It Takes a Village in Spotlight

Spotlight

At one point in Tom McCarthy’s deftly handled expose on the exhaustive investigative journalism done by the Boston Globe to uncover the labyrinthine and monolithic Catholic Church sex abuse scandal in 2002, a character coldly observes, “If it takes a village to raise a child, it also takes a village to abuse one.”  Logically it then follows, that it would also take a village to shine a light on corruption.

There’s another great line uttered by Liev Schreiber (who shrewdly plays the Jewish city-hopping editor who turns the Spotlight team onto the case) at the dawn of the story going public where he says something to the effect of, “When we’re fumbling around in the dark and you finally get to shine a light on something, it’s easy to find blame in your own fumbling.”  The journalists in Spotlight (all former or current Catholics) are riddled with the guilt the Church (and life) drill into you, knowing that something should’ve been done earlier, and the film is filled with these types of keen insights and great lines without ever becoming didactic. Continue reading

The Truth Has No Temperature but The Counselor is Tepid

The Counselor - Cameron Diaz

I’ve come to the conclusion that Cormac McCarthy is incapable or writing interesting women, but he thinks he knows a lot about them.  The men in his screenplay for Ridley Scott’s slick, pulpy and sweaty “massive drug deal gone awry” flick The Counselor spend most of the film’s runtime spouting off quasi-philosophical macho riffs on life and greed and chicks, man…chicks, they’re like crazy.  The men toggle between misogyny and bafflement.  The character played by Javier Bardem (who, god bless him, tells the story to Michael Fassbender’s protagonist with comically black glee) knows his chick is crazy because of the way she made love to his Ferrari.  No, I’m not kidding…the woman literally humps the car.

That woman, the inexplicably named Malkina, is inexplicably played by Cameron Diaz, who looks great and gives it her all, but just isn’t up to par for this type of role.  She’s borderline camp, and a better actress (an Angelina Jolie perhaps?) would’ve either gone whole-hog with the camp or truly smoldered.   – POTENTIAL SPOILERS AHEAD –   Continue reading

The Red Riding Trilogy

“One, two, three, four, five, six, seven…all good children go to heaven.”

You wouldn’t believe it at the start of the grim trilogy of films that aired on British television in 2009 and were released in art-houses stateside in early 2010 (and new to DVD this month).  Spanning almost a decade (from 1974 to 1983) and following a labyrinthine plot involving missing children, serial killers, conspiracy theories and corrupt police officers in northern Britain’s Yorkshire area, The Red Riding Trilogy is hard-hitting, trippy, convoluted stuff…the stuff of communal M-like nightmares.

The first thing that is so striking about the films is their look – dripping in period detail and directorial chutzpah that’s like Godfather-era Francis Ford Coppola as channeled through Danish Dogme ’95.  From a critical standpoint, the consistent tone running through all of the films is even more astounding when you realize each part was directed, edited, scored and photographed by different teams.  The first two parts were directed by Julian Jarrold and James Marsh respectively, and it’s only in the superior third part (1983, directed by Anand Tucker) do we see any kind of deviation, and that’s only in a few powerfully placed auteuristic flourishes involving flashbacks and voice-overs. Continue reading

A Review of Tom Tykwer’s “The International”

Clive Owen is here to tell us this Istanbul-sh*t is about to hit the fan in THE INTERNATIONAL.

Clive Owen is here to tell us this Istanbul-sh*t is about to hit the fan in THE INTERNATIONAL.

Classy Globe Hopping Thriller Pays its Dues, 16 February 2009
8/10
Author: David H. Schleicher from New Jersey, USA

A world-weary but determined INTERPOL agent (Clive Owen) teams with a District Attorney from New York City (Naomi Watts) to bring down a corrupt bank funding arms deals in Tom Tykwer’s accidentally timely globe trotting conspiracy flick, The International.

My drab one-line plot synopsis in no way prepares you for this film’s smartly executed centerpiece, an outlandish and wildly entertaining shoot-out at the Guggenheim Museum that is both a bullet-riddled blood-soaked multi-media homage to Hitchcock and an artistic F-you to all of the mindless “shattered glass” suspense thrillers that have come down the pike in the last twenty years.

Tom Tykwer saw this and envisioned a chase scene with bullets and blood.  Now thats art!

Tom Tykwer saw this and envisioned a chase scene with bullets and blood. Now that’s art!

Those who have been keeping tabs on director Tom Tykwer’s career, from the frenetic originality of Run Lola Run to the ungodly weird epic sumptuousness of Perfume, might mistakenly think he was doing this one just for a paycheck. However, The International is far more ambitious than its genre conventions imply. Tykwer and his crew create an engaging and twisty film that combines the thematic elements of our modern CSI-style detective shows with the visual elements of Hitchcock’s 1950’s vista-vision thrillers. Here Tykwer’s vistas are architectural landmarks from around the world that serve as picture-perfect set-pieces and back-drops for the carefully stacked plot and action.

In a modern movie world where thrillers are currently regulated to the pulse-pounding non-stop movement of the Jason Bourne films or the dumbly torturous sentimentality of something like Taken, it’s refreshing to see a film of this ilk built in such a classical way.  The International begins “in medias res” with one of those clichéd secret meetings gone wrong, then delves into a series of expository scenes that lead to a masterfully staged assassination attempt in Milan that leads to rising action (during which I overheard a viewer behind me proclaim so succinctly that the suspense was killing her) culminating in the aforementioned Guggenheim shoot-em-up that leads to falling action that ends with a roof-top chase over the lively markets of Istanbul.

Naomi Watts does her best Veronica Lake INTERNATIONAL style.

Naomi Watts does her best Veronica Lake INTERNATIONAL style.

In its attempt to keep the plot one step ahead of the viewers, and the viewers one step ahead of the characters, the sometimes convoluted screenplay loses its footing and sense of pace. The cast, however, is game to play against this jaw-dropping architectural scenery. No further proof is needed beyond this film to show Clive Owen would’ve been a superior James Bond. Naomi Watts, whose natural charms and beauty are felonies of their own, is a bit miscast, but she does her best with the role. The revolving door of supporting players is top notch as it goes through the requisite motions. All transmitted through the keen eyes of Tykwer, The International crackles with tension and arrives on the world scene as a refreshingly old-fashioned suspense thriller in a post-modern milieu.

Originally Published on the Internet Movie Database.