DR. STRANGELOVE (1964)

November 2, 2012

 DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB

Greetings again from the darkness. Difficult to decide if it’s more shocking that this film is almost 50 years old, or that it ever got released in the first place. No other black comedy satire on such a sensitive political issue has ever had its theatrical release right smack dab in the middle of the ongoing issue. The cold war between Russia and the US was in high gear and the Cuban Missile crisis had just occurred. In fact, President Kennedy’s assassination caused the film’s opening to be delayed.

 Stanley Kubrick only directed eleven feature length films, and ten of them can be considered classics (A Clockwork Orange, 2001: A Space Odyssey, The Shining, to name a few). Dr. Strangelove is regarded as one of the greatest comedies of all-time, though it’s difficult to imagine anyone under 30 really “getting” much of the humor – unless they happen to be a history buff. The movie could come across as one big “inside joke” to those unfamiliar with the times.

 Loosely based on Peter George‘s “Red Alert” novel, Kubrick decided to take the source material and turn it into satire. He brought in Terry Southern (“The Magic Christian”) to help with the script, and then he turned the incomparable Peter Sellers loose in 3 roles (originally 4, but he broke his leg and gave up the Commander King Kong role). Stories abound with Sellers causing multiple takes and significant editing due to his ad-libbing cracking up other cast members (and even Kubrick).

 The structure of the film involved three separate, yet intertwined sequences. We see Burpelson Air Force Base Commander General Jack D Ripper (Sterling Hayden) issuing the order to Group Captain Mandrake (Sellers) to lock down the base. It turns out, Ripper has gone a bit loony and somehow issued the strike first command against Russia. Mandrake spends much of this segment trying to calmly obtain the Recall Codes from Ripper. We also meet the crew of one of the multiple B-52 bombers in route to Russia. Led by Commander “King” Kong (Slim Pickins), they are on the way to deliver two nuclear bombs. One of his crew is played by James Earl Jones in his screen debut. Lastly we go inside the War Room where President Merkin Muffley (Sellers) is meeting with his Joint Chiefs of Staff and advisors. A key player here is General Buck Turgidson (George C Scott) in full kill and be killed mode.

 There are so many interesting bits to discuss, but let’s limit to just a few. Watch the camera angles that Kubrick uses to film Hayden. He is made to look both powerful and nuts. Hayden (so great in Kubrick’s The Killing) has the voice and tough guy stance to make us believe he could start a war due to a Russian plot to pollute the “precious body fluids” of Americans. Sellers plays two roles in the War Room, but his straight man performance as the President allows George C Scott to really shine in one of his few comedic turns as an actor. Scott’s performance is somehow over the top AND right on the button (so to speak). When watching Slim Pickins in the iconic final image, keep in mind that he was a real life rodeo cowboy prior to breaking into acting.

 Obviously the character names are outlandish (Keenan Wynn plays Col. Bat Guano), but it should be noted that the character of the President was based on real life politician and Presidential candidate Adlai Stevenson. The General Turgidson character is based on real life General Curtis LeMay who was infamous for his kill ’em first attitude. Also, General Ripper was based on General Thomas S Power, who was LeMay’s protégé and ultimate replacement as Joint Chief of the Air Force. It should also be noted that Tracy Reed is the only female character who appears … and yes, that is her in the Playboy magazine that Commander Kong is perusing.

There are so many classic lines and sight gags in the film that it’s challenging to keep up on the first viewing. Also, it’s been a few years since a pay phone and coke machine played such vital roles. When Kubrick killed the original pie fight ending, he added more frightening images and the poignant closing song – “We’ll Meet Again” by Vera Lynn. Director Sidney Lumet did a film version of this same basic story told in a straight-forward and thrilling manner. His Fail-Safe was released less than a year after Dr. Strangelove.

