Noirvember: Confidence (2003)

It sometimes strikes me as wild that Edward Burns had (has?) a decent acting career, to the point where he was considered a viable leading man for some movies that have very strong supporting casts. I don’t hate Burns, that would be far too strong a reaction, but he is never someone who I would consider a first choice for any movie role, even the ones that he wrote and directed himself. There’s just a whopping great lack of charm, which makes it even harder to accept him in his lead role here, playing someone supposedly smart and charming enough to lead a con team on a number of successful jobs.

Burns is Jake, the leader of a group who have honed their craft over a number of years. His crew includes Gordo (Paul Giamatti), Miles (Brian Van Holt), Al (Louis Lombardi), and even a couple of cops (played by Donal Logue and Luis Guzmán). Things get sticky when the team con someone out of a load of money that actually belongs to a crime boss named King (Dustin Hoffman). Coming up with a way to appease King isn’t easy, but Jake thinks he can manage it, with the help of a woman named Lily (Rachel Weisz). There are so many ways things could go wrong though, especially with federal agent Gunther Butan (Andy Garcia) snooping around.

If you have seen any con movie then you will know how this film plays out. I could easily name you a dozen con films right now that are better than this, but that isn’t to say that this is a bad film. Director James Foley and writer Doug Jung may feel as if they are just going through things mechanically, but the mechanics of any con movie can end up being the most appealing aspect. Knowing how things are playing out just keeps viewers closely onside with the con artists, which is satisfying enough when they are trying to get one over on someone who deserves to be fleeced. A lack of surprise in a con movie doesn’t automatically equate to a lack of enjoyment, not for me anyway.

With the exception of Burns, the cast all help to make this more enjoyable than it otherwise would be. Hoffman is an enjoyable villain, and just about manages to feel like a real threat, and both Giamatti and Weisz are easy highlights. There are more people to keep an eye on though, including Morris Chestnut, Tom Lister Jr, Robert Forster (sadly onscreen for seconds), John Carroll Lynch, and Leland Orser. Alongside the other supporting players already mentioned, it’s almost as if someone was savvy enough to realise that a lot of talent was required to compensate for the bland leading man.

Nobody here will put this at the top of their C.V. This is a lesser film in almost every department. It manages to avoid being bad though. That is mostly due to the cast, but it is also partly due to the innate charm of the con movie format, which always tends to appeal to me. You could even say that I’m a sucker for them.

6/10

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Netflix And Chill: The Call (2013)

Despite what you may think, director Brad Anderson actually has quite a large and varied filmography. It's easy to think of him as just the man who gave us the excellent psychological horrors of both Session 9 and The Machinist (a film I find genuinely uncomfortable to watch because of how emaciated Christian Bale became for his performance), but he has been providing a lot of interesting entertainment for film fans over the past few decades. The Call is another one, and it's another very good one too.

Halle Berry is Jordan Turner, a 911 operator, and she makes a fatal mistake at the start of this movie that makes her want to take a step back from the role. She moves to an instructor position instead, but ends up taking over a call when a colleague is flummoxed by an intense call from a young kidnap victim (Casey, played by Abigail Breslin). Jordan does all she can to keep Casey safe, and to help her leave clues for the police to trace her, but the odds seem to be stacked against them getting the happy ending that they want. The kidnapper (played by Michael Eklund) seems to have planned everything perfectly, and he'll stop at nothing to achieve his ultimate aim, even if that means killing anyone who gets in his way.

Clocking in at just over 90 minutes (which includes the end credits), The Call is a slick and tense thriller, with some twists and turns that you can easily accept as it's all playing out, even if you then start to question things as soon as it's all over. The script, by Richard D'Ovidio, does very well in sketching out the few main players and leading you from one nail-biting scene to the next, and Anderson compensates for what could have been something dull to present (two people on either end of a phone call, albeit an important phone call) by keeping the camera and editing very . . . energetic, but without turning it into a headache-inducing shakey-cam-fest.

