Sister, My Sister

Tags

1990's, Crime, Historical Drama, Jodhi May, Joely Richardson, Julie Walters, Nancy Meckler, Psychological Drama, Sister My Sister, Sophie Thursfield

Inspired by the true life case of two maid sisters in 1930’s France who brutally murdered their employer and her daughter, Sister, My Sister makes for rather disturbing but intriguing viewing like a cross between a period study on class and a darkly historical crime drama. Headed by a fine quartet of performances, be prepared for both shock and horror as the story takes you to some uncomfortable places. 

It’s 1932 in Le Mans, France and Léa Papin( Jodhi May) comes from a convent to work as a maid for stern and stuffy Madame Danzard( Julie Walters) and her slovenly daughter Isabelle(Sophie Thursfield). She has gotten the job on the recommendation of her older sister Christine( Joely Richardson), who has worked in the household for a while. The sisters haven’t seen each other in years and are glad to finally be together with the estranged other. Neither group of women speaks to the other, much in the way that a bourgeoisie household works where people know their place and don’t deviate from tradition. Christine and Léa share a room upstairs and a bed, their workload is such that their main day off is a Sunday until 4 o’clock. Out of the sisters, Christine is the dominant sibling with underlying fury, while Léa is ever so eager to please and green in a lot of matters.Though the sisters are close, we see after they visit their mother that we never see, but know favours over Christine and takes a cut of their wages, that their past is very troubled. Her mother’s actions infuriate the temperamental and controlling Christine, who feels the sting of her mother’s abandonment years before to a convent and her deep devotion to her sister. Despite a jealousy towards her younger sister, the cloistered environment in their room and isolation from outside gives way to feelings of love far beyond just sisterly affection. Madame Danzard is rather oblivious to the attraction going on under her nose and is more interested with how well they are as obedient maids for her and her daughter. Her daughter Isabelle is a lady of not much in the way of prospects due to her sullen demeanour and lack of effort in appearance, though Madame insists and brow eats her over searching for a husband to secure her future. With the unhealthy attachment burgeoning between the sisters upstairs, the maid duties carried out by them begins to slip and Madame Danzard, with her beady eyes and vicious tongue, makes it known that she isn’t happy with them. Madame’s initial delight at getting two maids for nearly the price of one melts away to reveal a picky, vindictive woman who goes out of her way to humiliate her servants. Tensions start to boil over as the relationship between the sisters intensifies and Madame becomes more petty and cruel. Finally after nearly a year of suspicion and mounting tensions, everything comes to a head with a savagely, violent act that shatters the house.

Skilled director Nancy Meckler crafts a very claustrophobic and insular atmosphere of repressed emotions and a feeling on inequality amidst the four women, busting taboos too on the topic of incest between sisters. Meckler clearly knows what she is doing because she hooks you from the opening frame with the prospect of mystery, horror and drama with psychological overtones permeating the relationships explored. Sister, My Sister is in effect a chamber piece as it really only features four characters and all are female. A male photographer is heard speaking yet never seen by the audience, making us pay special attention to the ladies at the heart of this twisted yet grimly fascinating film. Screenwriter Wendy Kesselman knows the power of shared silences and how they translate into the struggle of class within the doomed house. They also highlight how not communicating due to the roles that society has doled out to these women can give rise to resentment and much misunderstanding, in this case of a deadly and vicious kind. I don’t believe the film condones the actions of the Papin sisters, rather Sister, My Sister speculates on what may have lead them to this act and does so with intrigue. A little more detail on certain points in the story might have been beneficial, but the impact of this haunting film more than makes up for quibbles. The cloistered environment transports to the viewer as the film rarely leaves the confines of Madame’s home; further sealing the sisters away from reality and letting them retreat into the taboo world of incest. The bedroom scenes between Christine and Léa are unusual and bathed in a bright, almost angelic light, suggesting that their closeness is a result of repression from being in a convent and that they have found an uncomfortably codependent relationship that goes beyond what is right and wrong. Yet they can’t quite see that and have become that isolated that they are above it, making the bright light of the scenes both ironic(given the murders they commit) and starkly noticeable in a film that’s largely quite dark in terms of visual style. Many scenes don’t have music, the main sound being either a clock ticking away or a tap dripping, allowing when music does appear to have atmospheric impact following pronounced silences and uncomfortable pauses.

What really anchors this already interesting and darkly enticing film is the quartet of lead performances. Joely Richardson dominates as the dutiful yet stifled and resentful Christine. Richardson’s faces burns with alarming and disquieting hate that at first is subtle, then blows up in powerful and shocking ways. It’s a credit to Richardson that we are enthralled by this woman who is coiled and just about to snap emotionally owing to not being able to control love, not knowing when to stop and childhood scars that haven’t gone. Jodhi May matches her as the initially timid Léa, who’ll do anything to please but is so easily lead that she can’t help but feel a bit of rebellious streak in the presence of her sister. May has this feeling of innocence to her, with her youthful face and sympathetic eyes, that could just as quickly turn to despair and dangerous once pushed. Both actresses work spectacularly together, possessing a quivering desire, unspoken bond, shared paranoia and feelings that may come spilling out in unexpected ways if they aren’t careful. Julie Walters, who for me never disappoints, shows off her versatility in convincing portraying a petty, vicious and mean-spirited lady who likes everything just so and is clearly a product of her snooty upbringing. Walters covers the part with prim manners and even a bit of humour, but she gets to the heart of this woman who believes she’s above everyone and won’t tolerate insubordination of any kind. Sophie Thursfield is given probably the most underdeveloped role, yet injects what she can into it. She’s mainly required to be the punching bag for her cruel mother but also strangely close to such a horrible woman. The relationship between Christine and Léa may be disturbing , but the one between Madame Danzard and Isabelle is just as alarming in how unhealthy the heaps of abuse Madame throws on her daughter are, who is then bemused, followed by being a figure of loyalty like a servile dog. 