**NOTE: While it’s now common to refer to the film as “Dr. Strangelove”, the actual title is Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.  It is the longest title of any film nominated for a Best Picture Oscar.  The film received four total nominations, but it turned into the year of My Fair Lady (Best Picture), George Cukor (Director), and Rex Harrison (Actor).

watch the unusual trailer:

http://www.youtube.com/watch?v=1gXY3kuDvSU

 

1 Comment | Classics, Comedy | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

CLOUD ATLAS (2012)

October 27, 2012

 Greetings again from the darkness. Ambitious and mesmerizing. Those are the two words that best describe my reaction to this stunning film based on the David Mitchell novel. Hopefully, you have not come here for answers to the many mysteries offered up by this most unique film experience. If you are the type that loves to think, analyze and discuss complex movies, you will be challenged and satisfied. If you prefer your stories clean, straightforward and gift-wrapped, you will be like some of those in my audience who walked out of the theatre at various stages -not to return.

 While there are no easy explanations for what we see on screen, this is undoubtedly one of the more complex and multi-faceted and challenging movies to watch. There are six stories that span approximately 500 years (beginning in 1849 and going through 2346 or so). We see many actors playing multiple characters of various ages, crossing racial and gender lines depending on the specific story.  We track the progression/regression of their souls through time. This will prove more challenging to you than it sounds on paper, as the make-up work is some of the most extreme ever seen on screen.  Many will describe the film as messy or convoluted, but the argument can be made that those traits add to the fun. Certainly, this won’t be to the taste of most; however, if you thrive on life’s puzzles, the film will hit your sweet spot.

 The six stories are co-written and directed by Tom Twyker (Run Lola Run) and The Wachowski’s (Lana and Andy, The Matrix trilogy). These six segments are split evenly between the two director groups, yet then blend seamlessly thanks to the truly expert editing of Alexander Berner. You will recognize the influence and similarities of such films as Master and Commander, Cocoon, Silkwood and Blade Runner, as well as many others.

Filling the costumes, donning the make-up and spouting the dialogue in manners that you often won’t recognize are such disparate actors as Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Donna Bae, Ben Whishaw, Keith David, James D’Arcy, Xun Zhou, Susan Sarandon and Hugh Grant. Especially entertaining are Hugo Weaving as a sadistic female nurse and Hugh Grant as a violent tribesman. The best laughs in the film are courtesy of the great Mr. Broadbent whose facial expressions are near clown-like in elasticity.

 As for the themes and points of the film, that is a topic for debate. A couple of lines of dialogue offer some clues. Hanks’ nasty ship doctor spouts “The weak are meat the strong do eat“, and we notice the recurring theme of the strong dominating the weak across all story lines. There is another line: “One can transcend any convention so long as one can conceive of doing so“, that provides the glimmer of hope in each story. Love and oppression are always present, but it’s clear to me that the human spirit remains strong and is capable of overcoming oppression in the past, present and future. You may disagree but our debates will be colorful … and may change after a second viewing!

SEE THIS MOVIE IF: you enjoy assembling the pieces of multiple storylines and numerous interconnected characters OR you just want to see Hugo Weaving play the toughest on screen nurse since Nurse Ratched

SKIP THIS MOVIE IF: you prefer movies to be short and sweet (this one is almost 3 hours and anything but sweet)

Watch the trailer:

http://www.youtube.com/watch?v=pQFAPeaJOf8

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Posted by David Ferguson

FRANKENSTEIN (1931) BRIDE OF FRANKENSTEIN (1935)

October 26, 2012

 Greetings again from the darkness. It’s pretty easy to underestimate the importance of a couple of monster movies from 80 years ago.  Since TCM and Cinemark teamed up for this double-feature, it seemed worth revisiting and discussing.  Most people are aware of Mary Shelley’s 1818 novel (published when she was 21) and have probably seen some of the many screen versions throughout the years. It is interesting to note that while the brilliant (and often misunderstood) novel was the source, it was really these two films that jolted the monster film genre to life … and careers for many actors, directors, make-up artists and set designers.

