David Grann’s Killers of the Flower Moon sounds like a rip-snorting true crime epic. The labyrinthine conspiracy that lead to the murders of numerous Osage Indians for their oil headrights and the botched FBI investigation that followed is rife with terror and tragedy, but although Grann attempts a few passages of ponderous heft, most of the book is a dry by-the-numbers procedural that presents far too many names and suspects to keep coherent track of, never allowing us to latch on to any one person, and leaving us lost in the immense scope of the dastardly deeds. The book is slated for a film adaptation to be directed by Martin Scorsese, and if there is anyone who can provide both focus and pep to the story, it’s probably him…though Eric “hit or miss” Roth is to pen screenplay, leaving me to worry the Osage might never get their due.
Anyone who sat through Quebecois director Denis Villeneuve’s well-crafted but morally repugnant Oscar-nominated film, Incendies, knows he’s a man who loves to play with the audience and turn the screws to the point of torture. While going more mainstream with the kidnap thriller, Prisoners, he still finds way to tighten the ropes and hold an audience captive. Red herrings, recurring visual motifs, carefully placed clues and masterful editing have become the director’s calling cards, and he stacks his deck in Prisoners with an A-list cast and sets the brooding atmosphere with Roger Deakins’ flawless photography shaded in blues and greys meant to mirror the moral ambiguities of this sordid tale.
Though it runs over two and a half hours, Prisoners is relentlessly compelling in a cold, calculated procedural kind of way. Much of the film plays like the pilot episode of the next great TV crime thriller as it sets up the case of two missing girls and toggles itself between the families affected and the lead detective bent on finding the children. Unfortunately it’s that same sensibility that leads Aaron Guzikowski’s disappointingly rote and too-tidy script awry. We never really get to know the characters deeply as they are all composed of stock genre elements and would be better fleshed out in a long serial television format. Continue reading →
Many people have tried…and failed…to recapture that spirit of Laura Palmer. But there will only ever be one Laura Palmer. And one Twin Peaks.
It’s hard to believe it’s been over 23 years now since Twin Peaksgraced the small screen, but even though it aired for only a year and a half, its legacy can still be felt today on television and in film in works like Top of the Lake, Stoker and Bates Motel – though only ones of these, thanks to the amazing lead performance of Vera Farmiga in Bates Motel, hints at anything memorable.
Jane Campion’s TOP OF THE LAKE attempts to be haunting, but comes up all wet.
Currently on the Sundance Channel, the New Zealand set slow-boil mystery, Top of the Lake, borrows liberally from David Lynch’s signature series. Film auteur Jane Campion follows in Lynch’s footsteps by turning to television with this melancholy miniseries chronicling a Sydney detective (Mad Men’s Elizabeth Moss, boldly against type) returning to her remote New Zealand home town (an eerie down under mirror of Lynch’s Pacific Northwest with its mountains, lakes and dark woods) to care for her cancer-stricken mother only to get sucked into the local mystery surrounding the disappearance of a pregnant twelve-year old who just so happens to be the illegitimate daughter of the town drug lord.
Upon sterling recommendations from fellow film blogger John Greco and fellow independent Philly-based novelist Christopher Tait, I decided to make the most of my time waiting for Martin Scorsese’s adaptation of Dennis Lehane’s novel, Shutter Island, to be released in theaters by…well, would you look at that…reading the novel. I was a big fan of previous film adaptations of Lehane’s books, Mystic River and Gone Baby Gone, so I was eager to finally dive into the source material. Continue reading →