A haunting movie of repression, jealousy and class struggles, Sister, My Sister will no doubt leave you reeling and disturbed by its content that is grimly rendered but very intriguing to watch. 

Heat

Tags

1990's, Action, Al Pacino, Amy Brenneman, Ashley Judd, Crime, Danny Trejo, Dennis Haysbert, Diane Venora, Heat, Heist Film, Jon Voight, Kevin Gage, Michael Mann, Mykelti Williamson, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Noonan, Tom Sizemore, Val Kilmer, Wes Studi, William Fichtner

The delightful Gabriela asked me to take part in a blogtahon about Al Pacino. As he’s one of my favourite actors, I couldn’t refuse. So here’s my late entry with a review of Heat.

An engrossing action thriller with a sheen of depth and sense of character to it, Heat, with the talented Michael Mann at the helm, takes the heist film and fashions something breathtaking, surprisingly intelligent and always riveting.

In Los Angeles, Vincent Hanna(Al Pacino) is an overly dedicated, arrogant cop. His obsessed work rate has strained his third marriage to the tired Justine( Diane Venora) and made sure he can’t connect with his troubled stepdaughter Lauren( Natalie Portman) . He becomes aware of skilled thief Neil McCauley( Robert De Niro) when he and his team, consisting of talented but troubled Chris Shiherlis(Val Kilmer), edgy and pumped Michael Cheritto( Tom Sizemore) and new member crazed Waingro(Kevin Gage) steal bearer bonds from an armoured car. Things escalate when loose canon Waingro shoots a guard, causing two others to be killed to avoid being a witness. Neil is furious as he wanted a smooth operation and now they are wanted for felony murder. Mainly, Neil wants a way out of crime and lives by a code that says he can walk away from absolutely anything when he feels the heat coming from the law. This has largely made him a loner and someone who doesn’t form personal attachments. But things change when he falls for pretty and endearing Eady( Amy Brenneman). His right hand man Chris is good at the criminal job but can’t kick a gambling habit, which has estranged him from his understandably angry wife Charlene(Ashley Judd). Meanwhile, Hanna starts putting the dots together and unearths more plans of Neil’s to stage more heists, culminating in one last big score . Both men will collide and discover a strange parallel with the other, though they can easily take the other down if either encounters the other along the way. The game of cat and mouse gets more dangerous as the film progresses, also showing that  both men are people who live by their own code that has directed them in life

Michael Mann is firing on all cylinders with Heat; conjuring a story of cops and robbers with more on his mind than just action. Not that Heat ever shortchanges is on action, but the dedication to plot and the little details that form are simply sublime touches. I especially enjoyed how Heat opens; setting up the characters and revealing just enough to set the appetite then discovering how it’s all linked. It’s a little thing, but it really cements your attention on the film. Back to action and Heat delivers it in spades, with particular praise being reserved for the running shootout on the streets. With quick cutting, pulse pounding imagery and a general feel of genuine danger, it’s one of the finest set pieces put on film as bullets fly and bodies fall. On the point of how Heat looks, the moody colour palette and danger with which Los Angeles is depicted with is second to none. The setting becomes just as important as the characters in the story with Los Angeles appearing as dark, unforgiving and melancholy. And for a movie that is almost three hours long, the time flies as we are that engrossed by the film that we are witnessing. Sure it might seem an excessive run time and a few minor bits ramble, but every frame feels warranted as does the enviable attention to detail that I live for. It’s one of the most action packed but inventively detailed and I enjoyed how it weaved the characters and their lives together so it fitted. It’s hard to find fault with Heat, with only a few minor parts that ramble a bit. Apart from those very small things , it’s simply masterful as a film and I can recommend Heat enough.

Where Heat truly shines and rises above many a generic action thriller or heist/ crime flick, is in its unusual dedication to giving the characters substance and a sense of having lived life. We truly get a chance to know these people and watch how their lives unravel as violence, dedication and duality collide. The relationships at the core of the film, Vincent and his wife Justine , the chance of love for Neil and Eady and Chris’ damaged union with Charlene, all add something and are explored with rare insight .Credit is down to Michael Mann for fleshing these parts out and allowing us to go between who we want to succeed. It’s most unusual to watch as our sympathies and sense of loyalty swings like a large pendulum. They are two sides of the same coin and we get to see it in full bloom in the now famous coffee shop scene. We finally see two iconic actors meet on film( they were both in The Godfather Part II but never shared scenes) and the results are sublime. Everything comes together beautifully as two men bare their souls and find an unexpected sense of respect with the other, despite their current opposition. Elliot Goldenthal is the composer and his music is sublime at matching the varying moods on screen, with a certain percussive shimmer and drums taking a large part of things. Plus adding strings brings out a certain feeling of sadness as the main men find that their lives and have morphed into stubborn ways from which each tries to escape. It’s atmospheric and action packed all at once, without forgetting human emotion.