When Carl Laemmle, Jr assumed control (from his father, the legendary producer and studio founder) of struggling Universal Studios in 1928, he was very aware that something special and different was needed to save the business. A string of Universal horror movies soon followed: Dracula (1931), Frankenstein (1931), The Mummy (1932), The Old Dark House (1932), The Invisible Man (1932) and Bride of Frankenstein (1935).  Two driving forces of this period were director James Whale and actor Boris Karloff. While Dracula with Bela Lugosi hit theatres first, it was Karloff as “The Monster” who really captured the interest of the movie-going public.

Frankenstein was Karloff’s 81st film and he was only cast because Lugosi turned down the non-speaking role.  Wearing over 60 pounds of make-up, prosthesis and padding … including 26 pounds of shoes to make him over 7 feet tall …Karloff still managed to bring personality to the creature created by Dr. Henry Frankenstein (Colin Clive).  Yes, HENRY.  Though named Victor in the novel, the name was “softened” for the film.  In the film, Dr. Frankenstein is on a mission to create life from body parts and organs of the dead. His stated goal of a man-made race at his beck and call was a clear indication that his God complex was out of control.  His fiancé is played by Mae Clarke.  Ms. Clarke went on to Hollywood infamy when she took a grapefruit in the face from James Cagney in Public Enemy.

 The enormous success of Frankenstein begged for the first real sequel.  Bride of Frankenstein was released in 1935 with Karloff and Clive reprising their roles. Elsa Lanchester was cast as Mary Shelley (the writer of the Frankenstein novel), and we even get a scene with characters representing her husband (the poet Percy Shelley) and Lord Byron.  Of course, Ms. Lanchester became famous for her Bride’s iconic hairstyle, as well as her hissing and screaming.  Taking Mae Clarke’s place as Elizabeth was Valerie Hobson. Ms. Hobson later became famous as the stand-by-her-man wife of disgraced British Secretary of War John Profumo. Profumo lied to the House of Commons about his relationship with Christine Keeler, the mistress of a Soviet Spy. The “Profumo Affair” forced his resignation in 1963 and was the source of the 1989 British film Scandal.  Bride of Frankenstein is also renowned for the mad scientist Dr. Pretorius played by Ernest Thesiger. Much was made at the time of his “probable” homosexuality and, combined with the multiple crucifix imagery, the film was banned in some markets. It should also be noted that the film utilized a full score … just the second film after King Kong to do so. Previously, film music was thought to be distracting to viewers.

 When discussing these early monster movies, revolutionary make-up artist Jack Pierce must be noted. He created the bolts/electrodes and flat head look for the monster, and even came up with the now-famous green make-up that looked ash gray in Black & White films. Mr. Pierce is easily the most famous of the early movie make-up artists and made his mark during the Universal horror period of the 1930’s-40’s.  Director James Whale turned to monster movies after tiring of war films. His impact was felt as he turned the Frankenstein monster into a sympathetic character, and later added much humor to Bride of Frankenstein.  Unfortunately, once he tired of monster movies, his career and life took a dark turn, and he took his own life in 1967.

Numerous remakes, spin-offs and spoofs have been released over the years and, tip of the cap to Abbott and Costello, the most famous is probably Mel Brooks’ Young Frankenstein. It is a brilliant tribute and spoof, while also standing on its own as one of the best all-time comedies. With such creative works based on her writings, Ms. Shelley would surely be impressed to know that nearly 200 years after her novel; this can still be said about her monster …. “It’s Alive! It’s Alive!”

watch the trailer to Bride of Frankenstein:

http://www.youtube.com/watch?v=r9t6NHlPJHA&feature=related

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Posted by David Ferguson

TMI (10-26-12)

October 26, 2012

TMI (Today’s Movie Info)

I found this on multiple Twitter feeds, but am not sure of the original source.

The most original synopsis of The Wizard of Oz

1 Comment | TMI Dailies | Tagged: | Permalink
Posted by David Ferguson

WUTHERING HEIGHTS (2011)

October 21, 2012

 Greetings again from the darkness. Since 1920, there have been between 8-15 film versions of the classic Emily Bronte novel, depending how many TV versions you include. The most famous is William Wyler‘s 1939 version featuring Lawrence Olivier and Merle Oberon. This latest adaptation from director Andrea Arnold bears little resemblance to Wyler’s version, and will probably be quite different than any interpretation you have seen or imagined.

