"Mystic River" is a reasonably well-done crime thriller. Like the career of its director, Clint Eastwood, it's solid, if a bit overrated.
The plot, based on a novel by Dennis Lehane, is the strongest part of the film. Jimmy Markum (Sean Penn), a Boston born and bred ex-con, is out for blood following the murder of his daughter Katie. A great deal of circumstantial evidence points to the guilt of his childhood friend, Dave Boyle (Tim Robbins). Boyle, who is still haunted by a nightmarish childhood molestation experience, is becoming mentally unhinged and struggles to defend himself. The only person who seems skeptical of Dave's guilt is Sean Devine (Kevin Bacon), another childhood friend of Boyle and Markum who is now investigating the case.
The film is an actor's showcase, and Penn and Robbins make the most of it. They provide a nice point-counterpoint, Penn's coiled rage contrasted with Robbins' withdrawn and troubled demeanor.
The trouble is that there are too many other juicy roles, including that of Boyle's wife, who believes her husband guilty, and Devine, who has separated from his wife in a rather pointless subplot. The film never gets a chance to breathe; it's constantly jumping from one scene of emotional turmoil to another.
Another problem is that Bacon lacks the chops to handle his role. When called upon to provide anger during an interrogation scene, he instead seems merely irritated. In addition, some of the line readings feel a bit rushed and rote. Laura Linney, who plays Markum's wife, has a particularly undercooked monologue at the end of the film. (However, the fault may not lie with Linney, who is quite talented. "Gran Torino," another recent Eastwood film, occasionally suffered the same problem.)
As usual, Eastwood's direction is solid but unspectacular; he does what is needed. The editing is particularly good during the climax of the film, which cuts between two scenes at just the right moments.
"Mystic River" garnered some deserved praise, including two Academy Awards: Penn for Best Actor, and Robbins for Best Supporting Actor. But it could have been a classic, if only it hadn't overplayed its hand.
Friday, June 26, 2009
Wednesday, June 24, 2009
Gran Torino
"Gran Torino" is an R-rated after-school special. It's much more interested in teaching its characters lessons than in storytelling.
Clint Eastwood stars as Walt Kowalski, but he's really more of a caricature than a character here. In case you ever forget that Kowalski is old as dirt, Eastwood grimaces, groans and delivers lines about how Young People Today Have No Respect in about three-quarters of the scenes.
Kowalski is a lonely widower living in suburban Michigan. His life takes a turn when he befriends the family next door to him. This friendship is unlikely, to say the least, because the family is of the Hmong ethnicity, while Kowalski is racist enough to fit in at a Klan meeting.
He seems to have a particular contempt for Asians, perhaps because of his service in the Korean War. Even when visiting his neighbors' house, he tosses around the word "gook" as often as Tony Montana drops F-bombs. It seems improbable that Kowalski could overcome his racism to see that his neighbors are better people than his own children. It's downright absurd that the family would put up with his open ignorance and contempt ("I thought Asian girls were supposed to be smart").
Kowalski forms a particularly close bond with Thao, a teenage boy. Thao's father has died and he clearly needs guidance. He looks to Kowalski to provide it, even though the old man accuses him of being a "pussy" enough times in one monologue to set some sort of Hollywood record.
Thao and his family are harassed by a gang, which leads to a confrontation between Kowalski and the young punks. The ending is telegraphed from a mile away.
Not surprisingly, a movie this preachy features some ham-handed dialogue, particularly between Kowalski and a priest ("I've been thinking about our conversation about life and death"). Eastwood directs, and as usual, he is competent. He deserves credit for making the gang scenes passable, considering he's working with actors sixty years his junior.
In a recent interview, Eastwood was asked who he makes movies for now. He pointed to himself. That sums up "Gran Torino" pretty well. It's an opportunity for Eastwood to berate young whippersnappers, show he's racially enlightened and play a martyr.
Clint Eastwood stars as Walt Kowalski, but he's really more of a caricature than a character here. In case you ever forget that Kowalski is old as dirt, Eastwood grimaces, groans and delivers lines about how Young People Today Have No Respect in about three-quarters of the scenes.
