Detachment

Adrien Brody gets detached in Tony Kaye's new talkie.

In 1998, director Tony Kaye made one of the most auspicious debuts in film history with American History X, yet it was a film he disowned.  He railed against the system that didn’t allow him final cut, and he perpetuated a myth that the film’s star, Edward Norton (who gave a galvanizing performance as a Neo-Nazi that catapulted his name onto the A-list) meddled with the film at the behest of the studio to make it his own and not Kaye’s.  The end result was a film that became a cultural touch point for my generation.  It was probably the most talked about film in my dorm room freshman year of college.  It was a film so raw and violent in its emotional outbursts that it ranked as one of those films “I only care to see once” yet I will never ever forget the “upper jaw to the curb” or the “dinner table Neo-Nazi tirade” scenes so long as I still have a coherent memory.

In Europe, Kaye’s enfant terrible persona would’ve been celebrated, but in Hollywood, he was subjected to a modern-day blacklisting.  Since that time, he’s made a few documentaries (including an apparently incendiary one about abortion that even I am too scared to watch entitled Lake of Fire) and has one completed film mired in legalistic backlog (how ironic) interestingly titled Black Water Transit.  And yet…in 2012…somehow…against all odds, quietly emerges his newest film, Detachment.

In its tale of inner-city teachers struggling to survive and connect with out-of-control students neglected by vapid parents, Kaye’s film (scripted by Carl Lund) is full of grotesque stereotypes, overt symbolism and some of the most annoying hand-held shaky-cam aesthetics I have ever endured.  Yet for all of its Crash-like didacticism and reductionism, when Kaye (who also served as the director of photography) allows his camera to stay static and his actors to fill the scene with their soliloquies, the result is positively electrifying and poetic. Continue reading

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Let’s Go for a Drive

Just your typical afternoon Drive...

What are you going to do?

Hey, Ryan Gosling!  Here’s the scoop, friend.  You’re a low-rent stunt driver for Hollywood.  When not flipping over cars, you’re working in a body shop for that old guy (Bryan Cranston) who’s helped you out like you were his own son.  You moonlight for criminals (giving them five minutes and five minutes only) driving getaway cars under strict rules that keep your record clean.
 
In step some shady characters looking to invest in drag racing.  There’s the Jewish Pizza shop guy (Ron Perlman – thuggishly good) and Mr. Money Bags (Albert Brooks – slow to menace).  Hey, slow down, here’s the deal.  The old guy builds and sells them a custom car – and, that’s right – you just might get to be the driver.  This might be your ticket out!
 
But then you meet a swell gal (Carey Mulligan – cute as a button and donning a hairstyle that would fit Naomi Watts circa Mulholland Drive) who turns out to be your neighbor, a waitress, and single mom to a neat kid (Kaden Leos) who knows a bad guy when he sees ’em.  Turns out her hubbie (Oscar Isaac) is in jail.  Just as she’s gettin’ all sweet on ya, he gets out.  But guess what?  He’s actually a nice guy just hard on his luck.  You wanna be his friend – for her – for the kid’s sake.
 
Your new friend has some bad guys after him – looking to shake him down for protection they gave him while in the slammer.  Continue reading