Heat scores highly for its impressively extensive cast, headed by man of the hour Al Pacino and fellow acting Titan Robert De Niro. Al Pacino is excellently convincing as the  strutting, obsessed cop who has all but destroyed what’s left of his personal life. With Pacino in the part you get the showmanship of a man who’s good at what he does and knows, tempered with underlying regret at how he’s obliterated anything close to him. It’s a fine showcase for the great man and layered too, displaying some of Pacino’s finest work. Matching him as the criminal counterpart is Robert De Niro as the master thief. Possessing a steely look, ruthless intelligence and a hidden gentleness, De Niro breathes life into the part of criminal with a code who finds it changing in never expected ways. Put simply, he’s electric in a subdued but powerful way. And whenever he and a Pacino meet, it’s simply extraordinary. Val Kilmer brings forth a weariness to his part of a skilled thief but hopeless gambling addict. For Kilmer it’s all in the eyes, which exude alternating strength, action and vulnerability throughout. Tom Sizemore has the dangerous persona and sense of inducing fear, particularly skilled when it comes to the action that erupts.

Though the film is largely composed of men, the women of Heat hold their own and are pretty integral to the story. Amy Brenneman, with her fresh faced charm and sense of kindness is the main woman in Neil’s life and though she doesn’t realise it, she starts to change his way of thinking. Ashley Judd, with a combination of grit and sadness, essays the part of a wife fed up with her husband’s inability to change. The part could have been a throwaway and thankless one, but Judd gives it dimension. The same can be said for Diane Venora, who is also a wife who wants more from her husband. She’s fierce and not afraid to confront him on it which I like. A young Natalie Portman, though only seen in a brief few scenes, still stands out as a troubled youngster struggling with life and not feeling like anyone is listening. Although seen for only a short time, Portman is pivotal to a later part of the story that impacts on Hanna.

The rest of the supporting cast is a regular who’s who of familiar faces who give life to the characters surrounding those at the centre. Standing out is William Fichtner as a slippery man in too deep and not knowing it and Kevin Gage as a very creepy guy who is part of the reason the team feels the heat from the cops. Then you have Jon Voight as the fence who you know has been doing the job as long as anyone can remember and Dennis Haysbert as a former criminal trying to do good but finding it tempting to slip back into a life of wrong. Plus that’s not forgetting Ted Levine, Wes Studi, Mykelti Williamson, Tom Noonan and a memorably pivotal Danny Trejo. It’s a stacked cast, but it’s Pacino and De Niro who are the centre and boy do they make Heat soar.

A dazzling, stylish yet unexpectedly human crime/ action thriller, Michael Mann’s Heat is a film that always gets your attention in nearly every department. Simply put, it’s unmissable.

Hustlers

Tags

2010's, Based on a true story, Cardi B, Constance Wu, Crime, Drama, Hustlers, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl

Based on the true story of strip club workers scamming their clientele in efforts to make ends meet and sock it to the man, Hustlers is a colourful and surprisingly involving drama that makes time for comment on the strength of women and a sprinkling of humour. Also watch out for the talented cast, in particular a never better Jennifer Lopez.

It’s 2007 in New York, Dorothy(Constance Wu) is a young woman trying to make ends meet and help care for her ailing Grandmother. She’s working at a strip club, but not at all succeeding at making substantial money. Then she glimpses Ramona Vega( Jennifer Lopez), who is the resident queen bee that entices all with her sexy moves and charms. The two get talking and Ramona takes the inexperienced Dorothy under her wing and teaches her a thing or two. Dorothy soon goes by the name Destiny in the club and with Ramona’s guidance, starts to succeed. There’s a certain level of sisterhood between them that grows. Then the 2008 financial crash hits and things go south. Destiny discovers she’s pregnant and with business at the club running low and her boyfriend leaving her, she’s pretty desperate. The stripping business is not what it was and after meeting with Ramona( who she hasn’t seen in a long time), a plan begins to form. They will, along with other strippers that they know, make themselves available to men who are typically brokers or CEO’s on Wall Street , drug them and max out their credit cards. Although extremely dangerous, both women dive headfirst into this scam. Joining them are newbie strippers Mercedes and Annabelle( Keke Palmer and Lili Reinhart) who prove equally as adept at it. As the money rolls in things look good for the ladies, but soon greed begins to set in and events spin out of control for the merry band of women.

Lorene Scafaria is clearly a director who knows her craft and how to make a movie that entertains as well as invest you with its characters. Writing the script as well, she doesn’t condemn or condone what the women do and doesn’t exploit them endlessly in leering fashion either. Instead, Hustlers finds its footing presenting them as women pushed too far and hustling to survive in a cruel world that doesn’t reward the honest. Morality is a slippery slope after all and Hustlers presents that in fantastic fashion. In terms of highlights, watch out for Ramona’s sultry and commanding entrance which lets you know everything you need to about her without dialogue; it’s a standout sequence thats the definition of memorable. Scafaria references the work of the masterful Martin Scorsese in terms of bright visuals, montage and themes, with the good, flashy life of money and power slipping into chaos as things turn sour. places you right inside this world that the ladies are part of and pulls pulls you into their stories and reasons for taking part in a hustle. The world that they populate is best summed up by Ramona; who groups customers into ranks of how devious they are and how much money each is worth. Ramona is a pro at surveying people and a lot of the information we learn is through Destiny reiterating the words of this charismatic mentor. The framing device of Destiny/Dorothy revealing the details of the scams to a journalist played by Julia Stiles, who will write about it in the present, is cleverly employed and never too intrusive as to take us out of the film. A bit of repetition at the midway point can be pardoned for how the overall package is slick, thrilling and surprisingly evocative of the struggles women face and what happens when they take dangerous action. Mark my words, Lorene Scafaria is a director to watch out for in the future. While very much a drama, a liberal helping of humour abounds in Hustlers and is most welcome. Of particular note is the whip smart writing that allows for commentary on women taking control after being objectified and believably creating a camaraderie among the crew that feels very authentic. A killer soundtrack with some unexpected but fitting songs is a significant part of greatness in Hustlers and helps excel the narrative as it twists and turns.

