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”
My favorite moments of True Detective, regardless of which season we’re discussing, are those that find an artful way to play with the storytelling devices. Very few television series even attempt something besides linear narrative, but at times ‘Tec goes beyond just a standard bookend flashback structure. At the outset of the first season, “The Long Bright Dark” seemed content to tell a 1995-set story framed by grainy camcorder footage of two characters recounting their experiences in 2012. But by the end of the episode our 2012 lens separated itself from the camcorder, and from that point on the first season had two timelines running with equal weight on both.
The third season has three of those timelines, more of a challenge in maintaining the feeling that each of them is as important, and “If You Have Ghosts” wobbled ever so slightly in juggling all of that. 1990 Wayne may always have been predisposed to snapping into an argumentative holier-than-thou rant, but his fuse in those segments of the story is now almost comically short. “Ghosts” felt like the longest episode of the season (which was actually last week’s 75-minute “The Hour and the Day”), partially because we’re inescapably at the threshold of a big break in all three timelines. We know the Woodard Altercation is linked to the Purcell case in 1980, we know Wayne and Roland do something bad in 1990, and we know 2015 Wayne will experience a revelation in what he does and does not remember about his life’s work. The fact that the specifics of that knowledge are still being withheld is still mostly tantalizing, but slightly frustrating in an episode as “long” as this one.
Continue reading True Detective 3.5 – “If You Have Ghosts”
HBO’s release strategies for their flagship series have always been carefully planned, and the one-two punch of the first two episodes of True Detective’s new season is no exception. The hooks were in after the first episode, “The Great War and Modern Memory,” but the character depth provided by “Kiss Tomorrow Goodbye” all but guarantees a return audience next week. The eight episode season will take us to the end of February, when the hype train for April’s Game of Thrones will be full steam ahead. And then, though there’s no official release date, look for HBO’s Watchmen to premiere right around the end of Thrones.
The premiere placement of “Kiss Tomorrow Goodbye” was smart on another level, though, because it got to the heart of what made ‘Tec great in the first place. Both episodes unfurled a twisty and time-jumpy mystery, but “Goodbye” had a particular focus on family that heightened investment in the whole affair. Complicated family dynamics are what the first season had and what the second season lacked, and the characters of this third season — Hays and the Purcell Family for sure, but even “minor” characters like Woodard — are better for having to balance a home life with their work.
Continue reading True Detective 3.2 – “Kiss Tomorrow Goodbye”
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)