Crime Archives - Page 9 of 36 - FILM FREAK CENTRAL

TIFF ’13: Prisoners

September 9, 20132013, Authors: Angelo Muredda, Crime, Directors: Denis Villeneuve, Drama, Film Festivals, Thriller, TIFF

**½/****
starring starring Hugh Jackman, Jake Gyllenhaal, Viola Davis, Paul Dano
screenplay by Aaron Guzikowski
directed by Denis Villeneuve

by Angelo Muredda Denis Villeneuve comes to America with Prisoners, an alternately strange and gripping but finally self-immolating crime picture that earns the right to its austere silver Warner Bros. logo before it devolves into a Scooby-Doo mystery for sadists. Last seen beckoned to the heavens by a pre-Oscar-anointed Anne Hathaway, Hugh Jackman plunges right back into the shit here as Keller Dover, a suburban dad and mild-mannered carpenter who goes berserk when his daughter and her friend (the child of perennially underused Viola Davis and Terrence Howard) vanish after Thanksgiving dinner. The first suspect is Alex (Paul Dano), a creepy, developmentally delayed young man who roams through the neighbourhood in his RV. Though he’s arrested by crack detective Loki (nicely played by Jake Gyllenhaal, despite his character’s name and distressingly shoddy police work) and released when the investigators find nothing to pin him on, Alex is promptly recaptured by a raging Dover, who turns out to have his own torture venue for this very occasion, complete with room enough for a black box whose construction will put Dover’s woodworking skills to good use.

TIFF ’13: Devil’s Knot

September 3, 20132013, Authors: Angelo Muredda, Canada, Crime, Directors: Atom Egoyan, Drama, Film Festivals, Thriller, TIFF

**/****
directed by Atom Egoyan

by Angelo Muredda Something is off in Devil’s Knot, the third film about the West Memphis Three in as many years, and it isn’t just the Satanic panic that turned a bereaved community against three wrongfully-accused teenagers. Although its Tennessee setting takes him far from his usual haunt of Toronto, this material seemed like a slam dunk for Atom Egoyan, who’s done his best work in films about parents dwelling in the endless hangover of their children’s premature deaths. It’s a shame, then, that his new film feels like a wheel-spinning exercise rather than a deepening of old themes. Egoyan’s approach to this tapped-out story hits the dramatic and formal beats you’d expect from his filmography: here we get a child’s cryptic, disembodied voiceover about what he’s seen; there, a videotaped testimony that conceals more than it discloses. Ambiguity is the name of the game, just like in The Sweet Hereafter, where everything turns on young Sarah Polley’s poker face as she ushers the adults around her into the topsy-turvy world of the title.

The Act of Killing (2012)

July 18, 20132012, 2013, Authors: Angelo Muredda, Crime, Denmark, Documentary, Norway, UK

***½/****
directed by Joshua Oppenheimer

by Angelo Muredda Like Claude Lanzmann’s otherwise incomparable Shoah, Joshua Oppenheimer’s bracing documentary The Act of Killing reanimates a historical catastrophe without leaning on archival footage. In relying primarily on testimonials grounded at the site of violence, both films argue for a more radical than usual method of bearing witness to unspeakable genocides–in this case, the murder of nearly a million communists, intellectuals, and ethnic Chinese in mid-1960s Indonesia by a cadre of paramilitaries and gangsters who were backed by an American-funded military and subsequently never brought to trial. Yet as much as each project seeks to drag a monstrous past into the light by shooting at the present scene of the crime, Oppenheimer’s work is given an even more surreal kick by virtue of the incredible status still afforded to members of the killing squads, politically-connected goons who openly boast of their murders to anyone within earshot, including the film crew.

