On the surface, The Yards isn’t a whole lot different than James Gray’s debut feature Little Odessa. Both follow a young man with a rough past returning to his hometown after a long time away. Both explore the family dynamic in the wake of that return. Both watch as man and family alike are sucked back into old ways as if the place in which they all grew up would hold a dark fate regardless of how loudly they all raged against it. Both Little Odessa and The Yards, tragic movies about reluctant criminals, are criminally underseen as well (although they’re both now streaming on Netflix).
In Gray’s sophomore effort Mark Wahlberg is Leo, recent ex-con out on parole and returned to his ailing mother and his seedy extended family in Brooklyn. His good friend Willie is happiest to see him again, eager to reintroduce him to “the way things work”. Charlize Theron, James Caan and Faye Dunaway round out the impressive cast, but Joaquin Phoenix as Willie is the only one who mines his character for all he’s worth. If there’s anything that separates this feature from Little Odessa, it’s that the potential of The Yards is greater than the final result.
Continue reading The Yards (2000) →
When people say it’s just like a ’70s spy thriller! or if you like ’70s spy thrillers, you’ll love this!, the movie they’re all referring to whether they know it or not is Three Days of the Condor. This is how we measure the influence that the Pollack-Redford political drama has had on our current film industry: in remakes, spinoffs, tributes, allusions, shoutouts and straight-up copies of the original.
Written as the novel Six Days of the Condor by James Grady, the book translated to the screen so well thanks to the the meticulous aplomb of Sydney Pollack and the solid performances of the entire cast. Three Days of the Condor wasn’t written to be an overtly political film, all appearances to the contrary, and according to Pollack and Redford the “thriller” aspect of “political thriller” was the part they tried to emphasize. It worked. Still, the political associations were all but unavoidable in 1975; Watergate was certainly still fresh, but more immediate was the leaking of highly sensitive CIA documents known as the Family Jewels scandal. This occurrence ended up being one of those Hollywood coincidences where a movie gets made about a particular subject and then that particular subject, one day out of the seeming blue, becomes the particular subject of the day’s news. Three Days of the Condor came out too close to the Family Jewels scandal to be able to say anything explicitly about it, but it managed to wrestle with the issue all the same.
Continue reading Three Days of the Condor (1975) →