Film Review: Public Enemies (2009)

On paper Public Enemies looked like a dream come true for any genre film fan. An authentically re-created gangster flick about John Dillinger, directed by Michael Mann with Mr. Charisma himself, Johnny Depp, essaying the infamous bank robber. Couldn't possibly fail, right? The tricky part however, is that when you are doing a film about a real life person or event, you have two ways you can go about it - make it as accurate as possible, or let your “artistic license” guide the story over solid facts. Sometimes the latter is better, and certainly can make for a better piece of entertainment. Enemies is undeniably in the latter group. The historical accuracy of John Dillinger’s life is dubiously muddled and lacking depth here, but without doubt, it is also presented in a way that keeps you glued to the screen.

The film’s biggest downfall is clearly the screenplay. The director has not exactly let it soar despite still fluffing the facts to his advantage, making it an off kilter hybrid of biopic and blockbuster, ala the (more accomplished) Mann produced, Martin Scorsese directed, The Aviator. Granted the dialogue is smart, snappy and significant at the right moments, it still only serves to help cover up the overall clumsiness of the writing. The relationships are not explored enough to have significant meaning or emotional impact, the jail escapes feel far too easy for Dillinger and the robberies, well, they are too short to be overly compelling. The action however is well done; an exciting forest shoot out midway through is handled perfectly by the HD video Mann favours so much these days. There is no denying Public Enemies is very accomplished on a technical level. An award worthy production design recreates the era immaculately, the editing is sharp and the score rises at all the right emotional peaks. The substance of the story just fails to match it unfortunately.

The performances are fairly good and even though Christian Bale, as the complicated Melvin Pervis, is often labelled with the “wooden” tag of late, I saw enough in his wordless nuances for it to be a convincing portrayal for me. I think it was a nicely subtle effort from him. Of course, I lapped up Depp’s (or Dillinger’s?) charm for sure. Depp seems to have become a very effortless actor - making it a fine line telling if whether he is actually being very good or just average. I thought he was good here, but again, the uber-cool dialogue he drawls probably helped to convince me of the former. The support cast was excellent. So many familiar faces; from TV actors to some older, recognisable character performers, the standouts were easily Stephen Graham and Billy Crudup, as Baby Face Nelson and J. Edgar Hoover respectively.

If you like it, the next obvious question seems to be: is it in the same class as Heat? The short answer is not even close, despite several similarities to the 1995 film (including the line “We here for the bank’s money, not yours”). To be fair, it was always a lofty height to actually reach for a director who seemed to be losing his touch with his last couple of films. What cannot be denied though, is that at its core, Public Enemies is solid entertainment and for better or worse, Mann’s best effort in a while. Worth it for the escapism, not the history lesson.

John Hughes R.I.P

John Hughes, one of my favourite film directors and a film making icon to angst ridden teens the world over, died last Thursday the 6th of August of a heart attack. He was 59.

Hughes’s films were equally impressionable and hugely entertaining to me as a pre-teen in the 80’s and a teen in the early 90’s. Films such as The Breakfast Club, Weird Science and Ferris Bueller’s Day Off were integral in forming my initial love for movies. He taped into the mind of a teenager like no director before or after as a writer/director, melding hilarious moments and powerful drama to truly memorable effect. His later films, Planes Trains and Automobiles and Uncle Buck saw him moving into more family oriented comedy drama, proving his ability as a writer - something that was definitely his greatest gift, was unique and without peer. To this day, the blueprint of the man’s films still casts a heavy influence on all others who work within the genre of the "dramedy".

Even though he gave up directing in the early 90’s - though continuing to write, sometimes under pseudonyms, his death was still a shock to this fan and he will be sorely missed. His legacy of films remains a sign of an era, but also a body of work that remains timeless.

John Hughes

1950 - 2009
R. I. P

Drag Me to Hell (2009)

The idea of cult director Sam Raimi returning to his horror roots with Drag Me to Hell was an exciting prospect. Add to that enthusiasm an impressive trailer and strong word of mouth and you've got some fairly high expectations. Virtually from the get go, they're almost bettered with a prologue that deafeningly slams you into your seat. It's a powerful effects belter and provides early evidence that Raimi is in his element here and that he is definitely approaching it with a nostalgic attitude. The fact that the original treatment was drafted up not long after Army of Darkness was completed is not surprising.

