Edward Norton wowed audiences this past year with his supporting role in Birdman, one that earned him an Oscar nomination for Best Supporting Actor and, at times in the movie, stole the show, even from lead actor nominee Michael Keaton. It was an impressive, but not necessarily unexpected, performance from Norton. He has established himself over the past two decades as a great actor. But how did he get to this point? Where did he start? Two words: Primal Fear.
Truth be told, Norton’s start and end points in his journey have had identical impacts on audiences. On both ends of his career—in his first movie and his most recent one—he has absolutely captivated audiences with his performance. It is his first performance that seems more impressive, though, for the sheer fact that no one saw it coming. Continue reading Primal Fear (1996)
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)