Ms. Arnold is an Oscar winner for her 2003 short film Wasp and is also known for her critically acclaimed 2009 film Fish Tank. Clearly, she has set the stage for a somewhat darker view of what, at its core, is a very dark novel from Ms. Bronte. That said, the minimalistic take is even darker, foggier, rainier, slower and quieter than anticipated. If Terrence Malick films move too quickly for you, then you will find this pace acceptable. Also, very little dialogue is used and no musical score. The camera work is artsy, alternating between sweeping nature shots (feathers, bugs, rain and fog) and claustrophobic scenes within the titular Earnshaw home.

Three of the four main characters are played by first time film actors. Heathcliff is played by James Howson and a young Soloman Glave. Catherine is played by young Shannon Beer and Kaya Scodelario (Eve from Moon). While this minimalistic approach may look technically beautiful, it also prevents the viewer from making any real connection to the characters … not usually a good thing, even for a tragic love story.

Film students and those who enjoy experimental filmmaking may find the most enjoyment in this version. Those who love the classic Bronte novel may struggle to connect with the vision of Ms. Arnold.

SEE THIS MOVIE IF: you never miss a movie version of Bronte’s novel OR you subscribe to the filmmaking theory of less is more.

SKIP THIS MOVIE IF: you like to connect to characters OR traditional filmmaking is just fine for your tastes.

watch the trailer:

http://www.youtube.com/watch?v=Iamo78RDshQ

3 Comments | Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

TAKEN 2 (2012)

October 21, 2012

 Greetings again from the darkness. Four years ago Taken was a huge, surprise hit filled with heart-pumping action and a thrilling plot. The sequel boasts a budget more than three times the size of the original, the same key cast members (especially Liam Neeson), the same screenwriter (Luc Besson), and a similar type story. So why doesn’t it work this time? The answer is inferior direction, a lack of surprises, and too many absurd moments to count.

Liam Neeson returns as former CIA-stud Bryan Mills, father to Kim (Maggie Grace) whom he previously rescued from Albanian sex-traffickers in Paris. Famke Janssen also returns as Leonore, Kim’s mother and Bryan’s ex. Somehow, Leonore and Kim think it’s a great idea to surprise Bryan with a visit while he is on a security job in Istanbul. Yes, right next door to Albania (note sex traffickers). Since the film opens with a mass funeral depicting the burial of all the guys Bryan killed in the first movie, and Rade Serbedzija vows revenge, it comes as little surprise when Bryan and Leonore are “taken”.

 What is surprising is that the filmmakers attempt to turn Maggie Grace into an action hero. Yes, gangly Maggie Grace who we saw hiding under the bed in the first film. This time, unable to pass the driving test to obtain her license, she transforms into master stunt driver and Olympic rooftop sprinter … while deploying grenades with Swiss perfect timing. I should also mention that in real life Maggie Grace is 29 years old. She was supposedly 17 in the first movie and 18-19 here. Yes, one of my movie pet peeves.

In a film like this, we can always hope the action sequences cover-up the ludicrous script (see most Jason Statham movies). Unfortunately, we are abused with chopped up, hyper-kinetic camera work that we often can’t tell who is punching who are whose gun is firing. These action shots make the fight scenes in Batman Begins or the Bourne movies appear slo-motion. It’s a waste of Liam Neeson and a potential stellar bad guy in Mr. Serdebzija (The Saint). The final irritant is Janssen’s role as Leonore. She is reduced to sobbing and passing out (sometimes while wearing a hood). Just another waste. The director of this mess is Olivier Megaton, who also directed Columbiana and Transporter 3.

There are two types of sequels: those that build on the best points of the first and those that simply cash in. Clearly, this one falls into the cashing-in column. Don’t expect any long-lived quotes from this sequel. It has no particular set of skills.

