even offers the often effective coming-of-age story line in regards to Duncan (played by Liam James) as a miserable 14 year old stuck at a beach house with him mom, her obnoxious boyfriend and his snobby daughter.
The movie has a touch of “The Wonder Years” (without the narrator), but it’s a bit more caustic thanks to Steve Carell, who plays Trent, the condescending and bullying boyfriend who has no redeeming qualities that we can see (other than an inherited beach house and a nice tan). It’s very unusual to see Carell in the “bad guy” role, but once you accept it, his lines and lies cut through each scene. Duncan’s mom is played by Toni Collette, and her character Pam is a divorced, insecure single mom trying to balance her own happiness with that of her teen-angst-filled son. Pam and Duncan are the outsiders in this beach community as we quickly learn when next door neighbor Betty (Allison Janney) barges across property lines (and personal space) with drink in hand and gossip flying.
Feeling further humiliated by his encounters with Betty’s cute daughter, Duncan finally gains a ray of hope thanks to Owen, the man-child manager of the Water Wizz park. Sam Rockwell plays Owen, and quickly becomes a mentor to him by offering him a job and what I call … Water Wizzdom. Of course, Duncan keeps the job a secret from the others in his life, and since they are mostly oblivious to his long absences, it proves again how self-centered the adults are in this little would-be family.
The well worn movie signs are all here … we recognize the characters and their struggles, in fact, we all know someone like each of the people that co-writers and co-directors Nat Faxon and Jim Rash present to us. We understand quickly that this is yet another coming-of-age tale with mostly clueless adults, and kids trying to cope on their own. Despite that, this one still mostly works. The writing and acting are such high quality that even though we are living in movie cliché-land, we still find ourselves caring about Duncan and Pam, laughing at Owen, and tossing tomatoes at Trent (Carell).
Special recognition to Sam Rockwell. Even though Duncan is the key character, it’s Rockwell’s Owen who recognizes that a little faith and encouragement goes a long way. Behind the facade of rapid-fire banter and laugh-inducing one-liners, Owen is coming to grips with a life of reality and shattered dreams. While never stooping to the typical Hollywood “win one for the Gipper” speech, Owen manages to instill a bit of confidence in Duncan … to the point where he refuses to let his mother pretend everything is OK with Trent.
AnnaSophia Robb plays the cute girl-next-door who recognizes potential in Duncan, but the filmmakers never allow this to turn into some ridiculous fairy tale. Instead we get characters who are each flawed, but real and recognizable. While all the typical pieces are present, there is enough crackle to the dialogue and quality acting to help this one rise above the usual muck. It’s a nice “little” alternative to the giant summer blockbusters. Nat Faxon and Jim Rash have shown again that they have a gift for dialogue and now a talent for guiding actors. In this, their directorial debut, they prove that they also have skills as filmmakers. We should expect the next one to be even better!
**NOTE: you may think this looks like another Little Miss Sunshine, but it really flips the percentages in comedy vs drama
SEE THIS MOVIE IF: quirkiness and caustic dialogue mixed with some humorous and familiar coming-of-age moments are what you are looking for this summer movie season OR you want to see Steve Carell play something other than a nice guy
SKIP THIS MOVIE IF: if you are seeking light-hearted summer fluff … this one is filled with uncomfortable family drama
Greetings again from the darkness. Co-writer and director Zal Batmanglij re-teams with his Sound of My Voiceco-writer and actress Brit Marling (Another Earth) to deliver another cult-based story. This time they focus on big, bad corporations and the eco-terrorists who target them.
Ms. Marling’s character is hired by Patricia Clarkson’s Security Company that specializes in protecting big corporations from the terrorist attacks and acts of revenge that these cults of anarchists perpetuate. Marling goes undercover to learn the secrets of The East, one of the particularly aggressive cult-like groups. The leader of The East is played by Alexander Skarsgard, who works with an overly-zealous and bitter Ellen Page and former med student Toby Kebbell.