To Have and Have Not (1944) + The Big Sleep (1945/6) – DVDs

July 8, 2013****/****, 1940s, Adventure, Authors: Walter Chaw, Crime, DVD, Mystery, Romance, Thriller, War

TO HAVE AND HAVE NOT
****/**** Image B- Sound B Extras C
starring Humphrey Bogart, Walter Brennan, Lauren Bacall, Dolores Moran
screenplay by Jules Furthman and William Faulkner, based on the novel by Ernest Hemingway
directed by Howard Hawks

THE BIG SLEEP
****/**** Image B Sound B Extras C+
starring Humphrey Bogart, Lauren Bacall, Martha Vickers, Dorothy Malone
screenplay by William Faulkner, Leigh Brackett & Jules Furthman, based on the novel by Raymond Chandler
directed by Howard Hawks

by Walter Chaw While biographer Todd McCarthy refers to the two versions of Howard Hawks’s The Big Sleep as marking the delineation point separating linear (early) Hawks from non-linear (later) Hawks, I feel like you can mark the director’s affection for bonzo non-sequiturs throughout his sultry To Have and Have Not. The picture tells its tale of immigrants marooned off the islets of war and sexual sophistication–an island bell jar and pressure cooker envisioned as a sequel of sorts to Casablanca. But where Casablanca‘s sex was mature and companionate (the sizzle replaced by simmer) and tinged with regret, To Have and Have Not has a slick of bestial sweat to it that promises that the explosion of really naughty stuff is looming rather than in the rear-view. (There’s no sexier film in all the Forties.) The story of the corrupt Vichy government and the brave French underground unfolding behind the red-hot flirtation between diplomatically non-affiliated fishing boat captain Harry “Steve” Morgan (Humphrey Bogart) and lost American teen “Slim” (Lauren Bacall) is punctuated helter-skelter by husky lounge numbers courtesy Slim and Cricket (Hoagy Carmichael) and riff sessions with Steve and Slim that have the cadence and unpredictability of jazz improvisation. It’s not so much a narrative as a medley in a bouncy key, and Hawks is not so much a director as a bandleader. Much has been made of Hawks’s skill in casting (and it’s hard to argue otherwise when he sniffs out the alchemical enchantment between old man Bogie and new thing Bacall (and Marilyn Monroe and Jane Russell; and Dean Martin and a bottle)), but looking at To Have and Have Not–the first of Bogie/Bacall’s four collaborations–is to glimpse something more than a good casting eye: it’s to witness the evolution of a true musical genius. The rhythms are subterranean, the verses in between the words; to watch this and The Big Sleep (Hawks’s other collaboration with Bogie/Bacall) back-to-back is as close to rapture as this experience gets.

Rolling Thunder (1977) – Blu-ray Disc

July 8, 20131970s, 2013, Action, Authors: Bryant Frazer, Blu-ray Disc, Crime, Drama, Revenge, Scream/Shout! Factory, Thriller

click any image to enlarge

***/**** Image B Sound B+ Extras B+
starring William Devane, Tommy Lee Jones, Linda Haynes, James Best
screenplay by Paul Schrader and Heywood Gould
directed by John Flynn

by Bryant Frazer Rolling Thunder‘s reputation was burnished considerably in the 1990s when Quentin Tarantino declared it one of his favourite films. It’s a good call; Tarantino owes his career to his long-standing love affair with the grindhouse, and Rolling Thunder is in many ways the quintessence of Hollywood exploitation. Director John Flynn, who made a name for himself with his 1973 adaptation of a Donald E. Westlake novel, The Outift, comes across as an efficient, focused storyteller who pares narrative to the bone. That style of filmmaking really allows (or requires) performance to come to the fore, and in the intense vigilante fantasy Rolling Thunder, both William Devane and Tommy Lee Jones deliver smart and scary interpretations of the soul-damaged protagonist and sidekick, respectively. Flynn certainly wasn’t a self-conscious stylist, and he ended up toiling in the gulag of undistinguished action pictures like the 1989 Stallone-in-prison flick Lock Up and the Steven Seagal revenge thriller Out for Justice. He died in 2007, and Rolling Thunder is just remarkable enough that you want to bemoan his anonymity.