SEE THIS MOVIE IF: you are addicted to action films, no matter the quality OR you enjoy macho man Liam Neeson when he is in full assault mode

SKIP THIS MOVIE IF: you are expecting a smart, crisp action thriller in the same vein as the original OR you prefer to avoid the goofyness of Maggie Grace, action star

watch the trailer:

http://www.youtube.com/watch?v=q8eE5T6iMsg

2 Comments | Action, Thriller | Tagged: , , , , , | Permalink
Posted by David Ferguson

ATLAS SHRUGGED II: THE STRIKE (2012)

October 20, 2012

 Greetings again from the darkness. A tip of the cap to the independent producers who promised to make Part II despite the financial failure of Part I last year. My deep admiration for Ayn Rand and her classic novel label me as a believer in objectivism; however, as a movie blogger, my comments here are based on the movie, rather than the must-read book. Fully understanding the need and desire to tell this story and make the points via film, I am most disappointed in the lack of quality associated with the filmmaking process … just as I was with Part I.

On the bright side, the level of acting is a step up from the first entry in this series of three. Samantha Mathis is believable as Dagny Taggart and Jason Berghe is an improvement over Grant Bowler for Hank Reardon. Esai Morales adds a touch of class as Francisco d’Anconia, and we get the familiar faces of Diedrich Bader (Quentin Daniels), Michael Gross, Arye Gross, and Richard T Jones. There is even a quick speaking part for the usually silent Teller (of Penn and Teller).

 The key to the story and Ms. Rand’s philosophy is not to be judged by the film production quality, but instead of the actions of individuals. Value for value by mutual consent and for mutual benefit. This flies in direct contradiction to much of what we hear during this election year in the U.S. Instead we get thinly-veiled references to re-distribution of wealth and sharing with those in need for the greater good. In this Part II, we see more mysterious disappearances from the greatest minds and most creative people. These happen even as those responsible refuse to understand they are the cause.

Despite the barely TV-level production quality of Parts I and II, I would never discourage anyone from seeing the films. The message is too strong. I would, however, highly recommend reading the source material from Ms. Rand’s 1957 novel. It is a brilliant work of art, and though quite hefty, well worth the thought-provoking effort regardless of one’s political views.

Here is my review of Part I from April 2011:  https://moviereviewsfromthedark.wordpress.com/?s=atlas+shrugged

watch the trailer for Part II:

http://www.youtube.com/watch?v=AF9QT43uDQU

 

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Posted by David Ferguson

FRANKENWEENIE (2012)

October 15, 2012

Greetings again from the darkness. Being a huge fan of Tim Burton’s 1984 short of the same title, news of a feature length feature was very exciting. It’s obvious from both films that director Mr. Burton holds the story and project close to his heart. The obvious guess is that young Victor Frankenstein has much in common with the enigmatic director’s childhood experience … a social misfit who finds joy in less than popular outlets (science, sci-fi, filmmaking).  Burton then adds the crucial elements of nostalgia and fun.

The story begins simply enough, Victor – a socially inept boy, whose only friend is his loyal dog Sparky, quickly connects with the new science teacher, Mr. Rzykroski (who bears a striking resemblance to the late, great Vincent Price). Victor’s parents try to get him more engaged and that leads to a tragic accident that kills Sparky. Victor is heart-broken but his scientific mind leads to a shocking development thanks to a local lightning storm. Soon enough, Sparky is back! Of course, the secret gets out and the Science Fair takes on quite a competitive nature.

Burton really treats the film as an homage to old monster, horror and sci-fi films. We get tributes to Frankenstein, The Mummy, Dracula (complete with Christopher Lee), Godzilla, Bride of Frankenstein, Gremlins, Jurrassic Park and others I certainly missed on first viewing. But this is so much more. Mr. Rzykroski gives a less than PC speech to the local townspeople, and though it is straight to the point, that point is lost on these fine folks. The importance of science and learning and accepting the differences of others is all touched upon, but not in a preachy way.

