Noir-vember: The Man Who Wasn't There (2001)

A film I haven’t seen since I picked it up on VHS when it was first released, I was very keen to revisit The Man Who Wasn’t There, a film that arguably remains the most overlooked title in the filmography of the Coen brothers (certainly from the past couple of decades anyway).

Billy Bob Thornton plays the main character, Ed Crane. He runs a barbershop with his brother, Frank (Michael Badalucco), and plods along in his marriage to Doris (Frances McDormand). A chance encounter with a customer (Jon Polito) who has a grand business plan leads to Ed setting out to blackmail Big Dave Brewster (James Gandolfini). He knows that Dave and Doris have been having an affair, but this perceived opportunity for success could lead to disaster. And death.

Shot in beautiful black and white (courtesy of the great Roger Deakins), The Man Who Wasn’t There may not be as sharp as other Coen brothers movies, and it may run too closely to some of their best works, but it remains a fantastic slice of straightforward noir. The brothers don’t want to twist things too much here, they just want to tell a story well worth telling.

The cast are almost all perfect, with Thornton at his laconic best in the lead role. He has rarely been an actor who exaggerates his mannerisms or catches your eye with histrionics (the excellent Sling Blade aside), making him an ideal choice to carry a film with this title. McDormand is as good as ever, playing a flawed woman who clearly still has love there for her husband. Gandolfini and Polito both make a strong impression with more limited screentime and Tony Shalhoub has one of his best movie roles, playing an expensive lawyer who believes himself unable to lose a court case. There are also enjoyable turns from Badalucco, Richard Jenkins, and Scarlett Johansson, with the latter representing a fresh start, optimism, and purity in the mind of Thornton’s character.

It would be wrong to try and convince anyone that this is one of the very best movies from the Coen brothers. That isn’t true. But it would also be wrong to leave it languishing in the forgotten limbo it seems to have been cast into over the past twenty years. It may not be a masterpiece, and it isn’t out to feel fresh or full of surprises, but it is a lovingly crafted piece of drama, using a top-notch cast to draw you into a tale of love, death, and greed for a couple of hours.

8/10

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Netflix And Chill: The Drop (2014)

Dennis Lehane adapts his own short story, "Animal Rescue", into screenplay form for a feature that allows for a number of the main actors to deliver performances to rank up there with their very best. Although it's sad to remember that this was the last film completed by James Gandolfini, it's a bittersweet pleasure to see him go out on such a high, delivering the kind of stellar supporting turn he could so effortlessly pull out from his back pocket.

He's not the focus of the film, however. The person who is front and centre is Tom Hardy, playing Bob Saginowski. Bob works in a bar that belongs to his cousin, Marv AKA . . . Cousin Marv (Gandolfini). Well, I should say that it used to belong to Marv. He lost it some time ago, and now makes money for the owners while his name remains up on display. A number of things happen in a short space of time that threaten the relatively content situation Bob and Marv have made for themselves. Bob finds a dog dumped in a bin, and meets a woman (Nadia, played by Noomi Rapace) at the same time. The bar is robbed, with the stolen money being something tbat the criminal bar owners cannot let go without someone being responsible for it. And Bob starts to be harassed by Eric Deeds (Matthias Schoenaerts), who claims to be the owner of the ditched dog. Meanwhile, a Detective Torres (John Ortiz) is investigating the robbery, which makes everyone slightly edgy and looking as if they have even more to hide.

Directed by Michaël R. Roskam, as trite as this might sound, The Drop is a film that excels simply because it has a quality cast working with a solid script. Lehane doesn't do anything exceptional here (there's nothin on a par with some of the dialogue in Mystic River, for example), but he has taken the time to craft a quintet of characters who feel fully-formed, and who make you care about the cinematic journey in varying ways. Roskam puts his faith in these characters, and rightly so, which allows him to concentrate on simple and unfussy shot choices throughout. The emphasis is always on the geography and proximity of various characters, and every scene works within that remit.

Although I started this review by mentioning, and praising, Gandolfini, that's slightly unfair to his co-stars. Hardy gives a performance that, even for him, counts as one of his absolute best. And his scenes with Rapace work brilliantly, largely thanks to the fact that she is also on top form. She's arguably playing the most innocent character of the main group, but even she has a darkness in her past that is revealed in due course. Schoenaerts is an excellent pain in the ass, Ortiz does well as the familiar kind of cop who just knows that there's more going on than he can see, even if he suspects he also may never see it. Even the much smaller roles are cast perfectly, with fine little turns from people who at least completely look the part.