Band of Outsiders (1964) [The Criterion Collection] – Blu-ray Disc

July 3, 2013****/****, 1960s, 2013, Authors: Bryant Frazer, Blu-ray Disc, Crime, Drama, FFC Must-Own, France, The Criterion Collection

Bande à part
****/****
Image A- Sound A Extras B+
starring Anna Karina, Sami Frey, Claude Brasseur, Danièle Girard
screenplay by Jean-Luc Godard (uncredited), based on the novel Fool’s Gold by Dolores Hitchens
directed by JeanLuc Cinéma Godard

by Bryant Frazer For the casual observer, Jean-Luc Godard’s Band of Outsiders (Bande à part) may as well be titled The Eyes of Anna Karina. The famously radical director’s follow-up to the hit film Contempt isn’t a favourite of American movie buffs for its politics or its thematic rigour. Instead, it’s a veritable spoof of film noir–at times a near-farce–involving a couple of small-time schemers who take their cues from Hollywood. Though Band of Outsiders is thought of as one of Godard’s most accessible works, it’s also one of his most dissonant. It’s a gritty crime drama wrapped around a light romance; a breezy comedy shot through with intimations of the geopolitical landscape of the 1960s; an homage to U.S. culture that incidentally imagines the decline of the American empire. In Godard’s body of work, Band of Outsiders–its story based on a novel by American mystery writer Dolores Hitchens–can be read as the connective tissue between the bones of Breathless, which is full of loving references to American cinema and pulp fiction, and the later Weekend and Tout va bien, which are explicitly critical of western culture in general and capitalism in particular.

Crimewave (1986) – Blu-ray Disc

May 19, 20131980s, 2013, Authors: Walter Chaw, Blu-ray Disc, Coen Brothers, Comedy, Crime, Directors: Sam Raimi, Scream/Shout! Factory

*½/**** Image B- Sound C+ Extras A
starring Louise Lasser, Paul L. Smith, Brion James, Reed Birney
screenplay by Ethan Coen & Joel Coen & Sam Raimi
directed by Sam Raimi

by Walter Chaw Sam Raimi’s sophomore picture Crimewave is a nightmare, a mess, a calamity of rare scope but also one possessed of a singular, maybe misguided but definitely committed, vision. It wants very badly to be a feature-length Three Stooges sketch or Warner Bros. cartoon (one of the early Tex Averys), and so the thing it most resembles is Joe Dante’s segment of The Twilight Zone: The Movie, stretched to a truly sadistic length (a deceptively scant-sounding 83 minutes) and thrown together by misadventure, studio interference, and a lot of talented people who didn’t know what they didn’t know. It’s so consistently and dedicatedly cross-eyed badger spit, in fact, that it eventually takes on the surreality of a Max Ernst gallery, or an acid trip in a travelling funhouse. It’s deeply unpleasant, even as fans of Raimi and the Coen Brothers (who co-wrote the screenplay with Raimi) busily trainspot all the auteur signatures in double time. What Crimewave represents is that peculiar artifact of a film that should have ended careers instead getting “lost” by a bumfuddled, betrayed studio for long enough to allow Evil Dead II and Blood Simple the opportunity to cement reputations before this one could bury them.

Pain & Gain (2013)

April 25, 20132013, Action, Authors: Angelo Muredda, Comedy, Crime, Directors: Michael Bay, Theatrical, Thriller

