Prime Time: Out Of Time (2003)

While this isn't the best noir directed by Carl Franklin, nor the best star vehicle for Denzel Washington, nor the best noir directed by Carl Franklin that ALSO doubles as a star vehicle for Denzel Washington (that is, of course, Devil In A Blue Dress), Out Of Time is the kind of enjoyable and silly entertainment that makes you wish that Franklin and Washington worked together on a dozen more movies.

Washington is Matt Lee Whitlock, a police chief in Florida who is separated from his wife, Alex (Eva Mendes), and tries to make plenty of time to get hot and heavy with Ann (Sanaa Lathan) whenever her husband (Chris, played by Dean Cain) is busy at work. Ann has some bad news though. Cancer. The treatment that might save her life is far too expensive. Whitock thinks he may be able to help though, if he can temporarily make use of a large stash of cash being held in his evidence room. The evidence won't need to be examined for a while, which gives him plenty of time to sort everything else out and get it back before anyone notices. Unfortunately, things change very quickly. Whitlock needs to work fast to stay one step ahead of people investigating a crime on his patch, as well as some people heading to his office to collect that pile of money.

Out Of Time is ridiculous for almost every moment of the runtime, but it's ridiculous AND entertaining. The 105 minutes just fly by, helped by the fact that Whitlock has to keep moving faster and faster as soon as he knows that people are breathing down his neck and watching his every move. One of those people being his ex-wife adds a layer of tension, but that's offset slightly by a good friend (Chae, played by John Billingsley) who is always eager to help. Dave Collard's screenplay keeps the emphasis on the fast-thinking and happy coincidences that allow our lead to maintain his freedom, even if that looks set to inevitably come to an end before the end credits roll, and Franklin directs everything with the perfect level of energy and Denzel-charged charism.

Washington is great in the lead role, at his most charming and confident, even as the walls close in tighter around him. Both Lathan and Cain also do well, with the latter really making the most of a moment opposite Washington that is the absolute highlight of the entire movie, both men speaking to each other directly while covering the truth in a very thin layer of metaphorical clothing. Mendes does well with what could have been a nothing part, considering how she is one of the people who have to be kept a step or two behind Washington's character, and Billingsley is just the right kind of comic relief, highlighting the true moral compass of our lead by often referring to his own willingness to exploit the situation. 

Absolutely disposable nonsense, more interested in allowing a star to spend time delivering some of that star swagger than anything else, but everyone gives their usual attention to their individual work, from Theo Van De Sande's cinematography to Graeme Revell's score. It may not be one you'll think of revisiting often, but it's a fun time while it's on.

6/10

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Noir-vember: Devil In A Blue Dress (1995)

Written and directed by Carl Franklin, adapting a novel by Walter Mosley, Devil In A Blue Dress is a confident and traditional neo-noir that gains extra cool points, and kudos, by providing a great lead role for Denzel Washington. 

Washington is "Easy" Rawlins, a man who has just lost his job and needs some money coming in so that he can keep up the mortgage payments on his home. He ends up taking on a job from Dewitt Albright (Tom Sizemore) which involves locating a young woman named Daphne Monet (Jennifer Beals). It's not long until people start dying, Rawlins finds himself as a prime suspect, and the people trying to locate Monet may not have been honest about their reason for wanting to do so.

Despite being a film from the mid-90s, Franklin isn't interested in delivering anything other than a bloody solid noir. The script, plotting, and pacing are all unfussy and unrushed, taking time to set up the pieces that will all be turned around slightly to fall into place in time for the finale. There’s nice attention to period detail throughout, crafting enough of the late ‘40s Los Angeles world to make it a very real environment in which the action unfolds, and Franklin keeps track of every plot strand and ties everything together nicely by the very end.

The biggest problem that the film has, and that will put some people off, is just how happily traditional it is. You get some flashes of violence, you get one or two sexy moments, and you get plot points that will give even the most casual noir viewer a sense of deja vu. Thankfully, the execution is strong enough to compensate for the lack of any new ground being broken. And any film working within the noir framework is rarely looking to break new ground.

Washington is a great choice to star here, bringing his not inconsiderate amount of charm and cool to the role. He’s so good that you end up immediately hoping there are other noirs that have made use of him (suggestions welcome, I have currently drawn a blank). Sizemore is excellent as the employer who may not be as nice as he initially seems. Beals isn’t the best choice for her role, considering how vital she is at the heart of the events, but she does okay. Mel Winkler does great work in a supporting role, and you have fun little roles for Don Cheadle (sorely underused), Maury Chaykin, and Terry Kinney. There’s rarely a mis-step in the whole cast, and it’s a shame that Franklin actually doesn’t indulge himself with some more scenes just showcasing some of the smaller roles.

It’s not going to change your world, and is unlikely to become an absolute favourite, but Devil In A Blue Dress is quality entertainment that benefits from all involved taking care with the material and delivering low-key excellence across the board.

7/10

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