The thunderous prologue gets the ball rolling informing us of the existence of a demon, the Lamia, who can be summoned via a gypsy curse to torment its victim before, after three days, literally drags them to hell. Unfortunately for farm-girl-all-grown-up Christine (Alison Lohman), rejecting an old woman’s begging to grant an extension on her mortgage at the bank where she works, proves to be a disaster. The old woman, Ms. Ganush (Lorna Raver) subsequently unleashes said curse on Christine for her revenge. As the three days play out, we see a strong willed, but morally flawed Christine dragged through a briar patch of unseen spirits, bodily fluids, hallucinations and insects as the Lamia prepares to take her soul. Seeking help in the form of fortune tellers and séances, she is taken on a roller coaster ride with Raimi pulling out all the swift camera zooms, tension building edits - with brilliant use of sound effects, putting us through the ringer as much as Christine herself. It’s a fast paced ninety minutes and never really lets up until after the startling ending.

Alison Lohman shines as Christine, being in almost every scene. Her flaws as a person revel themselves subtly as she slowly starts to lose her mind pushed to her limits during the three days. The supports are fleshed out well for such a film, with Raver’s Ganush a deliciously grotesque creation in particular. The score, handled by original Hellraiser composer, Christopher Young, is suitably gothic adding plenty of depth to the stand alone scare tactics of the sound editing. Overall, Drag Me to Hell is a tour de-force of unmistakable Raimi style and outrageous humour, packed with nods to the films his reputation was built on and a virtual instant classic itself. A totally self contained, well-crafted tale of the supernatural assembled around an idea befitting the genre - all without steeping to far into the ludicrous (we‘re in the territory where leap of faith plot devices or not so subtle twists are all a part of package after all). Darker in tone to Evil Dead 2 for example, but still with plenty of similar (intentional) belly laughs.

Besides it being that pure entertainment indulgence, the film is a revealing stake through the heart of the contemporary Hollywood horror movie genre which though it might be shunned by some of the stiffer filmgoers out there not familiar with the director‘s earlier films, it retains the spirit of what makes horror such a fun experience. At times, it felt like Raimi was rewarding the fans for their patience putting up with so much torture obsessed and remake dross over the last ten years. Its flaws are minor and resemble little more than forgivable genre traits making Drag Me to Hell a unique, memorable entry into what can sometimes be a gruelling, unfun catalogue of recent efforts.

Film Review: State of Play (2009)

As expected after his previous first three memorable films, director Kevin McDonald has put together a technically flawless looking picture with State of Play. One with great performances and a script that at first, I worried might suffer from having too many cooks (it has three credited writers). Couple this with the fact that it is an American interpretation of an already well-respected BBC mini-series. It is relieving to report that the writing is re-soundly excellent considering that the subject matter could have potentially become derivative. The details of chasing leads and deadlines amongst a busy, yet struggling major newspaper for example, was shown believably and grippingly. Perhaps not on the level of similar themed films, it stands up well by having a substantial modern theme of online based “new-media” competing with the once leading edge print standard. Happily, the film flies the flag defiantly for the latter, with both insight and humour.

Working as a reporter for The Washington Globe, reporter Cal McAffrey (Russell Crowe) sets out to a routine murder victim headline, but as more facts start to manifest, a much bigger story begins to unfold of a political cover-up involving defence force distributors, corrupt senators and even more murders. One of the main ideas behind State of Play however, is the parallels that appear between Cal’s handling of a hugely expanding conspiracy story and a police investigation. “It’s not a story! It’s a case”, Cal is abruptly told by the chief detective at one point. Nevertheless, Cal is determined for the same objective - the truth. The tension unfolds subtly with a nice cat and mouse sequence at the centre making it less a droning ‘talky’ as it is a gripping thriller with constant, finely realised twists. Kevin MacDonald knows this genre well and hardly falters bringing the script to life.