**/****
starring Mark Wahlberg, Dwayne Johnson, Anthony Mackie, Ed Harris
screenplay by Christopher Markus & Stephen McFeely, based on the articles by Pete Collins
directed by Michael Bay

by Angelo Muredda A man does a stomach crunch in mid-air, suspended off the armpit of a muscleman logo that's spray-painted onto the side of a gym. Is there a more quintessential Michael Bay image than the opening shot of Pain & Gain? The only serious contender comes later on, in a slow-motion tableau of the same bro, Mark Wahlberg's personal trainer-cum-murderer Danny Lugo, sailing over the windshield of an SUV, propelled by the debris from a flying fruit stand. When your story doesn't have any Autobots, I guess you just have to improvise with your surroundings to get all your primary colours in. To say that the radioactive pop palette and abs-fetishism is familiar is an understatement, but it's the thematic material and belaboured telling of it that makes Pain & Gain a perfect storm of Bay. Temporarily freed from the restraints of a battling-robot franchise, he's allowed to make his most purely ideological statement yet in the form of a (fact-based) story about three idiots pursuing their warped vision of the Horatio Alger myth–which happily coincidences with Bay's.

The Postman Always Rings Twice (1946) + The Rains of Ranchipur (1955) [The Limited Edition Series] – Blu-ray Discs

February 1, 20131940s, 1950s, 2013, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Drama, Romance, Thriller

THE
POSTMAN ALWAYS RINGS TWICE
***/****
Image B+
Sound A
Extras A
starring Lana Turner, John
Garfield, Cecil Kellaway, Hume Cronyn
screenplay by Harry Ruskin
and Niven Busch, based on the novel by James M. Cain
directed by Tay Garnett

THE
RAINS OF RANCHIPUR
**½/****
Image A
Sound A
Extras B
starring Lana Turner,
Richard Burton, Fred MacMurray, Michael Rennie
screenplay by Merle Miller,
based on the novel by Louis Bromfield
directed by Jean Negulesco

click
any image to enlarge

by
Jefferson Robbins There's a series
of doublings in The
Postman Always Rings Twice, Lana Turner's best-known
vehicle, that
illuminate its obscure title. Disillusioned young wife Cora Smith
(Turner) and
drift-through handyman Frank Chambers (John Garfield) try twice to make
way for
their illicit love by eliminating her diner-impresario husband, Nick
(Cecil
Kellaway). There are two court cases steered by suspicious chief
prosecutor
Sackett (Leon Ames) and defended by wonderfully shifty lawyer Arthur
"I'm
Handling It" Keats (Hume Cronyn). There are two moonlight swims, each a
turning
point in the criminal couple's courtship. Twice the action bends when
ailing
female relatives, never seen, summon a main character to their
sickbeds. There
are even two roadside-diner femmes fatale: Cora,
and her
double Madge (Audrey Totter), who diverts Frank while he's on the outs
with the
woman he killed to obtain. Finally, the murder itself creates a literal
echo.
These aren't anvils falling from the heavens, but instead
the patterns
life presents only in retrospect: This moment, that
day, that was
when God was trying to get my attention. Like Frank, we're too
preoccupied to
ever hear the first ring.

Gangster Squad (2013)

January 10, 20132013, Action, Authors: Angelo Muredda, Crime, Drama, Gangster, Theatrical

*/****
starring Josh Brolin, Ryan Gosling, Nick Nolte, Sean Penn
screenplay by Will Beall
directed by Ruben Fleischer

by Angelo Muredda In his recent chat with David Poland, Ruben Fleischer bristled at the suggestion that Gangster Squad shares any DNA with Warren Beatty’s Dick Tracy. That’s the sort of aesthetic family resemblance a lightweight like Fleischer ought to milk for all it’s worth, but hear him out: Sean Penn’s enterprising mob boss Mickey Cohen, he insists, isn’t a cartoon bruiser in the tradition of Al Pacino’s Big Boy Caprice, but a real guy whose face only looks a little off because it’s been molded by other men’s fists. He isn’t a comic-strip grotesque, then, but a seasoned boxer-turned-kingpin reanimated by a grand old actor and his team of historically-faithful makeup artists. What more could one ask of a Warner Bros. crime movie than such attention to detail? A lot, apparently–especially if the finished product looks more like Elmer Fudd than any retired amateur boxer. Verisimilitude is a nice goal, but it doesn’t suit Gangster Squad, at once a lumbering history lesson and a squib of a gangster picture–a zit on the ass of Mulholland Falls, Lee Tamahori’s somehow more accomplished stab at L.A. noir.