Are these idealists, anarchists, eco-activists or eco-terrorists? Is their “eye for an eye” philosophy a form of retribution or is it meant to draw attention so that a wrong can be righted? Are there extremes to which they won’t go? This group doesn’t seem united in their answers to these questions, though their deep woods hangout draws comparisons to Charles Manson’s compound.
As Marling becomes part of the group, she participates in the “jams”, which are the actual strikes against the companies and the decision makers in charge. Specifically, they give a pharmaceutical giant a taste of their own medicine … getting the desired results, which they watch online. Of course, there is always the risk of prison and/or injury and things don’t always go according to plan.
The cast is pretty talented and also includes Jason Ritter, Shiloh Fernandez and Julia Ormond. The story will remind a bit of Sound of My Voice, and also Martha Marcy May Marlene. In other words, the attraction of the cult and commitment to cause. The set-up to the story is very well done, and it’s no real surprise as opposing ideals and conflicts creep into a group of idealists. Is violence necessary or are there more effective methods to make one’s protest heard and spur change? While the movie lacks the edge of the best indies, it still makes for good movie discussion … and crosses into real life beliefs and, personal and political stances.
**NOTE: Brit Marling is one of those rare combinations of Writer/Actress, and she is talented at both. She would be a wise choice as a prediction of future Oscar winner at some point … the only question is whether that will come as a writer or actress.
SEE THIS MOVIE IF:you are a fan of Sound of My Voiceand/or Martha Marcy May MarleneOR you’re in the mood for a intriguing story during this time of blockbuster summer releases OR you just want to see Alexander Skarsgard in full scraggily mode
SKIP THIS MOVIE IF:you refuse to believe big corporations would never put profit above public well-being OR you’re looking for a few good laughs (not sure this one has even one)
Greetings again from the darkness. The previous movie version of William Shakespeare’s play “Much Ado About Nothing” was directed in 1993 by Kenneth Branagh, who also directed Thor (2011). This modernized, much simpler version is directed by Joss Whedon, who also directed The Avengerslast year. It’s difficult to imagine a more oddball movie symmetry than that! Whedon’s production plays almost like a home movie, and in a way it is. Filmed at the director’s Santa Monica house with a cast featuring mostly a close group of his friends … those that frequently gather for Shakespeare dinner parties … this one exudes a certain joy and love of the material from all involved, with a live theatre feel.
I have always been more attracted to Shakespeare’s comedies than his more famous tragedies. His startling wordsmithing is always filled with an edge and is borne of real personalities we all recognize. Combine that with director Whedon’s love of rapid-fire, wise-cracking dialogue and we get something from the ilk of Preston Sturges or Howard Hawks screwball comedies.
The banter and battle of wits between Beatrice (Amy Acker) and Benedick (Alexis Denisof) are at the heart of the story. Their flirtations are recognizable as two who doth protest too much … as if it could hide their mutual attraction. In one of the most pure comedic roles from the pen of Shakespeare comes Dogberry, the detective on the case of the dark conspiracy occurring right under the noses of most characters. Nathan Fillion(“Castle”) plays Dogberry in such a manner that he steals every scene in which he appears … both verbally and physically. He provides some laugh out loud moments.
You will recognize some of the others in Whedon’s acting troupe: Reed Diamond plays Don Pedro, Clark Gregg as Leonato, and Fran Kranz as Claudio. Newcomer Jillian Morgese plays Hero, the falsely-accused bride-to-be, whose misfortunes lead to the great Dogberry scenes.
The temptation here is to say that a very entertaining movie can be made simply, cheaply and quickly (12 days filming). Of course, as wonderful as Amy Acker is, the real star is the story and words from William Shakespeare … even in this modernized setting. As we all know, “A rose by any other name would smell as sweet”. Whedon and his cronies prove this. I’m not sure this is the best indoctrination to Shakespeare, but I believe only the most traditional of Shakespeare devotees will not find some joy in this version.