Constance Wu heads the cast and is marvellous. Her curious face is our guide into Hustlers as she goes from downtrodden, vulnerable girl to successful woman, yet still retains a questioning backbone over her actions. She’s the audience surrogate but that is by no means a bad thing at all as Wu is simply stunning with both the humour and the drama. You truly feel for her too because of how convincing Wu is. What you’ve heard about Jennifer Lopez and her work in Hustlers is all true. Fierce, beguiling, bewitching and ruthless( but not without humility or compassion), Jennifer Lopez turns in career best work that reminds us what an actress she can be. Too often in the movies, she’s been in material that doesn’t show off her range( save for Selena and Out of Sight). Thankfully that’s been rewritten in Hustlers; she’s truly allowed to let her charisma and presence shine with alacrity, along with nuance and physicality. Trust me, Lopez is at the top of her game here and is worth every ounce of acclaim. She’s the main showstopper here and don’t forget it. Keke Palmer and Lili Reinhart both contribute plenty of energy and humour as the new girls on the block; both are given time to shine and develop their characters with humour and life. We have Julia Stiles as the journalist listening to the outrageous and audacious story and she displays a great amount of vacillating from feeling enthralled to being shocked at what she hears. She’s another pair of outsider eyes and ears in Hustlers and an effective pair too. Cameos from Cardi B and Lizzo are fun whenever they are present. I very much enjoyed the small but memorable role of Mercedes Ruehl. I found she injected great warmth and wisdom into her mother of the den part and I was entertained by her appearance here.

Stylish, highly entertaining but also insightful and filled with an array of talented actresses and director, Hustlers is one excellent and very surprising movie.

What Are Your Favourite Crime Movies?

Tags

Crime

What is it about the subject of crimes that lends itself so well to cinema? Whatever it is, it certainly makes its mark when it hits the spot. I’m a big lover of the crime movie genre as it’s produced some classics. But which movies of the genre are your favourites?

The Mule

Tags

2010's, Alison Eastwood, Andy Garcia, Based on a true story, Bradley Cooper, Clint Eastwood, Crime, Dianne Wiest, Drama, Laurence Fishburne, Michael Peña, Taissa Farmiga, The Mule

Director

Clint Eastwood

Starring

• Clint Eastwood as Earl Stone
• Dianne Wiest as Mary
• Bradley Cooper as Colin Bates
• Michael Peña as Trevino
• Laurence Fishburne as Head of DEA
• Taissa Farmiga as Ginny
• Alison Eastwood as Iris
• Andy Garcia as Laton

Clint Eastwood directs and steps in front of the camera once more with The Mule, which takes basis from a true story of an elderly man who was an unlikely drugs mule for a cartel. With it being Eastwood there is undoubtedly talent here and good spots. The trouble is The Mule stumbles in the mid section and I can’t help but feel it could have been better than it was.

Earl Stone is a 90-year-old horticulturist who has seen better days. He’s become bitter and out of sync with society. His business is approaching foreclosure and after being so neglectful of his family, most of them have shunned him and his wife Mary has divorced him. His granddaughter Ginny hasn’t turned her back on him and invites him to her engagement party. It’s at the party that someone gives Earl a tip-off of a job where all he needs to do is drive. Desperate, Earl accepts, little realising that he’s becoming a drugs mule. Even when he does discover what he’s transporting, he asks no questions as he is so in need of the cash. With the money he gets from each job, he tries to make amends with people he’s wronged in the past and attempts to build more bridges with his estranged family. This goes very well and his efficiency in the job earns him some respect in the cartel community, particularly the head honcho. But the DEA is trying to crack down on drug smuggling and a transportation in Illinois and as headed by the purposeful Colin Bates, they aren’t going to stop until they reach the source of the illegal acts. Earl keeps going with the job, slowly coming to see the darkness he has put himself in. Yet as the DEA closes in and the cartel start to fight amongst each other, Earl is stuck firmly in the middle of what could be a very dangerous situation.

Clint Eastwood brings his usual professional sheen to the film and focuses on characters, primarily Earl. Character development of the titular mule is what this film does well. I especially though there was poignancy to the fact that Earl feels so out-of-place in a technical, modern world that he doesn’t understand. That was one thing that came through loud and clear when watching The Mule. Not all of Eastwood’s decision behind the camera pay off, for starters the film runs too long and falters in the middle part. But his sophistication and handling of the main narrative is excellent and provides at least some emotional tie. If anything’s to blame for The Mule not being an overall excellent movie, it’s the script. Although it does bring out moments of dramatic worth, I need felt it all came together clearly or pleasingly enough. Having the other story of the DEA dragged a lot and didn’t feel not nearly as compelling as watching Earl slowly make attempts at redemption while he goes along on this dangerous ride . And though The Mule has its share of humour and lightness, the middle part where Earl sees the corrupt but intriguing wealth of drug dealers doesn’t quite sit right with the rest of the film. It only is really there to show what while he’s old, he’s still got some rascal about him with the ladies and can still have a good time. This isn’t to say that The Mule is a terrible movie( it’s actually quite good but flawed in execution), I just expected a bit more from it. I’m firmly on the fence with this offering from Eastwood, but his undeniable talent is still alive which I’m grateful for. Once seriousness kicks in, the last half of The Mule redeems quite a number of the foibles that so ruined the earlier parts. It’s here when we get the weight and emotional heft of a man coming to terms with what he’s done and these are the best moments. Eastwood’s love of jazz is prevalent too, using any opportunity he can to indulge us with melodies.