The Dark Knight Rises (2012) – Blu-ray + DVD Combo Pack

December 3, 20122012, Action, Adventure, Authors: Walter Chaw, Crime, Directors: Christopher Nolan, Disaster Movie, Drama, Superhero, Thriller, UK

***½/**** Image A- Sound A+ Extras A-
starring Christian Bale, Michael Caine, Gary Oldman, Anne Hathaway
screenplay by Jonathan Nolan and Christopher Nolan
directed by Christopher Nolan

click any image to enlarge

by Walter Chaw For all its overreaching (and what's perilously close to a training montage), Christopher Nolan's The Dark Knight Rises is fascinating, engaging, and aggressively present. It's a wonderfully-performed melodrama about the sad, intractable state of our sorry state, painted in broad strokes in a muted palette. It's what many would think impossible despite the evidence of its predecessor: a comic book for grown-ups. And it accomplishes what it sets out to do without much in the way of action sequences or hero moments–the irony being, of course, that The Dark Knight Rises is fated to become the best-reviewed and most-lucrative release of 2012 for having the very same qualities for which the deeply-underappreciated Superman Returns was lambasted. I would argue that a wide swath of the people who will adore it will have difficulty articulating exactly why.

Skyfall (2012)

November 7, 20122012, Action, Adventure, Authors: Walter Chaw, Crime, Espionage, James Bond, Theatrical, Thriller, Turkey, UK

**/****
starring Daniel Craig, Javier Bardem, Ralph Fiennes, Judi Dench
screenplay by Neal Purvis & Robert Wade and John Logan
directed by Sam Mendes

by Walter Chaw For me, the James Bond films are the literalization of a very particular Conservative fantasy in which a suave, quippy, emotionally-arrested sociopath battles Cold War foes, beds beautiful women without consequence, always has the latest technology, and engages in the endless murder of foreigners. Just suggesting a "license to kill" reveals a certain level of arrogance; and it's their confrontation of the noisome wake left by those attitudes that makes On Her Majesty's Secret Service and the more recent Casino Royale the powerhouses that they are. Skyfall, the latest in the decades-spanning series, tries but fails to do the same. A good part of the problem can be traced back to non-action director Sam Mendes (superseding Marc Forster, non-action director of the disastrous Quantum of Solace), who, in trying to honour the visceral requirements of the genre, finds himself unable to produce either a meaty melodrama or a capable action vehicle.

Strangers on a Train (1951) [Two-Disc Special Edition] – DVD|Blu-ray Disc

October 31, 2012****/****, 1950s, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Alfred Hitchcock, Drama, DVD, FFC Must-Own, Thriller

Strangers5

****/****
DVD – Image A Sound A Extras B
BD – Image A- Sound A Extras B
starring Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll
screenplay by Raymond Chandler and Czenzi Ormonde, based on the novel by Patricia Highsmith
directed by Alfred Hitchcock

by Walter Chaw SPOILER WARNING IN EFFECT. Alfred Hitchcock’s queerest film (Rope notwithstanding) and proof positive of the director’s knack for casting men of ambiguous sexual mooring in roles that cannily exploit it, Strangers on a Train, shot in vibrant contrasts by the great Robert Burks, is best read as a dark comedy–a noir in the most perverse sense of the term. Find in it the finest performance by troubled Robert Walker, tormented to his grave by David O. Selznick’s infatuation with and eventual theft of wife Jennifer Jones and committed, not long after Strangers on a Train finished shooting, to a mental institution, where he was the victim of an accidentally-lethal dose of sedative. Playing a character named after the kidnapper and murderer of the Lindbergh baby, Walker is Bruno, a spatted dandy who bumps shoes with hero Guy (Farley Granger–the “girl” in the Rope dyad) on a train and ostensibly hatches a plan with the pliant tennis star to “criss-cross” murders (trade assassinations, as it were), freeing each of them from the burden of blood motive. Bruno wants his father dead; Guy, involved in a very public affair with the senator’s daughter Anne (Ruth Roman) but shackled to loathsome Miriam (Kasey Rogers), would benefit from Miriam’s timely demise. So when Miriam turns up dead by Bruno’s hand, Guy is trapped by circumstance into either murdering Bruno’s dad or going to the police and implicating himself and his lover in a conspiracy.