 The voice work is stellar thanks to Catherine O’Hara, Martin Short, Winona Ryder, Charlie Tahan, Martin Landau and Atticus Shaffer (Brick on “The Middle”). The style and texture of the film is extraordinary. The shadows and lighting provide an atmosphere that adds just enough creepiness. The detail involved with the characters and setting is remarkable for stop-motion animation. Not just that, but how many movies have you seen recently that include a cat-bat, sea monkeys, and a giant turtle? The suburban setting is almost identical to the neighborhood seen in Burton’s Edward Scissorhands, just without the 1960’s color palette.

 This is excellent movie entertainmentand FUN for adults and children alike. Unfortunately, the black and white presentation has meant a lack of interest from today’s kids. Sure it has some darkness to it, but the PG rating means nothing too heavy. This is Tim Burton at his finest … and without Johnny Depp or Helena Bonham Carter! Also, Danny Elfman’s score perfectly compliments the story and characters, and stay for the credits to hear a very odd Karen O song.

 

** NOTE: don’t miss the opportunity to compare the original short with this updated feature length version. The creative differences really show the technical advances over the past 28 years.

SEE THIS MOVIE IF: you enjoy fun movies and a tip of the cap to old horror films OR you want to see Tim Burton in peak form

SKIP THIS MOVIE IF: you refuse to believe a black & white animated film can provide any entertainment value

watch the trailer:

http://www.youtube.com/watch?v=o2luLW-9ySw

2 Comments | Animation, Fantasy | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

ARGO (2012)

October 15, 2012

 Greetings again from the darkness. “Based on a true story” is always a bit unsettling to see at the beginning of a movie. There are so many degrees to truth (especially when told by Hollywood), that we are never really sure how big the dosage might be. With this film, we get the inside track on the all-too-familiar Iranian hostage situation that began on November 4, 1979 and ended 444 days later with the release of 52 U.S. Embassy workers. The story within that story is the focus … six escaped as the Embassy was being seized.

The film begins with a Cliff’s Note history lesson on the fall of the U.S.-backed Shah of Iran and the assumption of power by Ayatollah Khomeini. The six who escaped were welcomed into the home of the Canadian Ambassador Ken Taylor (played with grace by Victor Garber). Of course, this had to be kept secret or a terrible situation could have taken a turned much worse.

 This story really takes off when the CIA gets involved and drums up a scheme to extricate the six in hiding. Ben Affleck stars as Tony Mendez, the real life CIA Agent, who uses the international fascination with movies to create a plan that involves making a fake Star Wars rip-off with the help of award winning make-up artist John Chambers (Planet of the Apes) and a long-time and old school Hollywood producer named Lester Spiegel. These two inject the film with humor and positive energy as played by John Goodman and Alan Arkin. Their levity is much appreciated given the unrelenting tension delivered by the rest of the story.

 This is extraordinary filmmaking thanks to the script from Chris Terrio, realistic camera work from Rodrigo Prieto and top-notch directing by Ben Affleck … yes, the same Ben Affleck who stars in the film. The team creates a period piece that has not just the look and feel of 1979-80, but some of the most gut-wrenching on screen tension since Three Days of the Condor or Munich. Many thrillers utilize car chases and gunfire. Here, we get personal tension thanks to politics and real life unknowns.

The film is perfectly cast and strong support work is provided by Bryan Cranston as the CIA chief, Kyle Chandler as Hamilton Jordan, Bob Gunton as Cyrus Vance, as well as Chris Messina, Zeljko Ivanek, Richard Kind, Clea DuVall and Tate Donovan. There are also brief appearances by Philip Baker Hall, Adrienne Barbeau and the great Michael Parks.

There are only two negatives to the film. First, Ben Affleck is miscast as Tony Mendez. The closing credits show what a perfect job they did with the rest of the cast, but to have a superhero looking American walking around Iran is certain to draw attention where it’s not wanted. Plus, as director, Affleck suffers from Warren Beatty syndrome. He LOVES seeing his face on screen. The number of Alleck close-ups has to push 20. It’s too much too often. Secondly, the final escape scene at the airport is just a bit too Hollywood and really stands out from the rest of the movie. There was no shortage of tension and the Armageddon style chase just looked cheesy.  However, I will admit, the audience with whom I watched, reacted quite emotionally when the race ended how it must.