Kowalski is a lonely widower living in suburban Michigan. His life takes a turn when he befriends the family next door to him. This friendship is unlikely, to say the least, because the family is of the Hmong ethnicity, while Kowalski is racist enough to fit in at a Klan meeting.
He seems to have a particular contempt for Asians, perhaps because of his service in the Korean War. Even when visiting his neighbors' house, he tosses around the word "gook" as often as Tony Montana drops F-bombs. It seems improbable that Kowalski could overcome his racism to see that his neighbors are better people than his own children. It's downright absurd that the family would put up with his open ignorance and contempt ("I thought Asian girls were supposed to be smart").
Kowalski forms a particularly close bond with Thao, a teenage boy. Thao's father has died and he clearly needs guidance. He looks to Kowalski to provide it, even though the old man accuses him of being a "pussy" enough times in one monologue to set some sort of Hollywood record.
Thao and his family are harassed by a gang, which leads to a confrontation between Kowalski and the young punks. The ending is telegraphed from a mile away.
Not surprisingly, a movie this preachy features some ham-handed dialogue, particularly between Kowalski and a priest ("I've been thinking about our conversation about life and death"). Eastwood directs, and as usual, he is competent. He deserves credit for making the gang scenes passable, considering he's working with actors sixty years his junior.
In a recent interview, Eastwood was asked who he makes movies for now. He pointed to himself. That sums up "Gran Torino" pretty well. It's an opportunity for Eastwood to berate young whippersnappers, show he's racially enlightened and play a martyr.
Thursday, June 18, 2009
The Virgin Suicides
In "The Godfather" Part 3, Sofia Coppola proved she could act about as well as a professional wrestler.
But in "The Virgin Suicides," Coppola proves she can direct the hell out of a movie.
Based on a novel by Jeffrey Eugenides, the story is economical. In 1970's suburban Michigan, the five teenage Lisbon sisters live under the aegis of their strict Catholic parents. When rules are relaxed and the girls are allowed to bring boys over, their behavior takes a predictable turn. A stern crackdown ensues, which leads to the tragic events heavily implied in the title.
A plot summary can't really do this film justice, though, because it leaves out the eerie atmosphere which pervades "The Virgin Suicides." There are two major reasons for this disturbing mood. First, we barely get to know all but one of the Lisbon sisters; they remain mysterious pretty things throughout the film. Secondly, we are warned at the outset and throughout the film of the tragedy to come.
Coppola helps build this atmosphere not with fancy tricks, but with an understated direction. She uses straightforward camera angles and provides only brief glimpses of the misdeeds, large and small, committed by the sisters.
As for the music, Coppola has always shown she has good taste, but she hasn't always known the right time to use it. (Putting the Strokes on your soundtrack is rarely a wrong move, but it certainly is in a film about Marie Antoinette.) Here she eschews quality--save for a nice recurring score by the French duo Air--in favor of songs which encapsulate adolescence in the 1970's.
The faults of "The Virgin Suicides" lie mostly in the plot. We are told that everything changes when the girls are allowed to invite boys over, but they attend a public coed school. Haven't they already been exposed to plenty of testosterone? More puzzling is that the film continually insists that the events of its climax are a mystery, impossible to explain, even though the reasons are all laid out for us.
In fact, this explanation may be the film's greatest strength. "The Virgin Suicides" is a first-rate portrait of adolescence: the ignorance and immaturity of the boys, the sexual allure of the girls, and the persecution complex of both genders which can sometimes lead to unspeakable acts.
But in "The Virgin Suicides," Coppola proves she can direct the hell out of a movie.
Based on a novel by Jeffrey Eugenides, the story is economical. In 1970's suburban Michigan, the five teenage Lisbon sisters live under the aegis of their strict Catholic parents. When rules are relaxed and the girls are allowed to bring boys over, their behavior takes a predictable turn. A stern crackdown ensues, which leads to the tragic events heavily implied in the title.
A plot summary can't really do this film justice, though, because it leaves out the eerie atmosphere which pervades "The Virgin Suicides." There are two major reasons for this disturbing mood. First, we barely get to know all but one of the Lisbon sisters; they remain mysterious pretty things throughout the film. Secondly, we are warned at the outset and throughout the film of the tragedy to come.