Torso (1973) + Maniac Cop (1988) – Blu-ray Discs

October 21, 20121970s, 1980s, 2012, Action, Authors: Jefferson Robbins, Blu-ray Disc, Blue Underground, Crime, Horror, Italy, Mystery, Satire, Thriller

I corpi presentano tracce di violenza carnale
***½/**** Image A Sound B Extras B
starring Suzy Kendall, Tina Aumont, Luc Merenda, John Richardson
screenplay by Ernesto Gastaldi and Sergio Martino
directed by Sergio Martino

MANIAC COP
**½/**** Image B Sound A Extras B
starring Tom Atkins, Bruce Campbell, Laurene Larson, Sheree North
screenplay by Larry Cohen
directed by William Lustig

by Jefferson Robbins Slasher movies are concerned with not just murder, but with its root cause–not motive, really, but motivation. There has to be a detonator, or else stalker-horror is what its most strident critics accuse it of being: all body-count, no brains. The films have leeway to be less concerned with motive than, say, those Ustinov-as-Poirot adaptations, where the whole cast learns whodunit while seated for tea and cakes in the third act. (I sort of miss those; I wish "mystery" hadn't been usurped by "thriller" in the moviemaking lexicon, and in part I blame Jonathan Lynn's 1985 Clue.) But they have to successfully allude to a trigger point, some match to the killer's keg of gasoline.

Walking Tall: The Trilogy [2-Disc Collector’s Edition] – Blu-ray Disc

September 26, 20121970s, 2012, Action, Authors: Walter Chaw, Blu-ray Disc, Crime, Scream/Shout! Factory

WALKING TALL (1973)
***/**** Image B- Sound C
starring Joe Don Baker, Noah Beery, Jr., Elizabeth Hartman, Rosemary Murphy
screenplay by Mort Briskin
directed by Phil Karlson

WALKING TALL PART 2 (1975)
*/**** Image B Sound C- Extras B
starring Bo Svenson, Richard Jaeckel, Bruce Glover, Robert Doqui
screenplay by Howard B. Kreitsek
directed by Earl Bellamy

FINAL CHAPTER WALKING TALL (1977) ***½/****
Image B- Sound C- Extras D
starring Bo Svenson, Margaret Blye, Forrest Tucker, Morgan Woodward
screenplay by Howard B. Kreitsek
directed by Jack Starrett

by Walter Chaw A hicksploitation flick that can hold its head up high among its blaxploitation contemporaries, Phil Karlson’s combustible, if risible, Walking Tall features a moment where a small-town judge (Douglas Fowley) warns vigilante Buford Pusser (Joe Don Baker) to cut out his foolishness, and another where the hero’s folksy grandpa Carl (Noah Beery, Jr.) declares that there’s a “ragin’ social disease” out there called “black equality.” Yet the Pussers are the good guys, or should I say good ol’ boys, and when I stumbled upon Walking Tall on late-night television as a kid, it instantly lodged itself against my red-white-and-blue heart. Watching the Coens’ Raising Arizona and True Grit years later, I hear and see echoes of Walking Tall‘s high-dudgeon. Of course it’s right there on the surface of Quentin Tarantino’s films, too, and right there in any serious conversation about the transfiguration (metastasis?) of noir—Walking Tall is a remake, as Glenn Erickson aptly notes, of director Karlson’s own tough-minded The Phenix City Story. More proximately, Walking Tall is the common-man’s Straw Dogs. Both begin with the appearance of our hero in the middle of a rural environment, and both involve the eruption of the Natural through the thin scrim of civilization. All three films–Phenix, Walking Tall, and Straw Dogs–identify with a noir idea that the hero’s morality, regardless of the laws of country and state, is the only, possibly last, light in the world.

