Independent Film Festival Boston presented Red Rocket at the Brattle Theatre in Cambridge, MA last night, and before I fawn over Sean Baker’s latest film it’s worth mentioning that it’s damn good to be back. The last film I saw at the Brattle was almost exactly two years ago — The Lighthouse, with director Robert Eggers in-person — and I didn’t quite realize how much I’d missed the comfort of that room. Props to IFFBoston and the Brattle for making that return as safe as possible.
Up on the screen, though, was a homecoming of a decidedly different sort. Red Rocket follows Mikey Saber (Simon Rex), a washed-up L.A. pornstar returning to his impoverished hometown of Texas City. Mikey’s a narcissistic bastard, to put it mildly, sporting a gravitational pull of destruction that threatens his old acquaintances after his 20-year absence. Mikey’s delusions imperil a new relationship, too, when he meets the 17-year-old Strawberry (Suzanna Son). Something about Mikey is undeniably electric, though, and so every new obstacle he faces presents an opportunity for him to redeem himself of his despicable ways. Maybe he’ll do the right thing this time, we think. Maybe he’ll turn it all around.
Continue reading Red Rocket (2021)
If you’re as into this season of True Detective as I am, “Hunters in the Dark” had it all.
Plot-wise there were developments we knew were coming, like the wrongful incrimination of Brett Woodard in the 1980 timeline. There was a whole bunch of stuff we probably didn’t know was coming, mostly stemming from the 1990 timeline and Tom Purcell’s regression back into a suspect in the eyes of the police. There was, of course, a big ol’ reveal at the end, one that we’ll talk about in a second after we issue a spoiler warning for that spoilery spoiler.
Continue reading True Detective 3.6 – “Hunters in the Dark”
Bloodline is one of the latest original series produced by the ever-strengthening Netflix (it’s alive!), and by all accounts it’s a unique outing for the media giant. Set in and around the sweltering Florida Keys, the first season is less like fellow Netflix pal House of Cards and more like Showtime’s The Affair, another drama that zeroes in on family dynamics and household hostility. At best, though, comparisons aside, Bloodline is a true family drama with well-drawn characters and a driving central premise.
The family in question is the Rayburns, an island institution known and respected for operating the beachfront resort Rayburn House for decades. Father (Sam Shepard) and Mother (Sissy Spacek) are vitally influential in the lives of their four children and, as a bonus, are supportive of any conspiracy theories related to casting actors with alliterative fore- and surnames as husband and wife. They’re pillars of their community, and snippets of conversation and glances at newspaper headlines clue us in to the fact that the Rayburns are the public face of their little stretch of Key West. But Bloodline starts early in the slow uncovering of the real ways in which good ol’ Mum and Dad molded their children.
Continue reading Bloodline – Season 1
There are obvious similarities between James Gray’s third film We Own the Night and his first two features Little Odessa and The Yards, and they’re mostly positive points. All three are New York crime dramas that focus on families straddling the moral wires of right and wrong, all have strong supporting characters, and all have a good handful of unique and intense action scenes. Considered side-by-side We Own the Night might be the “glossiest” of the three, lacking some of the grit of Odessa and Yards but also lacking some of the exciting virility Gray brought to those films. Still, the result is a more-than-passable NYC crime story.
The premise is highly familiar, and that alone may relegate Night to the rung below the likes of the arrestingly deviant Little Odessa. Joaquin Phoenix and Mark Wahlberg play Bobby and Joey, brothers on opposite sides of the law, the former owner of a seedy drug-fueled nightclub and the latter a golden boy NYPD officer. The events that bring them together aren’t altogether unfamiliar either. The big bad Russian drug dealer Vadim frequents Bobby’s place, so Joey (for some strange reason) believes his estranged brother to be the only person in the entire packed nightclub who can inform on him. Vadim (for some strange reason) suddenly puts an inordinate amount of trust in Bobby, letting him in on a secret to which only his most trusted henchmen are privy. If this all sounds disappointingly typical for an opposite-sides-of-the-law drama, that’s because it is.
Continue reading We Own the Night (2007)
Casey Affleck presented a screening of The Assassination of Jesse James by the Coward Robert Ford at the Brattle Theatre in Boston last night, on hand for a Q&A following the film. Though Assassination is still sadly much more of an “obscure” offering – at least in terms of films starring Brad Pitt – it nonetheless remains a fascinating character study of both a young man and his mythical idol.
Robert Ford joins the James Gang alongside his brother Charlie at a time when Jesse James has already achieved infamy through his brazen robberies and brutal murders. Bob is only nineteen years old at this point (although he “feels older”), and his fascination with the gang is a mixture of childish wonder, starstruck glee, and perhaps a hint of inflated self-importance. He believes he’s destined for “great things”, by which he really means he believes himself to be a worthy follower of Jesse or even one who could take his place. As his place in the gang is solidified over the course of the film and his presence at Jesse’s side becomes more and more common, Bob’s perception of his onetime hero begins to deteriorate.
Continue reading The Assassination of Jesse James by the Coward Robert Ford (2007)
In America you’re on your own. One of the most criminally overlooked movies of 2012 was Andrew Dominik’s Killing Them Softly, a rough-and-tumble tale of petty holdup artists, mob enforcers and the suit-and-ties that control them (or think they control them). Dominik’s follow-up to his excellent The Assassination of Jesse James by the Coward Robert Ford retains some of the same cast and makes a few substitutions, and Killing Them Softly is a very different movie from Dominik’s earlier film and from most American crime dramas on the whole.
When two smalltime down-and-outers (played with hilarious gusto by Scoot McNairy and Ben Mendelsohn) hold up a mob-protected card game (run by Ray Liotta’s Markie), the local criminal economy crumbles into chaos. It’s not so much that the robbery is botched as the criminals themselves are botched, making it a fairly simple procedure for Brad Pitt’s Jackie Cogan to arrive in town and put the pieces together. His systematic deconstruction of the situation provides the rest of the drive for Killing Them Softly, but Domnik and Co. enhance the subtleties of every punch and gunshot along the way.
An interesting feature of Killing Them Softly is the way the 2008 presidential election campaign – focused largely on the recession and the floundering economy – plays into the story. Unlike a lot of modern crime dramas, this one is very “bottom-up” – the players we watch are the lowest rungs on the ladder, broke and struggling men desperate to make any kind of score. This isn’t American Gangster or Goodfellas. The highest we go up the totem pole is a glorified messenger played by Richard Jenkins (who is fittingly out-of-place among the rest of the cast), and other than that it’s junkies, drunken hitmen, and enforcers who don’t think twice about shooting a guy. Even Dillon, a world-famous-all-over-New-England enforcer mentioned time and again by nearly every character, appears only once (and happens to be played by Sam Shepard). Addresses from Obama and McCain reach this subfloor of humanity nonetheless, but the blanket statements made by presidential candidates don’t exactly apply way down here.
Continue reading Killing Them Softly (2012)