Crime

“Widows”: a Pulp Fiction with Class

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Steve McQueen’s work has always been weighty and dour, but with a distinct sense of purpose. Viewers are probably most familiar with the Best Picture-winning 12 Years a Slave, but McQueen’s other features depict a sex addict (Shame) and the Irish hunger strikes during The Trouble (Hunger). Widows, McQueen’s newest feature shares some of the … Read more

“The Dark Horse” Addresses Mental Health, Expectation, and Community

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The opening sequence of The Dark Horse depicts Genesis Potini wandering through the rain muttering to himself, intercut with his older brother teaching him the game of chess when they were both children.  He stops in a store with a few chessboards set up, and continues his frantic word salad as the shop owners look … Read more

The Hilarious “Mindhorn” Blends Crime with Irreverence and Dry British Wit

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Are you re-watching episodes of QI and startling yourself with how often you remember the answers?  Do you have a VPN set up to watch 8 Out of 10 Cats?  Are you slightly angry that my previous question didn’t conclude with “Does Countdown”?  This hackneyed rhetoric is just a way for me to say that … Read more

“Free Fire” Attempts Farce, Ends Up Boring and Haphazard

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In a strange paradox, executing a proper farce demands preternatural planning.  Stray but a little from the knife’s edge, and the tone can spiral out of control as the conflicting elements of the film separate like a broken sauce.  Ben Wheatley’s Free Fire suffers such a fate, though it isn’t for lack of effort or … Read more

Dishonesty Doesn’t Pay in Stanley Kubrick’s Innovative Noir “The Killing”

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Stanley Kubrick described his heist film The Killing as his, “first mature work”, and the film boasts many of the director’s eventual hallmarks.  Techniques that appear in Kubrick’s later masterpieces can be seen in a nascent form throughout the film, as if Kubrick is exploring the possibilities of his own voice and style.  Specifically, The Killing purposely confuses the viewer through keen story structure choices and twists on the heist genre.  The result is a disorientation that forwards a theme that trickery, thievery, and crime – even those which are meticulously planned, are doomed to failure.

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“Nocturnal Animals”: a Story-within-a-Story of Weakness and Betrayal

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Nocturnal Animals is fashion designer Tom Ford’s second feature film as both writer and director, and once again he has delivered a nuanced film full of emotion, sadness, and intrigue.  Starring Amy Adams and Jake Gyllenhaal, the film is a peculiar mixture of crime thriller and relationship melodrama, married through an inventive “story-within-a-story” structural device:   the main character reads a manuscript of her ex-husband’s novel, and the film’s narrative ping-pongs between the real world and the world of the novel.  As the procedural story unravels in the novel, we learn more about the relationship between these two characters in multiple flashbacks.

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Classic Review – Antoine Fuqua’s “Training Day” (2001)

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To protect the sheep you gotta catch the wolf, and it takes a wolf to catch a wolf.

– Det. Alonzo Harris

 

No fun when the rabbit has the gun, is it?

– Jake Hoyt

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Shane Black’s “The Nice Guys” is Neo-Noir Black Comedy at its Finest

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Fans of the crime comedy genre can rejoice, because we’ve been gifted a new masterpiece.  Shane Black’s The Nice Guys is a fun throwback that sports a fantastic mixture of neo-noir and black comedy.  Like the best examples of the genre, the story unfolds through a central mystery while multiple intriguing characters get roped into the proceedings.  Black’s sensibilities take full advantage of the chemistry between stars Russell Crowe and Ryan Gosling, and as a result the film compares favorably to similar movies like The Big Lebowski and Snatch.  Though it may fly under the radar during its theatrical release, it will likely find a cult following once people recognize its high quality and peculiar tone.

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“Green Room”: The Punk Band vs. Neo-Nazi Slasher

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Jeremy Saulnier’s Green Room takes advantage of two primal human fears to fill its audience with a profound sense of unease:  the fear of confinement, and the fear of being outnumbered in a fight.  The film establishes an omnipresent feeling of dread by casting the members of a punk rock band into the deep end of a hinterland Neo-Nazi club.  Though the set itself is fine, one of the members witnesses something he shouldn’t, and the film becomes a hyper-realistic slasher thriller set in this single, remote location.  Though the story essentially recreates the “Ten Little Indians” trope, there is a subtlety and direction to the plot and a dimensionality to the characters that raises Green Room above the common slasher.

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Classic Review Friday – Tony Scott’s “Man on Fire” (2004)

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A slick, stylized violence permeates Tony Scott’s Man on Fire, which is as much a story about rebirth as it is about revenge. The critics balked at the vigilantism of Denzel Washington’s John Creasy as he tears through a Mexican kidnapping cartel responsible for the death of a young girl, but this film is much more about a man’s abortive redemption than pleasure-seeking violence. Far from glorifying Creasy’s rampage, Scott imbues the narrative with a decidedly blunt and tragic trajectory. Man on Fire is less about retribution, and more about a damaged man falling apart one last time in service of his highest value.

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