SEE THIS MOVIE IF: you are a fan of The Bard and enjoy seeing varying visual interpretations of his fantastic work
SKIP THIS MOVIE IF:you are the firm traditionalist who believes Shakespeare only belongs on stage or on paper
Greetings again from the darkness. An ultra-modern indie update of the 1897 Henry James novel introduces us to parents we know, but wish we didn’t. Steve Coogan plays Beale, a self-absorbed art dealer. Julianne Moore plays Susanna, a self-absorbed rock star. OK, you and I may not know art dealers and rock stars, but we know self-absorbed types and we know they make terrible parents. So not only do we know it, but it’s also what Maisie knows.
Five outstanding performances and strong work by co-directors Scott McGhee and David Siegel prevent this one from spinning off into the neverlands of melodramatic muck. Onata Aprile is a wonder as Maisie. She displays none of the typical “movie kid” precociousness. The movie (and James novel) are told from her point of view. We see the fragmented bits and pieces she experiences as her parents fight. Rather than a full story drowning in details, we share her moments of late pick-ups, early drop-offs and forgotten trips.
Soon enough Beale and Susanna are divorced and the real wars begin. These despicable adults make little effort in hiding their hatred of each other from 6 year old Maisie. It becomes background noise to her life. Further proof of the epic narcissism from both: Beale soon marries Margot the nanny (played by Joanna Vanderham) and Susanna reacts by marrying Lincoln, a simple-minded band gopher and bartender played by studly but Alexander Skarsgard. The most startling moment of the movie occurs when Lincoln first begins playing with Maisie … it’s as if we had almost forgotten what it means to give your attention to a child.
This is not an easy film to watch … at least if you understand that parenting means putting yourself second. The directors do a wonderful job of showing us how Maisie takes in moments and what memories she makes from these. The neglect and false moments of caring from her parents make her acceptance of the attention to her step-parents even more poignant. We can’t help but hope things work out for this little girl and it’s a reminder that childhood innocence cannot be recaptured once lost … and it’s worth hanging on to for as long as possible.
SEE THIS MOVIE IF:you want to see a realistic and terrific performance from child actor Onata Aprile OR you’ve always believed that Henry James doesn’t translate to the big screen
SKIP THIS MOVIE IF: the last thing you wish to see is two more pathetic parents
Greetings again from the darkness. According to director Steven Soderbergh, this is his farewell to film. He is taking his eye and camera and will concentrate on specialty projects … at least until he figures out that movie directors make more money (yes, I’m skeptical). This one has been “in the works” for years and is based on Scott Thorson’s autobiography.
If you don’t recognize the name Scott Thorson, you surely recognize his opponent in his 1982 palimony suit … Liberace. The story recounts how a 17 year old Scott fell under the spell of Mr Showmanship, and didn’t leave until 1982, when he was forced out. To understand what occurred during those years requires an understanding of the times. The gay culture had not worked its way into mainstream America. Despite his over-the-top flamboyance (on and off stage), Liberace’s fans refused to believe he was gay … or more accurately, refused to even entertain the idea. This “secret” was protected by Liberace and his professional camp.
Although their actual ages are way out of whack for the story, Matt Damon and Michael Douglas are both exceptional as Scott and Liberace, respectively. Much of this story focuses on Scott, but Douglas’ performance is what makes this work. He walks the fine line between predator and protector, lover and louse. When he tells a young Scott that he wants to be his “Brother, Father, Lover, Best Friend”, we are nauseated as viewers, while Scott is captivated.
Supporting work comes from Dan Akyroyd as Seymour Heller, Liberace’s fixer and handler; an exceptional Rob Lowe as plastic surgeon Dr. Startz; Scott Bakula as one of Scott’s first and the one who introduces him to LL; Paul Reiser; Nicky Katt; and Debbie Reynolds … yes THAT Debbie Reynolds (Singin’ in the Rain) … who plays Liberace’s controlling and creepy mother.