Clint Eastwood can do the grumpy, old guy act in his sleep and he portrays something akin to that here. But being Eastwood, it’s not just cut and dry. He inserts charm, humour and sadness into the character often with just a look or movement of eyes. The character is morally complex and flawed, which Eastwood is adept at bringing forth here and throughout his career. And credit to the guy, he’s 88 and still going strong, even if he’s made to look more frail and weathered here than he actually is. He’s one of the biggest assets going in The Mule and of the best things in it. In yer,s of acting, Eastwood is given the most to do. Dianne Wiest makes the most of her role as the ex-wife who still can’t shake him, despite vehement arguments that she is fine alone. Her scenes with Eastwood really have an emotional hook to them that both play beautifully. On the other hand Bradley Cooper, Michael Peña and Laurence Fishburne are all underused as DEA agents closing on the cartel. All three are great actors, but they aren’t provided with sufficient meat to savour on and make them memorable in this flick. Taissa Farmiga does what she can with her role as the only person who seems to see the good in her flawed Grandfather, while Alison Eastwood(Clint’s actual daughter) has her moments reconnecting with her estranged father that hit hard. In a brief part, Andy Garcia is highly entertaining as the cartel boss with flamboyant style.

Immensely uneven but definitely watchable, The Mule is a mixed offering from Clint Eastwood. I’m firmly in the middle in my opinion, but I can’t deny that Eastwood’s still got it, even when the work is minor and not quite a pitch on his more successful films.

Do You Like Crime and Police Procedurals?

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Crime, Police Procedurals

I’ve always been a lover of crime shows and those of a procedural nature. When I was in high school, I religiously watched NCIS and CSI. Recently, I’ve seen quite a bit of Law and Order and it’s many spin off. It appears that there’s no stopping the success of such shows. But do you have any love for them?

Guncrazy

Tags

1990's, Billy Drago, Crime, Drama, Drew Barrymore, Guncrazy, Ione Skye, James LeGros, Joe Dallesandro, Michael Ironside, Tamra Davis

Film Title

Guncrazy

Director

Tamra Davis

Starring

• Drew Barrymore as Anita Minteer
• James LeGros as Howard Hickok
• Billy Drago as Hank Fulton
• Michael Ironside as Kincaid
• Joe Dallesandro as Rooney
• Ione Skye as Joy

A crime drama of two abused souls and lovers gaining what they consider power through automatic weapons in an unfair world, Guncrazy is pretty compelling in how it establishes the doomed love between the two misfits and the tragic consequences of it all. With effective performances from Drew Barrymore and James LeGros, plus some eye-catching direction from Tamra Davis in her debut, Guncrazy is a film worthy of attention.

Anita is a lonely teenager who is constantly bullied and harassed by schoolboys and sexually abused by her absentee mother’s boyfriend Rooney, who she lives with in his trailer. She retains something of a hopeful demeanor, though her way of sleeping with any guy, even if they treat her horribly, makes her an outcast and bad news to many in her desolate town. Her dire existence takes a turn when her geography teacher assigns a project of finding pen pals to converse with. While others write to people from around the world, Anita finds correspondence with Howard Hickok, a convict who is serving term for a manslaughter charge. As soon as she begins receiving his letters, Anita is madly in love as Howard talks to her with a sincerity and kindness that she’s never known. Adopting Howard’s love of guns, Anita gets slimy Rooney to teach her how to shoot. When he sexually abuses her again, she uses her newfound prowess to kill him. Howard becomes available for parole and Anita manages to persuade slightly zany local preacher and part-time mechanic Hank Fulton to give him a job within both capacities and vouch for him. Upon Howard’s arrival, him and Anita completely give themselves to the other. Howard is far from a hardened criminal; instead seeming vulnerable and tragic, and only using a gun when he can’t think of another way to get out of a situation. He feels a gun is making up for the fact that he is impotent, but Anita is actually happy that for once a man doesn’t want to take advantage of her. Meanwhile, stern local parole officer Kincaid doesn’t like the look of Howard and makes this feeling known to him, saying he believes he should never have been let out of jail. The two become besotted with each other, eventually marrying after Hank catches them together and as both of them have used the church to help themselves, but largely because they are infatuated with the presence of the other. Yet while attempting to get through the unfair and cruel life each has experienced, the gun lust that influences both takes over and things spiral. As they stumble into accidental killing that mounts to a body count and forces them to flee, the spectre of tragedy hangs over runaways Anita and Howard, getting closer by the second.

Considering it was her directing debut, Tamra Davis did a commendable job with the material and invested it with quite a bit of emotion. She never condones the actions of the protagonists, rather presenting them as two list people getting some feeling of illusory power with something dangerous. Davis doesn’t glamorize gun use, but more examines the reasons why Anita and Howard would become so enamoured with them. The run down and festering setting for a large chunk of Guncrazy points to the isolation and holed up feeling, envisioned by Tamra Davis through an attention to detail that is markedly unvarnished. Guncrazy features quite a lot foreshadowing through various visual imagery and some of the dialogue from Hank, which hints at darkness and turmoil even when someone is trying to gain salvation. Anita and Howard are basically doomed from the get go; stemming from the society around them and the mistreatment by others. By using firearms, they believe they have some control over their lives for once. Howard mainly obsesses over them as he sees them as the solution to problems and probably a symbol of manhood that he feels he lacks. While Anita adopts his love as it gives her what she considers strength to finally stand up for herself, starting with Rooney who pays the price for all the horror he has put Anita through. Some of it over stretches into melodrama and occasionally float into slow-moving, though there are enough touches to make Guncrazy still watchable and different in an offbeat way. A little bit longer on the running time might have benefited it, but the main story and characters invest you in it and paper over this flaw. It might not be Bonnie and Clyde or Badlands, but Guncrazy does a commendable job at delving into the turmoil of the two main characters and their tragic companionship. The largely electronic and rock influenced soundtrack suits the overall mood and angst of the piece.