Berry does some of her best work in the main role, and she has just the right kind of attitude and tone to be very convincing as a 911 operator (I know, actors act, but Berry is much more suitable to the role than I thought she might be). Breslin has to be distraught for most of her time on screen, and she handles her role very well. Eklund is a good mix of pretend composure and complete psychopathy, and there are decent little turns from Morris Chestnut (as a cop), Michael Imperioli (as someone who notices something funny while the kidnapper is stopped at some traffic lights), and everyone else filling out the supporting cast.

It doesn't really do anything new, yet it also doesn't feel like something you've seen a hundred times before (despite the fact that you probably have), so that may be the biggest plus point for The Call. It's certainly reason to congratulate everyone who worked together to create such a well-crafted work of sustained suspense.

8/10

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Boyz N The Hood (1991)

An absolutely fantastic directorial debut from John Singleton (who also wrote the film), Boyz N The Hood holds up to this day as a great movie about people trying to break a cycle of violence and hate. Despite what you may think, if you've never seen the film, this is a movie with some major negative moments that pushes hard to convey a message of positivity. It doesn't glorify or glamourise any of the lifestyle choices that it shows other than one that can see people living happily beside one another.

Cuba Gooding Jr. stars as Tre Styles, a young man who has been brought up for a number of years by his father, Furious Styles (Laurence Fishburne). Furious, despite the name, is a peaceful man who wants to see African Americans opening their eyes to the problems around them and making everything better. He is well aware of the statistics and he wants those numbers to change, especially when it comes to the life that his son will lead. Tre has a few close friends who seem to be on very different paths. Ricky (Morris Chestnut) actually has a chance to do well thanks to a scholarship opportunity but he's also already a daddy at a very young age so it's not going to be easy. Ricky has a brother called Darren AKA Doughboy. Doughboy is an angry young man, happy to waste most of his time relaxing with friends but also quick to reach for a gun if there is any sign of trouble.

I could, indeed maybe should, just wrap up this review now by saying that the movie oozes quality from almost every scene and deserves to be viewed at least once by anyone who loves great acting but everyone should know by now that I like the sound of my own voice (or the font of my own text - is that the blogging equivalent?) so I'll say a little bit more about the movie.

The main thing going against it is predictability. In a lot of ways the film feels fresh and different, especially in the way that Laurence Fishburne brings up Cuba Gooding Jr, but the main beats of the story are so obvious that you can spot them at least half an hour in advance. That doesn't make the movie horrible or unwatchable but it is something that's worth mentioning. There aren't any major surprises here.

Thankfully, the rest of the film works so well that you don't care. It remains the best directorial outing from John Singleton, who announced himself to the world with an astonishingly accomplished debut. It also remains some of the best acting work from the collected actors onscreen. Laurence Fishburne has given a number of great performances over the years but this is certainly up there with his very best. Cuba Gooding Jr. is superb and he's well matched by the different styles of Ice Cube, Morris Chestnut, Regi Green and Dedrick D. Gobert. Angela Bassett has a small, but important, role and so does Regina King while Nia Long plays the most prominent female character and makes herself into someone effectively adorable.

Although there are many ways in which Boyz N The Hood is exactly what you expect it to be there are a number of other ways in which it's completely removed from the preconceptions that viewers may have. Treat yourself by watching it soon if you haven't seen it already.

8/10

http://www.amazon.co.uk/Boyz-Anniversary-Edition-Blu-ray-Region/dp/B005DL7S4M/ref=sr_1_2?ie=UTF8&qid=1347008149&sr=8-2

Half Past Dead (2002)

Well, although it's not quite as enjoyable as Exit Wounds it has to be said that this Steven Seagal movie is a 100% improvement over the risible and shoddy Ticker.