Scott Thorson is really not a very interesting character, though there is no doubt that he and Liberace were exceptionally close for almost six years. The movies have shown us many “kept” women over the years, so it’s a twist to see a studly young man in the role. The slow spiral into drug addiction and paranoia is not fun to watch, and rather than follow Scott, the movie ends with Liberace’s passing due to complications from AIDS. Since then, Mr. Thorson testified against gangster Eddie Nash in the Wonderland murders, and was placed in the Federal Witness Protection program. Of course, his taste of fame would not allow him to live a quiet life and he has since been shot and arrested … even giving interviews from the Reno jail just one month before the premiere of this movie. Only recently was his bail posted by the fine folks at Nevada’s The Moonlite Bunny Ranch. (yes, really)
Definitely worth watching thanks to the Michael Douglas performance, but also as a reminder of just how much innocence society has lost in the last thirty years. Soderbergh says that no studio would distribute the film because it was “too gay”. Maybe we haven’t progressed so much after all. Luckily HBO picked it up, though that prevents Douglas from being an Oscar contender. Brace yourself for the “creep factor”. Liberace (that’s the real one, pictured left) even tried to legally adopt Scott … a move that eclipses the wildness of even his costumes, pianos and cars.
**NOTE: Robin Williams was originally cast as Liberace
SEE THIS MOVIE IF:you were a fan of Liberace OR you want to see just how far society has advanced in 30 years
SKIP THIS MOVIE IF: you have no intention of allowing for the possibility that Liberace was in a relationship (other than professional) with Scott Thorson
Greetings again from the darkness. All the critics are raving about it. Love abounds for the latest from director Noah Baumbach and his co-writer and leading lady Greta Gerwig. What makes my ambivalence even more confounding is that I’m a fan of Baumbach (The Squid and the Whale) and Gerwig (Greenberg). The expert level of filmmaking and acting is obvious, the script details and dialogue are exceptional, and the situations and setting are realistic. So why aren’t I more excited about this one? That’s what I’ve spent the past few days wondering.
It seems Frances Hadelivers everything I look for in an indie film. The problem is that I find almost every character to be annoying and self-absorbed. The first act finds Frances (Gerwig) sitting on top of the world. She has a boyfriend, a BFF/roomie, and is a dance company apprentice with the expectation of a dance career. Soon enough she watches Strike Three go by and her world is in a tailspin. We then watch Frances trudge on through uncertainty and instability in living arrangements, personal relationships and career path. It plays like a road trip that really never hits the highway.
Frances moves in with Lev (Adam Driver) and Ben (Michael Zegen) and she is oblivious to Ben’s interest as she obsesses about her former BFF Sophie (Mickey Sumner). See, Sophie is trying to grow up while Frances wants to stay in her dream land where she and Sophie remain “the same person with different hair“. Frances then crashes at the apartment of a fellow dancer played with all seriousness by Grace Gummer (Meryl Streep’s daughter). The two dancing opposites attend an awkward dinner party at which Frances manages to spew an endless stream of absurd remarks that advertise her lack of maturity. Her response to this is to take a spontaneous trip to Paris … charged to a new credit card.
Make no mistake. Frances is a very energetic and sincere free-spirited twenty-seven year old. The kind that is only charming in the movies. If her quirk wins you over, you will find yourself rooting for her to get her life together. That would put you in the same corner as most other film critics. On the other hand, if you recognize the optimism, but are unmoved by the immaturity and self-absorption, then you are banished to the corner of those who “just don’t get it”. And I’ll be right there with you.
SEE THIS MOVIE IF: you can revel in the quirky world of Greta Gerwig and Noah Baumbach and find joy in a flirtateous take on Lena Dunham’s “Girls”
SKIP THIS MOVIE IF: annoyingly self-centered people talking a lot about themselves and other things of which they know little, inspires you to request a refund.
Greetings again from the darkness. Dramatizations are at their best when actual footage of the subject or event doesn’t exist. They can be an effective way to highlight a particularly interesting story or person with details we might not otherwise access. Richard Kuklinski‘s story is fascinating and frightening. He is known as the mob’s most prolific hit-man/contract killer. Writer/director Arial Vromen has adapted Anthony Bruno‘s novel for the screen, and wisely cast Michael Shannon in the lead. It makes a nice companion piece to the chilling 1992 documentary The Iceman Tapes: Conversations with a Killer.
