Greetings again from the darkness. When asked to explain the appeal, many fans of Western movies note how the clear division of good and bad, and right and wrong, allows for easy identification of those to root for, or even admire. Writer-director Potsy Ponciroli muddies the water with this one, blurring the lines between good guys and bad guys, and keeping us guessing until the end.
The film opens in the Oklahoma territory in 1906, a mere seventeen years after the Land Rush of 1889. The farmer we meet, Henry McCarty (a perfectly chosen name) may or may not have been a ‘sooner’, but he admits to his son that the idea of free land is what drove him to settle here, on the plot next to his deceased wife’s brother Al (Trace Adkins). Tim Blake Nelson is superb in the role, and plays Henry as a man with deep, and likely dark secrets. The land is challenging to work and he expends energy farming as well as protecting his son Wyatt (Gavin Lewis), a typical whiny teenager with little regard for adult struggles. Wyatt is anxious to escape the structure and limitations of life with dad.
Breaking a long string of days where nothing much happens for Henry and Wyatt, an injured man with a satchel full of cash is discovered on their land. Henry patches up the gunshot wound, and puts the unconscious man in bed, albeit with ropes binding him to the frame – one of the glimpses of Henry cluing us to waters that run much deeper than we’d typically expect for a farmer in the middle of nowhere. When the man awakens, he claims to be Sheriff Curry (Scott Haze) and that the three men chasing him are the bad guys. The dilemma for Henry is heightened in that he’s not an inherently trusting fellow, and the Sheriff badge is actually on one the vest of those three men, Ketchum (a fun turn from Stephen Dorff).
The verbal exchanges between Henry and Ketchum are oratory poetry, and it makes for a juicy and tension-packed chain of events. We are left to deduce which of the men – Henry, Curry, and Ketchum – are who they say they are. It’s a game of Clue featuring rifles, holsters, and horses. Cinematographer John Matysiak does a nice job with a wide-range of shots: outdoors, in the cabin, the big shootout, and even a doorway shot as a tribute to John Ford.
The two twists are what really made this click for me. And one of them is quite a whopper. The suspense generated by the situation is certainly enhanced by the fancy verbal sparring, including a terrific line from Henry when asked about his background: “Many vocations, some more marginal than others.” But it really comes down to us as viewers, along with Henry, attempting to discern the good guys from the bad, and constantly asking ourselves … who do we trust? Mysteries are fun, especially when a good old-fashioned shootout is included, and the film’s big reveal turns out to be etched in western lore.
Greetings again from the darkness. Westerns are always a risky proposition for a filmmaker, but some are drawn to the genre and seem to thrive on the intricacies that fans have come to expect. Justin Lee is one such filmmaker. He wrote and directed this film and follows the familiar tropes: a quiet, proud protagonist; the strong, lonely woman; the corrupt gunslinger – maybe wearing a badge, maybe not; and of course, the battle of good versus evil.
Kevin Makely stars as Matthias Breecher, a Civil War veteran and now Pinkerton detective carrying out the orders of Senator Benjamin Burke (Tony Todd, CANDY MAN, 1992). Senator Burke has pledged to track down war criminals and hold them accountable by administering justice. Breecher is the Senator’s hired hand who travels from town to town, serving warrants and dealing with those who refuse to abide
Mr. Lee’s film is divided into four chapters. Chapter 1, “The General”, finds Breecher face-to-face with tough-talking General Corbin Dandridge (Trace Adkins). It’s here where Breecher first flashes his impressive gun skills, and it’s soon after where he crosses paths with Harlow (recent honorary Oscar recipient Wes Studi), a competitor in the “bounty-hunter” game. Chapter 2, “The Cooke’s” has Breecher tracking down Reginald Cooke (played for all it’s worth by a finger-wagging Bruce Dern), a sickly old man dying slowly from pneumonia and living with his daughter Sarah (Oscar winner Mira Sorvino). Local bad guy Fred Quaid (James Russo) is trying to seize the Cooke’s land (apparently this is the possessive apostrophe in the chapter title). During this segment we get a nasty fist fight, an ugly shootout, and Breecher falling for Sarah and actually shushing his horse. Chapter 3, “The Sheriff”, brings us to the terrifically named town of “Knife’s Edge” where equally terrifically named evil guy Huxley Wainwright (Jeff Fahey) wears a badge and rules the town with a reign of terror, and with Old West waterboarding. There is even a double-tap grave side shootout. It’s an old mining town and the citizens live in fear – especially the good-hearted barkeep Alice (Amanda Wyss). The segment ends with a ‘high noon’ duel in the dusty street.
Chapter 4, “Breecher”, acts as a finale for our hero, a man we are told was “born to violence.” His dreams of owning land may have faded, and soul-searching has him reckoning with the man he’s become. Mr. Makely reminds of actor Anson Mount in his ability to hold a scene, and we can’t help but think that in his younger years, Mr. Fahey could have easily played the Breecher role. Despite the out-of-place linguistic stylings, director Lee proves the lessons of the old west never get old, and it leaves us with the message … ‘Be still, young man.”
Greetings again from the darkness. Major dilemma: sucker for courtroom dramas vs. no fan of Matthew McConaughey. I decided to give it a shot, and given my low expectations, found the movie to be quite entertaining – despite its numerous flaws. If you are a fan of the endless stream of John Grisham book-turned-movie, then I expect you will find this one to your taste.
Based on the Michael Connelly series of novels built around Mick Haller, this one has the look and feel of part one (and also of a TV series). Haller is the Lincoln Lawyer, so named because of his propensity to handle much of his work from the backseat of a classic Lincoln Town Car. The choice of McConaughey as Haller seemed all together wrong given his annual appearance in some lame ass Rom-Com, where he spends most of each movie shirtless and smirking. Luckily for us, Mr. McConaughey manages to re-capture some of the acting skills he flashed in A Time to Kill, so many years ago.
In addition to his close to the vest portrayal of Haller, the movie works because of an incredibly deep cast that includes Marisa Tomei as his ex-wife and frequent courtroom adversary (she is an ADA), Ryan Phillippe as the accused rich boy, William H Macy as the long-time and streetwise private investigator, Josh Lucas as the ADA in the main case, Bryan Cranston as the detective in charge, plus Michael Pena, Bob Gunton (warden from Shawshank Redemption), John Leguizamo, Frances Fisher, Laurence Mason (Earl the driver), Shea Willingham (Boardwalk Empire), Trace Adkins (the country star as the leader of a biker gang) and Michael Pare (Eddie and the Cruisers). Seriously, this cast allows every scene to have something worth watching.
The two things that prevent the movie from being top notch are the beyond-belief exaggerated moments (including about 3 too many endings) and the absolutely distracting camera work courtesy of director Brad Furman. In the hands of a more experienced director, many of the flaws could have been corrected.
This is not presented as an ultra serious courtroom drama in the vein of 12 Angry Men or Judgment at Nuremberg. Rather it is a character driven story with a multitude of twists … some of which work and some of which don’t. I found it to be enjoyable despite the script issues and the hey-look-at-me direction.
SEE THIS MOVIE IF: you too are a sucker for courtroom dramas OR you doubt my claim that McConaughey can avoid going shirtless for 2 hours.
SKIP THIS MOVIE IF: you demand perfection in your crime thriller scripts OR you believe the only reason to see a McConaughey movie is because he does go shirtless