The ridiculous plot sees Seagal and Ja Rule (his criminal buddy) incarcerated in Alcatraz. It's all been given a hi-tech makeover and also now does executions. The man awaiting his big moment in the big chair is Lester McKenna (played by Bruce Weitz), being fried for his part in a massive robbery and also managing to hide the $200 million haul before being caught. The warden (Tony Plana) is a tough but fair man and all is going according to plan until a bunch of heavily-armed opportunists land on the isolated prison and take hostages in an effort to get Lester to reveal the whereabouts of his hidden loot. Hmmm, I wonder if Seagal will be the kind of baddie who may just prove to be quite good? Oh, let's not forget that Seagal had been shot up badly some time ago and actually died for just over twenty minutes, which made him Half Past Dead, apparently.

Writer-director Don Michael Paul provides action fans with something dumb but undeniably slick. The editing is a bit jittery in places but the pace is just right and the plot takes a few predictable twists and turns as characters reveal their true intentions.

Seagal at least gets into a few fights this time, which always increases the watchability factor, but so do all of the other prisoners, and they're not all as entertaining to watch. Ja Rule gets plenty of screentime (he's okay but never believable as a tough guy), Morris Chestnut has some great moments, Nia Peeples is tough and sexy, Kurupt (??) is just annoying as a whiny prisoner named "Twitch" and Michael Taliferro is surprisingly likeable as the big bear on the block, "Little Joe". Claudia Christian is the Special Agent trying to communicate with the baddies and ascertain the situation while UK viewers may look twice when they see Ross King (better known here as that cheesy entertainment guy who pops up on GMTV) onscreen but, yes, it IS him.

There are occasional moments of humour throughout and some highly entertaining fistfights and gunfire (one scene involving Nia Peeples chasing Ja Rule is especially enjoyable) but the movie can't really do enough to compensate for the many lapses in logic and moments of just plain silliness throughout. Would a bunch of prisoners really care enough to follow Seagal's lead in a situation that lets them run free and have access to heavy firepower? Can people really keep firing that many bullets at each other without hitting each other? Can Ja Rule ever wipe that half-smirk off his face?
5/10

P.S. They made a Half Past Dead 2??

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Under Siege 2: Dark Territory (1995)

It was inevitable really, a sequel to the biggest hit that Steven Seagal ever had. The plot this time sees ex-SEAL Casey Ryback (Seagal) taking a train journey with his niece (Katherine Heigl before she shed her puppy fat and became too good for this kind of stuff – ironic considering that this movie and Bride Of Chucky are two of the more watchable films that she’s starred in). Unfortunately for everyone on the train, it is about to be commandeered by some very bad men (led by Eric Bogosian) who want to make ridiculously large sums of money by causing ridiculously large amounts of damage. It’s up to our hero chef to save the day once more.

Geoff Murphy directs this sequel, from a script written by Richard Hatem and Matt Reeves (yes, THAT Matt Reeves), and he often hits all the right buttons. The whole thing is ludicrously unbelievable but nobody stands around and pretends that they’re partaking in something by Shakespeare. Special effects are okay, though inconsistent, but people punch, kick and shoot each other convincingly enough and that’s the most important thing to get right in a film of this type.

Seagal provides his usual, limited, range of expressions, Eric Bogosian has a blast as the smartass bad guy and Katherine Heigl gets put in peril because she’s the niece of Ryback. Elsewhere, we get decent supporting turns from Morris Chestnut (he’s the nervy sidekick this time and he’s okay but, let’s face it, he’s no Erika Eleniak), Everett McGill is a tough baddie who relishes the challenge of facing up to Ryback and Peter Greene points a gun and shouts at people. There’s also a small amount of screentime for Brenda Bakke, who doesn’t get to do all that much but I have a soft spot for her and just thought I’d sneak her name in here.

Slap-happy chop-socky goodness, a train racing towards danger and a quip or two to accompany each major death – it all adds up to a sequel that will please fans of the first movie even if it’s all forgotten about a few days later. 
 
7/10

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