Drew Barrymore turns in a stellar performance as the girl from the wrong side of the tracks who needs a feeling of belonging and care. The part of Anita is someone who is a misunderstood and mistreated girl, finally discovering at least for a while, a feeling of power and respect in the arms of the only man who has treated her right. Drew Barrymore burrows into Anita’s naivety and sunny, adorable need for love that ultimately is heartbreaking to watch. Anita just wants some acceptance in her bleak and unfortunate life, which Drew Barrymore plays naturally and with skill, ensuring that even when Anita is shooting others and on the run from the law, we feel a sense of sorrow for her. It’s a fascinating portrayal from Drew Barrymore, that really stands out. Equally as good is James LeGros, playing the gun obsessed Howard in a way that is different from what you’d expect. He has a quiet charm, sadness and even polite demeanor, that makes it hard to believe at first that he has ever committed a crime. Yet once a gun is put in his view, his boiling anger comes out with dangerous results and unpredictable outcomes. Both main actors work great together, finding an intense yet reflective understanding of each other, even if they are doomed throughout the whole thing. Billy Drago has always boasted for me a slightly off-kilter and strange vibe, which makes him perfect as the snake-handling preacher who is slightly crazy. His flair for the unusual is ideally utilised in this chief supporting role. Then there is Michael Ironside, who is gruff and disapproving as they come when acting as the skeptical parole officer. Joe Dallesandro is all sweaty and slobbering brutality after Anita, eventually getting what he deserves for his sadistic actions and abhorrent behaviour. Ione Skye is the only real weak link in the cast, partly because she is given hardly anything to do within the whole story.

A largely excellent film that strikingly gets across the alienation and desperation of two youths and their penchant for weaponry, Guncrazy is a memorable crime drama, highlighted by the work of Drew Barrymore in the lead. If you ever had any doubt about her versatility, check this out to see her sterling performance, surrounding by an array of interesting supporting players.

Panic

Tags

2000's, Crime, Donald Sutherland, Drama, Henry Bromell, John Ritter, Neve Campbell, Panic, Tracey Ullman, William H. Macy

Film Title

Panic

Director

Henry Bromell

Starring

• William H. Macy as Alex
• Donald Sutherland as Michael
• Neve Campbell as Sarah
• John Ritter as Dr. Josh Parks
• Tracey Ullman as Martha

A crime drama with roots in themes of twisted family manipulations and the want to change, Panic is one of those movies that really takes you by surprise in my instances. Panic is an unexpected and extremely underrated gem of a film with a feeling of inexorable tragedy slowly coming out in its story of a man in midlife crisis of a most unusual kind.

Alex is a sad-eyed, middle-aged man who goes to see a psychotherapist named Josh Parks to get his life in order. Once there, he surprisingly reveals that he is actually a hit man who has been trained by his sly and corrupting father Michael since he has young. Dr. Parks listens in shock and dismay, but wants to know more if anything to possibly help a desperate Alex. Though Alex is a hit man, he doesn’t want to be one anymore. Yet as he is so scared of his imposing father and knows that it won’t be easy to just discard that part of his life, that he is currently undergoing a severe crisis of conscience. He keeps his deadly profession hidden from his wife Martha and young son to protect them, even though his relationship with his wife is on shaky ground as it is. Around this trying time for poor Alex, he encounters Sarah; a sprightly, sexually adventurous young woman who is completely forward and ever so neurotic. He finds himself drawn and infatuated with this kooky girl and this is one of the things that makes him want to quit. Yet just as he wants to tell his domineering father that he can’t do it anymore, the man gives him his next assignment. The man he is expected to kill is Dr. Parks, which throws everything out of control and puts more strain on the already pressured Alex. Alex is put through the wringer as he deliberates what he is going to do about the issues and dangerous circumstances surrounding him.

Henry Bromell adroitly directs this drama that involves crime, but is largely focused on the conscience of a man wanting to escape it all. Although the title suggests overt drama, it’s the internal struggle and scruples of the main character that elicit the most power and turbulence. Panic is a dark and engrossing study of warped family loyalty and pressure disguised by parental superiority. Everyone has a feeling when they are younger of being a good child and looking up to your parents, but what if your parents aren’t what you thought? That’s the main thing going on in Panic; Alex is smothered by his father’s dominance that he’s slyly held over him and employed in such a way that his son knows no different and is now suffering. We frequently get shots of important moments in a non-linear fashion that highlight the history of the characters, in particular how Alex was trained by his father in a scene where he has his young son shoot a squirrel as his first kill. Scenes like this are shocking( but not because they are bloody, no violence is explicitly seen) but for how it frames the father as a corrupting and malevolent presence over his son’s life that simply won’t let go of him in adulthood. There’s an exceptional back and forth between the past and present, filmed without the need for intertitles, as it respects the audience and can frequently be audacious. From what I’ve read about the movie, it was praised on release but never quite connected with audiences. This is a shame because Panic has much to offer movie fans, in how it mixes genres and has a certain haunting quality about it that stays with you. A peppering of black and ironic humour is sprinkled into Panic, particularly in how Michael discusses the business of killing people in a way that is so blasé yet menacing to his son and how the therapist listens with both a dumbfounded shock and yet inquisitive ear to Alex’s mournful confessions. Occasionally, the tone gets muddled but this is few and far between in an accomplished and atypical story that has a real poignancy. A lot of the success is down to the script written by director Henry Bromell, that fleshes out the dilemma of Alex and his predicament in a seemingly impossible situation. A moody and pulsing score is simply exemplary throughout Panic, hinting at the spiral of one man attempting to break out of his chains.