Coppola helps build this atmosphere not with fancy tricks, but with an understated direction. She uses straightforward camera angles and provides only brief glimpses of the misdeeds, large and small, committed by the sisters.
As for the music, Coppola has always shown she has good taste, but she hasn't always known the right time to use it. (Putting the Strokes on your soundtrack is rarely a wrong move, but it certainly is in a film about Marie Antoinette.) Here she eschews quality--save for a nice recurring score by the French duo Air--in favor of songs which encapsulate adolescence in the 1970's.
The faults of "The Virgin Suicides" lie mostly in the plot. We are told that everything changes when the girls are allowed to invite boys over, but they attend a public coed school. Haven't they already been exposed to plenty of testosterone? More puzzling is that the film continually insists that the events of its climax are a mystery, impossible to explain, even though the reasons are all laid out for us.
In fact, this explanation may be the film's greatest strength. "The Virgin Suicides" is a first-rate portrait of adolescence: the ignorance and immaturity of the boys, the sexual allure of the girls, and the persecution complex of both genders which can sometimes lead to unspeakable acts.
Friday, June 12, 2009
The Good Girl
"The Good Girl" does not have a very promising premise. It's an indie movie--cue the spare acoustic guitars--starring Jennifer Aniston. Aniston is a bored suburban retail worker who has an affair with a younger man. Looks like we're going to get a rote version of "American Beauty" crossed with "Madame Bovary."
But "The Good Girl" has some tricks up its sleeve. By its conclusion, it seems more like a cross between a milder version of a Coen brothers movie and a milder version of "Revolutionary Road." Like the former, its seemingly plain characters are actually capable of some dastardly acts. Like the latter, it tests the limits of its protagonist's willingness to escape suburban malaise.
To be clear, "The Good Girl" is not as ambitious or jarring as the above references; these characters are never quite at each other's throats. The filmmaking signals this throughout. Like its score, the camera reflects the film's modest aims, sitting back to encompass the relevant characters and letting them tell the story.
But "The Good Girl" is never boring either. The film is briskly paced, picking up momentum as it runs along. Director Miguel Arteta manages to surprise us frequently by momentarily withholding information in a scene. The screenplay by Mike White offers some light comic touches to keep things moving.
The acting is serviceable, if not spectacular. Aniston gives us a passable Texas accent and manages to do what is needed. (Luckily, the plot is interesting enough that she doesn't have to carry it.) John C. Reilly is her dopey husband. He's frequently cast in roles like this because he looks the part, and he's more than up to the task. Jake Gyllenhaal, Aniston's lover, already had plenty of experience playing a brooding young man from "Donnie Darko."
"The Good Girl" will not change your life. But there are much worse ways to spend 90 minutes.
But "The Good Girl" has some tricks up its sleeve. By its conclusion, it seems more like a cross between a milder version of a Coen brothers movie and a milder version of "Revolutionary Road." Like the former, its seemingly plain characters are actually capable of some dastardly acts. Like the latter, it tests the limits of its protagonist's willingness to escape suburban malaise.
To be clear, "The Good Girl" is not as ambitious or jarring as the above references; these characters are never quite at each other's throats. The filmmaking signals this throughout. Like its score, the camera reflects the film's modest aims, sitting back to encompass the relevant characters and letting them tell the story.
But "The Good Girl" is never boring either. The film is briskly paced, picking up momentum as it runs along. Director Miguel Arteta manages to surprise us frequently by momentarily withholding information in a scene. The screenplay by Mike White offers some light comic touches to keep things moving.
The acting is serviceable, if not spectacular. Aniston gives us a passable Texas accent and manages to do what is needed. (Luckily, the plot is interesting enough that she doesn't have to carry it.) John C. Reilly is her dopey husband. He's frequently cast in roles like this because he looks the part, and he's more than up to the task. Jake Gyllenhaal, Aniston's lover, already had plenty of experience playing a brooding young man from "Donnie Darko."
"The Good Girl" will not change your life. But there are much worse ways to spend 90 minutes.
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