TIFF ’12: The Paperboy + At Any Price

September 18, 20122012, Authors: Bill Chambers, Crime, Drama, Film Festivals, Mystery, Sports, Thriller, TIFF

THE PAPERBOY
*/****
directed by Lee Daniels

AT ANY PRICE
*/****
directed by Ramin Bahrani

by Bill Chambers The great Pete Dexter writes tersely about criminal perversity in the southern United States; the problem in adapting him to the cinema is that without his hardboiled prose, which lends everything he writes the whiff of reportage (a newspaperman originally, he turned to novels after drug dealers beat him nearly to death over one of his columns), the psychosexual situations he describes threaten to collapse into camp. Because of this, Dexter and Precious/Shadowboxer auteur Lee Daniels sounded like a match made in Hell to me, but the blunt force of Daniels's shamelessness proves strangely compatible with Dexter's writing in The Paperboy, based on the latter's 1995 best-seller. If only he could direct! Daniels is like a less bourgeois Henry Jaglom, cutting between a panoply of indifferently-composed shots like a frog on a griddle with little feeling for either spatial or character dynamics.

TIFF ’12: The Iceman

September 12, 20122012, Action, Authors: Bill Chambers, Crime, Drama, Film Festivals, Gangster, TIFF

*½/****
directed by Ariel Vroman

by Bill Chambers Although The Iceman proves that a movie cannot get by on Michael Shannon's dark charisma alone, Shannon has reached that point in his career where his casting supplies the lion's share of subtext. Hence, a line like "I dub cartoons for Disney"–uttered not two minutes into the film, before there's enough context for it to be a joke or a lie–induces titters of recognition. Of course, most will know going in that Shannon's playing real-life contract killer Richard Kuklinski, who's thought to have dispatched over 100 people, professionally-speaking. In The Iceman, the film version of his life, smut-bootlegger Kuklinski starts a family with winsome Barbara (a baby-talky Winona Ryder) at the same time mobster Roy DeMeo (Ray Liotta) makes him an enforcer. He keeps Barbara in the dark about his new profession (his old one, too), telling her he's a stockbroker to explain the conspicuous infusions of cash; by the time their angelic daughters are in middle-school, he's settled comfortably into the schizoid role of suburban-dad-slash-serial-killer. Eventually, he sub-contracts himself out to Pronge (Chris Evans, so skeevy I mistook him for Bradley Cooper), a free agent who operates out of a Mr. Softee truck and gives Kuklinski the idea to freeze his victims, and thus his eponymous nickname.

Grosse Pointe Blank (1997) [15th Anniversary Edition] + High Fidelity (2000) – Blu-ray Discs

August 26, 20121990s, 2000s, 2012, Action, Authors: Jefferson Robbins, Blu-ray Disc, Comedy, Crime, Music, Romance, Thriller, UK

Grossepointe2

GROSSE POINTE BLANK
***½/**** Image C+ Sound B+ Extras D
starring John Cusack, Minnie Driver, Alan Arkin, Dan Aykroyd
screenplay by Tom Jankiewicz and D.V. DeVincentis & Steve Pink & John Cusack
directed by George Armitage

HIGH FIDELITY
***½/**** Image B+ Sound B Extras C
starring John Cusack, Jack Black, Lisa Bonet, Joelle Carter
screenplay by D.V. DeVincentis & Steve Pink & John Cusack and Scott Rosenberg, based on the novel by Nick Hornby
directed by Stephen Frears