 Those two things noted, this is Oscar material for sure. If you remember this era, the yellow ribbons and news clips featuring Cronkite, Koppel and Brokaw will bring back a frustrating time in U.S. history. If you are too young to remember, this acts as a reminder of just how powerful and quiet the CIA can be when it is doing its job properly.  Plus it’s nice to see the CIA doing something right, instead of being the bad guys from the Bourne movies.  Alexandre Desplat delivers a fine score, but the story provided plentiful suspense, so the musical guidance wasn’t as crucial.

Don’t miss the final credits as we hear Jimmy Carter narrate his memories as President, and we see real life photos of the six escapees.

SEE THIS MOVIE IF: you wish to see one of the finest Political thrillers in years OR you need proof that the CIA can be the good guys

SKIP THIS MOVIE IF: the Iranian hostage ordeal is still too fresh

watch the trailer:

http://www.youtube.com/watch?v=w918Eh3fij0

 

3 Comments | Action, Drama, Thriller | Tagged: , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

SEVEN PSYCHOPATHS (2012)

October 14, 2012

Greetings again from the darkness. When a writer/director sets a standard with a film like In Bruges, the anticipation for the follow-up is palpable, especially from those of us with the demented sense of humor necessary to watch that film over and over. Martin McDonagh is a writer firs (shorts, features and plays), and a self-taught filmmaker second. He again shows his talent for interesting characters in unusual situations, and an extraordinary blend of black comedy, violence and personal struggles with morality.

This film is a smart (but dark) comedy about characters who aren’t nearly as smart as they see themselves. It’s quite self-referential and at its best is a self-parody. Colin Farrell plays a writer who is blocked after creating the perfect title … “Seven Psychopaths”. Sam Rockwell plays his best friend who runs a crafty little dog-napping business and feeds Farrell possible story lines. He even goes as far as to run an ad asking real life psychopaths to come tell their story. Yep, this plan is just running smoothly until Rockwell kidnaps the dog of a local gangster played by Woody Harrelson.

What we quickly figure out is that we are watching Farrell’s writing process unfold on screen. The bigger challenge is trying to figure out which parts are really happening and which parts are fantasy or part of the creative process. The writing and acting are very skillful. Christopher Walken plays Rockwell’s partner and delivers what may be his best performance in years. It’s very offbeat and irregular … in other words, typical Walken.  Though there are many excellent scenes, the best ones involve Walken.

The script pokes fun at the weak female characters – Abbie Cornish as Farrell’s girlfriend, and former Bond girl Olga Kurylenko as Harrelson’s less-than-loyal girlfriend. The film also features some of my favorite character actors. In addition to Walken, we get the great Tom Waits as a bunny loving psychopath, Harry Dean Stanton as a Quaker, Zeljko Ivanek as a henchman, and an opening scene with “Boardwalk Empire” alums Michael Pitt and Michael Stuhlbarg.

 As wonderful a writer as McDonagh is, we can’t help notice the influences of Quentin Tarantino and the spaghetti westerns – especially The Good, The Bad and The Ugly. His comedic tendencies wrapped in violent sequences really challenge us as viewers. Trying to find the good in those who aren’t necessarily so good adds an element and complexity as the film throws violence in our face as the characters are confronting their deeper feelings on morality. Since Farrell’s character is a writer named Martin, we are probably safe in assuming that McDonagh is working through some of these same issues himself (especially the unnecessary violence and weak women characters).  McDonagh proves again to be one of the most intriguing and talented filmmakers working, and even though this one is a tick below his last one, I anxiously await his next.

SEE THIS MOVIE IF: you saw In Bruges and appreciated the dark comedy and philosophical nature OR you don’t want to miss a classic Christopher Walken performance

SKIP THIS MOVIE IF: you prefer your comedy to be light-hearted in nature OR you can’t appreciate the character who brings a flare gun to the final shootout in the desert

watch the trailer:

http://www.youtube.com/watch?v=OOsd5d8IVoA

 

 

Leave a Comment » | Comedy, Drama, Fantasy, Thriller | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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