The movie is dominated by the hulking presence of Shannon as Richard Kuklinski. Shannon is no match for the physical size of Kuklinski, but his movements and the camera angles capture the powerful and imposing monster that he was. If you are unfamiliar with Kuklinski’s story, he killed somewhere between 100-250 people. His missions were carried forth in cold-blooded, heartless and widely disparate manners. Additionally, he often dismembered his victims and froze bodies and parts to prevent the actual time of death from being established. He was good at his job, though hardly a good guy. But wait! Not so fast …
Kuklinski was also a husband a father of two daughters who made up what appeared to be a lovely, normal family in suburban New Jersey. This guy had an internal switch he flipped from the street to the dining room table. When he was captured, his wife and daughter claimed they had no clue what he did for a living (he had told them he was in Finance). Sure, they admitted to his having a wild temper and even threatening his wife a few times, but they never once considered that he was a cold-blooded killer by day and neighborly barbecue dad on weekends. The photo at left is an actual family photo of the real Kuklinski family.
Winona Ryder plays Deborah, Kuklinski’s wife. Before you snicker, you should know that Ryder is exceptional in the role. Her comeback tease in Black Swangave us hope she had returned to form, and with this turn displays the talent we always knew was there. The always dependable and creepy Ray Liotta is perfectly cast as Roy Demeo, the mobster for whom Kuklinski worked. The scenes with Shannon and Liotta together are bone-chillingly frightening. Chris Evans (light years from Captain America) plays fellow hit-man Robert Prongay aka “Mr Freezy”. Kuklinski credits Prongay with valuable insight into poison and disposal of bodies. It’s heart-warming to see that even contract killers have support groups. Other fine acting comes courtesy of David Schwimmeras smarmy Josh (Demeo’s right hand man), Robert Davi (as Leonard Marks. Demeo’s link to the family head), James Franco (as one of the hits), and Stephen Dorff as Kuklinski’s incarcerated brother Joey.
Childhood flashbacks give us the table-setting necessary to understand the balance of nature v nurture in the Kuklinski household. Still, no matter how much abuse or misery one has a child, it’s difficult to comprehend the stoic evil that possessed Kuklinski. And to be clear, Michael Shannon’s performance is his best yet … and that is saying a great deal. He has become one of the most interesting actors – one who can take the lead as he does here and in Take Shelter, or as a scene-stealing supporter in Revolutionary Road, Mud and the upcoming Man of Steel(as General Zod). He’s not a flashy actor, just an enormously talented one.
Vromen captures the gritty feel of the nearly three decades of “family” life in a manner that reminds of Kill the Irishmen… the Ray Stevenson take on Danny Greene. The atmosphere and inner turmoil are similar, but there is no comparison to the Kuklinski evil. Should you doubt this, I would highly recommend the documentary previously mentioned. Watching the actual dead eyes of the real Richard Kuklinski as he talks about his life is beyond horrifying.
*NOTE: the real Kuklinski claimed to have killed Jimmy Hoffa. His story was unable to verified because … you got it … he was very good at his job.
SEE THIS MOVIE IF:you are intrigued by the power of “family” life and how the members handled problems OR you are familiar with Kuklinski and want a film that captures the essence of the monster and the times (bad clothes and facial hair).
SKIP THIS MOVIE IF: violence, even when based on true stories, is not your cup of tea
Greetings again from the darkness. There is always a risk in stamping a movie with a particular label … “Greek” in this case. It can limit the audience to which it appeals if there are too many in-jokes or cultural references. Despite the heavy dose of Greek-ness, writer/director Marcus Markou offers up a terrific little story that most can enjoy. It’s certainly not at the level of My Big Fat Greek Wedding, but it’s charming and entertaining enough.
Posted by David Ferguson 
Movie Reviews from the Dark 