Ben Affleck as Senator Stephen Collins at the centre of all the interest suits his role and played it as well as one could have expected; straight laced with few extrovert qualities. Helen Mirren’s newspaper boss shines through with little to do and representing the new age of ‘blog reporting’, Rachel McAdams’ Della Frye counters Crowe’s McAffrey surprisingly well. Russ is top flight as always, proving that his ability to inhabit a man and all that makes him tick, makes him almost second to none within his generation of performers. Robin Wright-Penn channels her real-to-life wife scorned experiences with not surprising ease, adding weight to the supporting cast alongside small but pivotal roles from Jeff Daniels and Jason Bateman.

With such written films however, genre rules always tend to appear and even though the revelatory ending did not feel worse or better for the film, I might have been more satisfied if a reasonable, but rushed extra twist at the eleventh hour wasn't thrown in. Overall, I was thoroughly impressed despite thinking it doesn’t quite match McDonald's outstandingly tense Last King of Scotland. It is easily one of the best films of 2009 so far and as a film for adults goes, it’s a damn fine entertainment.

Film Review: Diary of the Dead (2008)

For his fifth zombie film, genre legend George A. Romero chose to re-stage the beginning three days and nights of his initial outbreak, thus making Diary of the Dead forever linked (for better or worse) with his original film, Night of the Living Dead, more than any of the others. Rather than just being a re-tread of that groundbreaking movie however, Romero opts to modernize the situation, giving us a very 21st century essay of the events.

This concept is echoed mainly through Dairy’s literal presentation, with the whole film viewed through the home video recordings of one Jason Creed (Joshua Close) which has been spliced together into a film within the film, “The Death of Death”. Jason’s motive is to upload his footage as they try out run the situation to offer, what he believes, the media is failing to do, by not covering the events truthfully and without censorship. Yes the media is firmly the target or Romero’s angst here, though somewhat less veiled than his other films sub-texts’. Diary is a small film in almost every concern, including its ambitions.

What is noticeable about Diary though, is the numerous homage’s to earlier films of the director (Dawn of the Dead, The Crazies), in-jokes and even a cameo from the man himself. This all proves that it was a much more labour of love than his previous effort, the decent but studio-driven Land of the Dead. Happy to be returning to his independent roots, it shows with his fans being rewarded with plenty of in-the-know quirks. These will be lost on non-Romero fanatics however and thus it is ultimately more enjoyable if you are one. Not to say that it is alienating, rather that it is made for a certain type of audience and if you are not part of it, you’re less likely to enjoy the film as a whole.

On top of that, as a film it has its problems. Of the leads, only Debra (Michelle Morgan) & the Professor (Scott Wentworth) really stand out. The whole idea of the internet being a lone truth telling hero amongst society‘s great lying media is a bit muddled and unconvincing at times. However, it comes from a rushed script that if expanded a bit more, could have proved more feasible. Its surprisingly short length doesn’t help and it is over all very quickly. The slight lack of zombie carnage may disappoint some gore hounds, but there is some great gore moments of course with Romero proving, even though zombie is the ‘new black‘ in Hollywood, he’s still unique when it comes to putting his beloved undead on screen. Overall, it is a worthy (re) telling of the zombie apocalypse, which initially was only planned for a much more subdued, direct-to DVD release. That might have actually benefited the film, as it is strictly for Romero hordes - anyone else might be hard pressed to see what all the fuss is about.

Finally, the biggest issue by far is the fact that the director made it in the first place. Part of me does wish that “going back to the well”, as Romero has done with here, is not the best he has left to offer. I’m not sure how many more films he has in him, but it would be nice to see something different than him clinging onto a legacy he can’t really match anymore. There is still fun to be had with Diary, and it is a very well put together effort, it just seems all very unfortunately forgettable. It would be a great film if he hadn’t already made it better 35 years ago.

