The Native American reservation of Wind River is as far from perfect as one could imagine, a destitute landscape of snow and silence where forgotten people can’t rely on luck…they survive or die. But the inhabitants there can still dream of better places. They can make their way if they fight for it.
The film opens with a thoughtful young woman’s voice-over reading a poem about “a meadow in my perfect world” while we watch on the screen a battered young woman running for her life across a deadly nighttime landscape of moonlight snow and sub-zero winds. It’s another fifteen minutes or so before we witness her body discovered days later by Cory Lambert (an Oscar-worthy Jeremy Renner), a game-and-wildlife tracker hunting a lioness on the reservation, who has his own tragic past that casts a shadow on the current events. In to town comes a green but game FBI agent (a fabulous Elizabeth Olsen, evoking a young, steely Michelle Pfeiffer), who along with the reservation police force (lead by a stoically sardonic Graham Greene) and our determined tracker forms a posse to catch the predator who drove the young woman out into the cold and her ultimate death.
Writer/director Taylor Sheridan’s neo-noir meditation on grief and resilience is a brutal and beautiful thing that also operates on the surface level as a rip-snorting crime drama/police procedural which satisfies our hunger for the perverse while defying our expectations with novelistic depth of back-story and character. Continue reading →
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 →
I always balk when people say to me, “I couldn’t put this book down!” That rarely happens to me. As I writer, I almost always start micro-managing the books I read, wondering what was going on in the author’s head at the time, the hidden meanings behind their choice of words, the turn of phrase, the setting…what this, that or the other thing is supposed to represent. I pillage the words on the pages for deeper meaning even if there isn’t meant to be any…even if the author’s only aim was to entertain. I’ve often been known to nitpick books to death, especially popular best-sellers, to my own displeasure and in a disservice to the author, to the point where I just have to put them down. And then there are overly ambitious, bloated literary messes (cliché…cliché…touché…) that I…just…can’t…pick up.
Then there’s the golden rule that you shouldn’t judge a book by its cover. Or by its title. But that’s just what I was doing when wandering through an abnormally large and sanitized Barnes and Noble at Baltimore’s Inner Harbor on no mission other than killing time when I came across Derek B. Miller’s Norwegian by Night. Cool title. Cool cover. What’s this all about, eh? I bought it on impulse.
And now I can say with cool confidence, you can judge a book by its cover, and I COULDN’T PUT THIS BOOK DOWN! For those keeping track, the last book I couldn’t put down was Ron Rash’s Serena. I ransacked Miller’s debut tale in record time over the three-day Memorial Day weekend. There’s nothing mind-blowing or revolutionary about Miller’s book, but like its cinematic cousin, Mud, which also contained a strong Huck Finn motif, it represents good old-fashioned storytelling bravado: Simple. Layered. Sympathetic characters with complete and satisfying arcs. Interesting setting. Good story. Well told. Continue reading →
“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 →