Is there anything that doesn't work? Very little. Perhaps Roskam could have done a bit more to make this feel a bit more cinematic (it's not hard to envision this being adapted into a stage play) and things come together in the finale in a way that isn't at all surprising. There's a chance that it's not meant to be, considering how large and unsubtle the signposting is, but things play out as if viewers are supposed to need to take a moment to process the information they have been fed, which most will have already figured out for themselves by the end of the first act.

Overall, this is a great piece of work. I especially recommend it to anyone who likes ANY of the main stars, but also just to anyone who likes a flawless acting ensemble.

8/10

You can buy the movie here.
Americans can buy it here.

Noir November: Killing Them Softly (2012)

A fun cast liven up this darkly comedic crime thriller, helping to elevate material that we've all seen a hundred times before, with everything underscored by a message that reminds people of how life is cheap, and how much cheaper it can get during times of economic recession.

The whole thing centres on a plan to knock off a crook (Markie, played by Ray Liotta) who runs a well-known card game in town. Knocking off any card game is usually a death sentence, but this particular crook once confessed that the only previous time he was robbed was an inside job that he arranged. That means that this time around the blame should fall squarely on his shoulders. Right? Well, that's supposed to be how it all works out, but the two robbers (Scoot McNairy and Ben Mendelsohn) are too incompetent to keep everything a secret, and the main man brought into town to clear up the mess (Jackie, played by Brad Pitt) knows that Markie wouldn't be THAT stupid. But things have to be done to restore confidence, whether Markie is guilty or not.

McNairy and Mendelsohn both do well with their roles here, but Killing Them Softly steps up a gear whenever Pitt is onscreen, his character always quick to clear away any confusing distractions and pinpoint what is needed to please bosses and get people making money again. It then steps up another gear when James Gandolfini appears, playing another body brought in to help fix the situation. Liotta is always good value, in my opinion, and Richard Jenkins provides a lot of amusement as the man relaying to Pitt's character just what action is deemed necessary to make things right.

Adapting the novel "Cogan's Trade", by George V. Higgins, writer-director Andrew Dominik may not do enough to let the film stand out from the many other crime flicks to have cropped up over the years, but he realises that the strength of the film lies in a few of the main characters and affords them some great moments. Whether it's Gandolfini throwing back Martinis as he tries to hold in a burning ball of resentment and anger or the last lines of dialogue spat out by a character summing up the entire theme of the film, every one of the leads has at least one memorable scene.

As expected, there are some moments of harsh violence. This isn't a world inhabited by girl scouts selling cookies, however, so the violence shouldn't come as a shock to any viewers, although some of it IS impressively shocking. There's also plenty of humour, as black as it is. All in all, this is a good, though unspectacular, crime flick. Not necessarily one to prioritise, but worth watching if the chance arises.

6/10

http://www.amazon.com/Killing-Bly-ray-Digital-UltraViolet-Blu-ray/dp/B009AMALBM/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1415878346&sr=1-2&keywords=killing+them+softly

Surviving Christmas (2004)

Surviving Christmas is one of those movies that has a lot going against it. It starred someone that people loved to hate (Ben Affleck), it didn't do well when it was finally released (ten months later than originally planned to avoid it clashing with Paycheck, another star vehicle for, yep, Ben Affleck) and it was shot without a completed script. That's why I was surprised that for the first half hour or so the movie was fairly enjoyable. I had a couple of laughs and I liked the premise. Then it started to pile on more "comedy" and more and more and everything began to slide and fall apart like some kind of spaghetti tower under a warm stream of water.

Affleck plays Drew Latham, one of those handsome and happy self-made millionaires that only ever exist in the movies. After a wake-up call from his girlfriend (Jennifer Morrison), he is set to spend another Christmas on his own. Not really happy about that, he instead decides to offer a family a LOT of money if they allow him to spend Christmas with them. They live in the home that he grew up in as a child so it will be a way to relive some happy memories and remember what he once loved about family and loved ones at that special time of year. Inevitably, tempers fray, secrets are revealed and there are some scenes of a farcical nature.

Let me start by praising most of the cast members here because the cast is the best thing about the film. Affleck doesn't do great so those who hate the guy onscreen won't be won over. To be fair, he's stuck in one of those comedies that works under the mistaken impression that the lead character is always funnier if he's louder and more energetic than everyone else. That's not the case. Please stop thinking that it is. The rest of the cast, however, fare a bit better. James Gandolfini, in particular, is great as the grouchy head of the family trying to grit his teeth and think of the money he'll get for enduring this Christmas. Catherine O'Hara isn't too bad either though she's not given much to do with the obvious exception of a hilarious photoshoot that places Udo Kier in the role of quirky photographer. Josh Zuckerman is okay as the morose teenage son, Christina Applegate gets stuck with a lot of the worst moments in the movie due to the fact that she's the daughter and possible . . . . . romantic complication and Jennifer Morrison tries her best to be more than just a plot device.