William H. Macy cuts a mournful and tired figure playing Alex; who wants out of the family business, but is buckling under the weight of everything on him. The ever so talented Macy wonderfully and subtly brings the nervousness and sadness of this man at tipping point out for the audience to see, which makes it a stellar performance of buried anguish and stifling anger. You couldn’t have asked for a better person for the role, as William H. Macy invests it with a real soulful melancholy. On hand to play the manipulative and quite horrid father is the always excellent Donald Sutherland. Like Macy, Sutherland’s approach to the character is a measured one that allows differing sides to emerge; from the seemingly genial and hospitable man to the ruthless and bullying father whose ingratiating manner starts to reveal his choke hold over his son. Neve Campbell stunningly stars as the catalyst for Alex’s need for change, exhibiting attitude, feistiness and that something else that is usually missing from other women roles in cinema. John Ritter excels as the shocked therapist whose curious about Alex and equally horrified, while Tracey Ullman gets across suspicion and a genuine feeling of being lost in her own life as her husband becomes distant from her for reasons she is ignorant of.

A compelling crime drama of morality and darkness, Panic makes its mark through the strong sense of purpose, direction and acting that give life to the unexpectedly melancholy rumination on family and crisis.

The Thomas Crown Affair

Tags

1960's, Caper, Crime, Faye Dunaway, Jack Weston, Norman Jewison, Paul Burke, Steve McQueen, The Thomas Crown Affair

Film Title

The Thomas Crown Affair

Director

Norman Jewison

Starring

• Steve McQueen as Thomas Crown
• Faye Dunaway as Vicki Anderson
• Paul Burke as Detective Eddie Malone
• Jack Weston as Erwin Weaver

A super stylish crime caper brimming with verve and visual flourishes, The Thomas Crown Affair may occasionally lack depth but that is more than made up for in the lightness of foot and sexy but conflicted chemistry between stars Steve McQueen and Faye Dunaway.

Thomas Crown is a suave and dashing business tycoon, who boasts wealth that many would simply die for. Though he has everything he could possibly ask for, he craves adventure and is now bored with the system of riches that he is a part of. So he carefully plots a bank heist, even though he doesn’t have any need for the money. He employs five men to orchestrate this elaborate scheme, making sure that his identity is left unknown to them to avoid any trace back. The plan works and the heist is a success, with Thomas thrilled with the results. Thomas is very pleased with what he’s accomplished, knowing that his plan is pretty much airtight for the most part. Yet those who were affected by the theft are not going to be quiet and soon questions are being raised. Insurance investigator Vicki Anderson, who always gets the job done, is called in to examine this theft and piece it together. Her incentive is 10% of the and with her array of charm, allure and intelligence she manages to pinpoint Thomas as the culprit. But rather than just take him in, Vicki finds herself attracted to the beguiling and wily Thomas. Both know that the other is up to something and yet this doesn’t distract them from falling into passionate clinches with each other. It does however throw a spanner in the works for them as loyalties are severely tested and their affair is proving difficult as well as compromising. The question is, how willing is Vicki ready to look the other way because of her feelings for Thomas or how much will her personal pride and efficiency take control?

Norman Jewison has that cinematic touch and eye for visual impact that this film and needs and forms the backbone of it with a deft clockwork like precision. The use of split screen pushes the movie along with free abandon and lively verve, that keeps the attention for a very long time. The leads play off each other in a game of questioning the other but being extremely attracted at the same time. indecision and allure, along with the potential of possible courtship, despite them being on opposite sides of the law is what makes the core of The Thomas Crown Affair lively and sexy. The best example of this is the almost wordless chess scene where the two eye each other up and gradually tease the other in a game of minds and bodies. Everything is left to the imagination as they embrace and the camera spins, proving that you don’t need copious nudity to be erotic and can be very naughty by suggestion. Though the story is not exactly what you would call thought-provoking, the quick pace and sizzle of things keeps you involved and along for the entertaining ride. The main selling point of The Thomas Crown Affair is the glamour and intrigue it has. The lifestyle of Thomas is enviable and through bright and very colourful moments of polo matches, it’s a fine life that we view for this man who has everything. A brimming score of skittish rhythms and languid romantic strings is simply gorgeous to listen to. The greatest instance of music in The Thomas Crown Affair is Windmills of Your Mind ,which is a hauntingly romantic and apt song that describes the way that Thomas is constantly on the move and a million steps ahead of everyone. The song won an Academy Award and I can see why, it really contributes to the aura of the film and is utilized gorgeously throughout.