Film Review: Trees Lounge (17-05-09)

The title of this finely humble film, Trees Lounge, is the name of a New Jersey bar that acts as thirty something Tommy Basilio’s (Steve Buscemi) second home throughout it‘s running time. We initially find him hung-over, waking up in the Trees fifteen minutes after last call, demanding a shot of Wild Turkey. Tommy has just been fired, broken up with his pregnant girlfriend of eight years whose now involved with his once friend and former boss Rob (Anthony LaPaglia). Despite unable to keep his own car running, Tommy mooches around town looking for work as a mechanic, but spends most of his time getting drunk at the Trees making strained if appropriate acquaintances with some of the locals. Namely one Mike (Mark Boone Junior), who himself has his own domestic issues but has chosen to spend his “vacation” coming to the Trees everyday.

One thing becomes clear to all around Tommy - including his family, that he is a bit of a sad sack loser. A leech that expects everything but is unwilling to do the work required for a person to change their life situation. Unable to really get over his previous relationship or find work, he ends up taking over his recently deceased Uncle’s Ice-Cream truck, causing more trouble than it’s worth involving the seventeen-year-old niece of his former girlfriend.

Made in 1996, Trees Lounge reminds you of what a real independent film feels like. In recent years, the line seems to have become blurred in the mainstream as too who or what exactly constitutes such a thing. However, this film is the debut work of a true artist in writer/director/star Buscemi. Made for less than two million dollars, the film’s confronting reality of the almost pointlessness of life at times, alongside an ensemble of great performances from the likes of Junior, Chloe Sevigny, Elizabeth Bracco and Daniel Baldwin give the film a real spirit and ironic humour.

Buscemi himself, as the central Tommy, plays out a meditation in all things loserdom excellently. Bad choices, selfishness, alienation, you name it; Tommy justifies such a label to himself and to all around him. Coupled with all that happens up until the poignant, almost depressing ending, it is difficult to sympathise with or for him. Not that Buscemi as writer/director expects or even wants us too. The laidback, but hardly laconic script slowly draws out circumstance in a very observatory way avoiding influencing the audience too much about how we should feel about these people. We can only gauge their actions, not really react.

The lesson then is that life is what you make it - and sitting around in a dive bar all day will not help your cause. Tommy, and many like him, are destructive people to all who are close, never fully realising until it is too late. In short, and incorporating a great soundtrack to boot, Trees Lounge is a deeply humorous, albeit bleak slice of life that, if you let it, can help put your own into perspective too.

Film Review: 10 Rillington Place (18-04-09)

Made in 1971 and set during the 1940’s, 10 Rillington Place tells the story of real life UK serial killer, John Reginald Christie, who murdered several women (including his wife) and destroyed the lives of a young couple who rented his upstairs flat. Distraught at the idea of having another baby they cannot afford, the couple, Beryl and Timothy Evans, turn to Christie who manipulates them into letting him conduct an amateur abortion with murderous results.

There is apparently still some controversy in the UK regarding these events despite Christie eventually confessing and being hanged. Regardless of what really did happen, this an amazing film. Horrific and intense - though with little actual onscreen violence, director Richard Fleischer’s effort is easily one of the best ever made about a serial killer and reminiscent of a similar masterwork, 1960's Peeping Tom.

At the centre of the film is two brilliant performances by two of Britain’s best actors. Richard Attenborough’s John Christie is a chillingly cold portrayal. No doubt an influence on certain elements of Anthony Hopkins’s essay of one Hannibal Lector, he is a soulless man, his inadequacies’ fuelling his need to murder, boarding up his victims inside the home’s crawlspace or burying them in his back garden. Opposite him is a young John Hurt, outstanding as the simple-minded, naïve Evans. He stands little chance against Christie’s manipulation of the facts during an eventual trial involving both men. Both rise to the challenge, being utterly convincing in their interpretations.

Based on a book written in 1961, it is the perfectly sombre realisation of post-war Britain that first strikes you as a major achievement for the film. The score is muted, barely rearing it's eerie head helping the film produce an even more creepy atmosphere as number 10 itself becomes a quiet house of horrors. Despite all it’s flawless moments of construction however, the pace does lag getting started, making it not easy to get into. Regardless, 10 Rillington Place's main intention is to highlight a certain dark chapter in UK legal history as well as examine capitol punishment unflinchingly. In that sense, in succeeds remarkably. See it for the acting, stick it out, and admire it for everything else it manages to accomplish.