The story may have originated with Deborah Kaplan and Harry Elfont but at least two other writers are credited with getting the script finished. That becomes more and more apparent as the movie progresses and then hits viewers over the head with a horribly clumsy and unbelievable third act.

Director Mike Mitchell should also shoulder some of the blame but there are times when he hits the easy notes with precision (the soundtrack, early exchanges between Affleck and Gandolfini and a few other decent moments) so maybe it all boiled down to those script problems. After all, his next movie was the very enjoyable Sky High. Oh, what the hell, in 2011 he gave audiences Alvin And The Chipmunks: Chipwrecked so, yes, let's just give him as much blame as the writers. He clearly has no moral compass.

Surviving Christmas is not entirely unenjoyable but it certainly tries hard to be. Casual viewers who flick through their TV channels and find that this is playing over Christmas would be well advised to watch it up to the halfway point and then turn it off before the rot sets in.

4/10

http://www.amazon.co.uk/Surviving-Christmas-DVD/dp/B000BNT96C/ref=sr_1_1?ie=UTF8&qid=1355437656&sr=8-1

Where The Wild Things Are (2009)

Where The Wild Things Are is, as most of you probably already know, a film based on the beloved book by Maurice Sendak. I never read the book, neither in childhood nor at a later stage, so I can't comment on the adaptation of the source material but I have seen some of the artwork and must say that the film certainly seems to brilliantly realise the creations of Sendak. Directed by the enjoyably offbeat Spike Jonze, who co-wrote the screenplay with Dave Eggers, there's a lot to enjoy here but also a few choices and moments that I just can't help thinking spoiled what could have been a really great film.

Young Max (Max Records) is an energetic and moody young man. He also seems to be quite a lonely boy, as seen in the opening sequence of the film in which he tries to get his sister to play with him, attacks her friends with snowballs and then gets upset when the whole thing backfires and his freshly-made igloo is brought crashing down around him. His mother (Catherine Keener) eventually comes along to make things better but she's a very, very busy woman. The time with his mother is clearly Max's favourite time but he doesn't have a very good way of showing this. In fact, he simply ruins an entire evening when he's jealous of the fact that she has male company round and then runs off . . . . . . . . and this is when the film finally hits its stride. After jumping into a boat and sailing as far as he can, Max ends up on an island populated by strange, wild creatures. At first they are tempted to eat him but he convinces them that he is a king and will lead them to a happier future. Of course, that's easier said than done and as things don't go according to plan Max starts to realise just how his behaviour impacts on others. Maybe.

With some absolutely wonderful creature creations - voiced by a great selection of people including James Gandolfini, Catherine O'Hara, Lauren Ambrose, Paul Dano, Forest Whittaker, Chris Cooper and Michael Berry Jr - and a magical way of replicating that childhood sense of freedom, imagination, rulebreaking and entitlement, Where The Wild Things Are is a superb film for reminding you of just what it is/was to be a child. It's not a children's film though, not really. Some moments are a bit too dark, not enough is spelled out in more obvious terms for kids to learn lessons from and the emotions and various relationships shown are slightly too open and honest in a way that befits the behaviour of children looked at studiously by adults. It's a hard thing to describe, and I don't really want to pigeonhole the movie, but I'd say that the whole thing certainly aims to prompt feelings and memories of childhood rather than appeal directly to children.

The acting is great from everyone involved, whether they're visibly onscreen or just being heard or even being one of the hardy physical performers wearing the wonderful creature suits.

What spoils the movie, for me, are the bookends. The time spent with Max on the island dealing with the creatures is fantastic stuff, it's funny and thrilling and uplifting and saddening and all over the place like the typical rollercoaster of emotions a child can go through on any given day. Sadly, there's nothing to like at the start or end of the movie. I don't require it in every movie I see but there's no real resolution here and it's a film that cries out for one, whether it occurred in the original story or not.

Spike Jonze has yet to create anything that I have seen and disliked (from his music video work to his wonderfully unique movies) but this is the one that proves to be the least satisfying so far. The fact that I still rate it so highly is just testament to how truly great the main middle section is.

6/10

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