In the title role, Steve McQueen is the suave, epitome of cool and collected. His Cheshire Cat smile and smooth demeanor belie a boredom and restlessness with life( even though he has almost everything a man could dream for). As nonchalant as the character seems, McQueen quietly displays the vast intellect and forward thinking that is often not realized by those around him until it is often too late. The best word for McQueen’s portrayal is cool, he is a man who many guys would kill to be and many women would love to be near. Faye Dunaway is the dogged but ultimately torn foil to McQueen’s charms, her unease at her own feelings for Thomas making most of the drama. Dunaway, while being extremely seductive in the part, brings forth the required determination and inner conflict out in varying degrees of nuance. As I previously noted, the rapport between McQueen and Dunaway is excellent and the Sparks are most definitely there, even as personal feelings come into question and stands must be taken that could jeopardize and further heat between the red-hot duo. Paul Burke does good work as the detective on the case, as does Jack Weston playing the getaway driver in the heist set up by Thomas.

Stylish and intricately done, The Thomas Crown Affair has oodles of appeal through its 60’s atmosphere and scintillating partnership of the main leads that essentially bring out more to the film than the story might suffer to some.

The Big Easy

Tags

1980's, Crime, Dennis Quaid, Drama, Ellen Barkin, Grace Zabriskie, Jim McBride, John Goodman, Ned Beatty, The Big Easy

Film Title

The Big Easy

Director

Jim McBride

Starring

• Dennis Quaid as Remy McSwain
• Ellen Barkin as Anne Osborne
• Ned Beatty as Captain Jack Kellom
• John Goodman as Detective Andre
• Grace Zabriskie as Mama

A hot and spicy crime drama that gains a lot from the New Orleans setting, The Big Easy scores big points thanks to its host of idiosyncratic characters and sexy romance at play in a tasty slice of gumbo.

Remy McSwain is a laid-back police lieutenant in New Orleans who along with Captain and good family friend Jack Kellom, discover the body of a local mobster while on the job. It is thought that the slaying is part of a gang war brewing between two rival parties. Arriving later is assistant District Attorney Anne Osborne, who is there to take a look at the killing and also prominently investigate police corruption. This poses a problem for Remy, as while he’s a good enough guy he has been known to look the other way and take bribes. He attempts to charm the law-abiding Anne, which appears to work as she tangles with her feelings about the case and Remy. As more murders from both gang factions take place and the drug operations and police corruption angle hots up, it is up to the to discover something. This isn’t going to be easy as they are frequently at odds over moral conduct. Though antagonistic over each other’s methods and fighting undeniable attraction, Remy and Anne dig into the murders and corruption, uncovering a big can of worms in the process that goes a lot higher than imagined.

Jim McBride’s full-blooded and breezy direction is the ideal thing that is needed in a film like this one. He makes it a dynamic and alternately playful movie that knows how to steam things up and use the surroundings of New Orleans to their full potential. New Orleans itself becomes a character in the story; a hotbed of colourful people and seamy passions, dashed with dark intrigue and a compelling glamour. There’s something special about New Orleans that adds immeasurably to the essence and ambience of this drama and can’t be faulted in the slightest. The Big Easy would never have had the same effectiveness if the setting was different, because the whole thing feels pretty authentic and full of vigor. The aura of the place hangs over The Big Easy like a glistening canopy. It does become a little broad at various intervals in the story that can induce a few instances of irritation, but The Big Easy keeps hold of you with the quickness of it all and the feisty romance. The film is at its most persuasive and enjoyable when it focuses on the clash between Remy and Anne, which in turn leads to sexual fireworks that are complicated by their differing attitudes and the possibility of danger with every step they take. The sassy script ensures a quality rapport and an amusing back and forth is created, bringing humour into the drama that actually benefits rather than distracts from the overall crime narrative. Sometimes crime dramas can be overly solemn, but The Big Easy takes another route and works out splendidly. It also fleshes out characters that are kooky and full of quirkiness, particularly Remy whose extrovert charms and mile wide grin are never far from view when being his ever so corrupt but devilishly likable self. The Big Easy often gets mentioned as a thriller and while I can see that in stretches of the film( such as a tense car chase and explosive last act), crime drama with healthy overtones of romance is probably how I’d describe it and I love that it’s that very thing. It flips between darkness in the crime and corruption to red-hot potential romance between without really missing a beat as it goes on its exciting way. A Cajun soundtrack and subsequent score provide the fire for which this cauldron of mixtures is rested on, providing some outstanding moments of music to echo the lively happenings.

Dennis Quaid is superb as the ever so corrupt but wholly enjoyable Remy, whose alligator smile and wild ways are more than a little endearing in an amusing fashion. Remy may be a very crooked guy who eventually begins to view how deep he’s in, but Quaid morphs him into an ingratiating charmer, who it is impossible to not to be taken in by, despite his foibles and many faults. Ellen Barkin matches Quaid with an equally excellent performance of the uptight Anne, whose usual adherence to rules is tested by a burgeoning attraction to Remy. The undecided and smouldering face of Barkin is employed exquisitely to showcase the moral dilemma she endures, tempered with a curious sense of carnality beneath the surface which the actress exudes gorgeously. Quaid and Barkin share a scintillating chemistry that is hot stuff from the moment they meet. I’m not kidding when I say their passion burns like fire in an extended form of foreplay, which is interrupted and comes up against barriers in a way that resembles a dance of emerging desire gaining power. You simply couldn’t have asked for anything better from the two stars, who ignite the screen as the total opposites in almost every way lock horns masterfully. Ned Beatty provides memorable support as the seemingly amiable Captain who Remy sees as something of a father figure, while John Goodman is fun as a lazy yet joking detective. One should also look out for Grace Zabriskie as Remy’s withering and quick-witted mother.

With lashings of local flavour and unique atmosphere that it seems only New Orleans can offer, The Big Easy is a fun, sexy and thoroughly entertaining crime drama, that soars essentially from the sultry chemistry of the leads and the eventful, lively direction.