by Jefferson Robbins John Cusack spent much of the 1990s stubbornly trying to dodge his high-school reunion. Barely present in Sixteen Candles, he nevertheless may have suffered a bit of the curse that pursued John Hughes’s other players: We wouldn’t let them grow up for quite a while, and careers were hampered. Cusack navigated this impasse better than most, netting late-’80s leads both romantic (Say Anything…) and dramatic (The Grifters) that unpack and showcase his mature dimensions. Cusack has, if it’s not too oxymoronic, a vulnerable edge–his characters are deeply attuned to others, but only out of self-defense. Lloyd Dobler, Roy Dillon, and, in the two films under discussion, Martin Blank and Rob Gordon constantly assess input to learn how the prevailing emotional currents of a scene affect them, not others. “You think I’m a dick,” Lloyd determines when Diane (Ione Skye) gives him a Pen of Friendship as a parting gift. His feelings, dependent on hers, are paramount. Cusack’s heroes are sensitive but far from selfless, yet the actor somehow convinces us otherwise.

Dexter: The Sixth Season (2011) – Blu-ray Disc

August 15, 20122011, 2012, Authors: Bill Chambers, Blu-ray Disc, Crime, Drama, Horror, Television, Thriller

Image A Sound A+ Extras D+
"Those Kinds of Things," "Once Upon a Time…," "Smokey and the Bandit," "A Horse of a Different Color," "The Angel of Death," "Just Let Go," "Nebraska," "Sin of Omission," "Get Gellar," "Ricochet Rabbit," "Talk to the Hand," "This Is the Way the World Ends"

by Bill Chambers LIGHT SPOILER WARNING IN EFFECT. My favourite episode of "The Incredible Hulk" is the two-hour premiere of the second season, "Married." One of the unfortunately-few instalments written and directed by series creator Kenneth Johnson (a genuine pulp talent), it sees David Banner falling in love with the terminally-ill shrink (Mariette Hartley won an Emmy for the role) helping him contain the Hulk, a hypnotic process that involves David visualizing the Hulk trapped in a giant birdcage in the middle of a pristine desert–a tableau that clearly inspired the dream vistas at the outset of Tarsem's The Cell. Kindred spirits, they eventually marry, but although unleashing the Hulk protects her from harm when external forces threaten her life, it can't save her from the Grim Reaper. "Married" ends on an unusually hopeless note as a young boy who befriended the doctor informs David he's going to devise a cure for her disease when he grows up and David more or less tells the boy he's deluded. One of the most devastating pieces of genre television ever produced, it really could've been the series finale. Unfortunately, the show continued long enough to lapse into self-parody and longer still. Much like "Dexter"–though come to think of it, that happened about halfway through the pilot.

Outland (1981) – Blu-ray Disc

August 6, 20121980s, 2012, Action, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Sci-Fi, Thriller, UK, Western

***/**** Image A Sound B+ Extras B-
starring Sean Connery, Peter Boyle, Frances Sternhagen, James B. Sikking
written and directed by Peter Hyams

by Jefferson Robbins Has anybody looked at Alan “Laddie” Ladd Jr. as an auteur of U.S. film’s late-’70s/early-’80s science-fiction renaissance? By definition, the auteur theory addresses directors, but producer-execs are inevitably part of a film’s genome–at their worst, barriers to a film’s artistic ambitions, at their best, enablers of daring visions, and often rescuers or champions of interesting failures. Ladd, of course, famously midwifed and defended Star Wars (later Star Wars: Episode IV- A New Hope) while he was president of Fox, and the studio went on to shepherd Alien to theatres during his tenure.¹ His production firm, The Ladd Company, sent forth Blade Runner, the first film to put a Philip K. Dick concept on the screen in addition to being very much its own, deeply influential beast. Some unifiers among these films include introductory crawls or intertitles, situating the audience in a far future or faraway galaxy; grimy or rusty milieux, painting the SF frontier as a sumptuous scrap pile; deep attention to class, with starcraft piloted by hardworking space jockeys in trucker caps; and, as it was pointed out to me on Facebook the other day, a reliance on established fantasy/SF artists (H.R. Giger, Ron Cobb, Moebius) to carry out much of the production design. Building a world costs money, and Ladd signed the checks.²