*NEW* WIND RIVER REVIEW *NEW*

Tense. Breath-taking. If a little slow in places.

A veteran tracker (Jeremy Renner) helps an inexperienced FBI agent (Elizabeth Olsen) investigate the murder of a young Native American woman.

I love it when you go into a movie not knowing anything. All I had was the endless #WindRiver hashtags filling my Twitter feed. My curiousity peaked.

Thank God for Twitter. A riveting and well-acted thriller.

As soon as I saw, “Written and directed by Taylor Sheridan”, I knew I was in for a treat. The man responsible for Hell or High Water. One of my favourite films of 2016 (Has it really been a year, already?)

Now helming a new favourite for this year.

Jeremy Renner was brilliant. I’ve always felt he was an underrated actor.

The role of Cory Lambert was perfectly suited for him. A man desperate to keep himself to himself BUT also wanting to do the right thing.

The pace was set on the slow burner with Sheridan teasing titbits of Lambert’s past. The questions already mounting; Why the outback? Why is he so good with that rifle? Why does he have such a strained relationship with his ex-wife?

The awkward atmosphere and idle chit chat as the pair force conversation while Lambert waits for his son.

A man plagued by his own demons. Punishing himself with a life in the wilderness. That was until he discovered a body in the snow . . .

Olsen was excellent as the inexperienced agent Banner. Her arrival summed up the character perfectly as she stood in the snow ill-equipped with a trouser suit.

The only available agent in the area. Sent all the way from Nevada. BUT despite her naivety, Banner’s determination to crack the case and deliver justice for the victim sparked something in Lambert.

The Avengers duo were fantastic together. They had great chemistry and made the dynamic really work.

“We have six people covering an area the size of Rhode Island”.

Sheridan was even able to throw in some social commentary at the hypocrisy of the law enforcement.

Banner’s heated debate with a coroner spoke volumes. Refusing to class the crime as a homicide. The outcome determining how much support the FBI would provide. Mental.

Ben Richardson’s cinematography was brilliant. With one frame, he made the snowy outback look beautiful and inviting. BUT with the next; deadly and haunting.

You couldn’t hide that Neo-Western feel. The Wind River reservation nothing more than a place of a desolation full of lost souls and dangerous ones.

The isolation and loneliness being the real killer.

A simple enquiry turned into a mad shoot out with a group of small-time meth-heads. Nail-biting.

I liked how Sheridan tied in the Native American community as the Crowheart clan struggled to come to terms with the loss of their daughter.

Heartbreaking. Banner’s attempt to console the mother delivered an unsettling scene as she walked in on the poor woman cutting herself. That bleak feeling of helplessness.

BUT as much as I was enjoying the film, the case itself felt a little generic and tame. I kept wondering what all the hype was about.

That was until the final act. The last 20 minutes. Just . . . Woah. No spoilers.

Heart in mouth stuff. My grumbling was soon put on hold as everything came to a tense and exhilarating climax.

There was even a stellar cameo from Jon Bernthal that came out of the blue. Another underrated actor bossing another supporting role.

As much as I picked at the pacing, (ironically) this film could have been longer.

If anything, Wind River could have done with fleshing things out a little more. Especially with Olsen and Renner’s partnership. I loved how Banner’s presence brought out Lambert’s anguish. Finally cracking his hard shell and allowing him to share his pain. Not enough!

The sombre finale hit home and delivered some shocking statistics on the number of missing Native American women in the States.

Fans of Hell or High Water or gritty bleak thrillers will enjoy this all the same. It wasn’t perfect BUT a rewarding effort all the same.

One I actually liked (I know, I bet you’re thinking. Jeez, he picked at this and he liked it?)

3.5/5

*NEW* HELL OR HIGH WATER REVIEW *NEW*

Best film of the year? Hardly BUT this is still one well crafted and brilliantly acted crime thriller. Yee-ha!

A divorced dad (Chris Pine) and his ex-con brother (Ben Foster) resort to a desperate scheme in order to save their family’s ranch in West Texas.

A gripping opener certainly set the tone with the amateurish brothers holding two banks in quick succession. The contrast established early on between Pine’s nervous BUT calculated Toby to Foster’s volatile and reckless Tanner.

Pine (Star Trek) was a charismatic presence yet again bringing a subtlety to the troubled thief. BUT it was great to see Ben Foster (Lone Survivor) finally getting a role worthy of his talents. He lapped it up and delivered an engaging performance. You felt your loyalties tested as you loathed him with his bipolar mood swings in one scene and laughed with him in the next.

Suspenseful and intriguing as the crazy duo raced around a barren Texan landscape stealing from the very institution that was trying to steal from them. You could feel for the pair as we got a little hindsight into their fractured relationship.

The pace didn’t mess about for the first half. It jumped from one thing to the next. I was really impressed with Taylor Sheridan’s (Sicario) script. It oozed dark humour with some cracking one liners; “What colour were they? You mean their souls?” He captured a gritty Texan underworld with lively characters. A perfect neo-noir. Hookers sharking around the casino for a quick buck. The townspeople a law onto themselves.

At first glance, I could have argued that anyone could have played Jeff Bridges’ role of Marcus Hamilton. Apart from drawling out racist Native American jibes at his partner (Gil Birmingham – Twilight) and spitting feathers about his impending retirement, I was more intrigued with Hamilton’s interaction with the community.

Draining blood out of a stone as he questioned witnesses; “Yeah, I watched them rob the bank that’s been robbing me for 30 years”. Their unwillingness to help the cops (and banks more importantly) spoke volumes. Especially when the sheriff tries to take back a tip from a waitress (played surprisingly well by Katy Mixon – Mike and Molly) as evidence. A tip that made half her mortgage payment for the month.

Sheridan’s social commentary on the state of rural communities was food for thought; “It’s the 21st century and I’m racing cattle against a field of fire and I wonder why my kids won’t do this?” – a dark glimpse into the future. Ranches and farmers feeling the gloomy uncertainty of what the next generation will bring.

BUT great writing could only really come to life with talented performances, great direction from the Starred Up director David Mackenzie (He’s come a long way from Corbridge) and some picturesque cinematography by Giles Nuttgen. How could he make something so desolate look so stunning? I was even happier when I noticed the original score was penned and performed by Nick Cave.

However, the only problem with these gritty crime thrillers is that there are only ever two outcomes which made certain moments a little predictable and the promising pace did slacken in the middle act.

BUT just when I felt the momentum was dropping; the film swiftly cranked up the heat on this slow burner as a bank run went wrong. Leading to a tense, nail biting and gripping closing act. The adrenaline-fuelled police chase had me on tenterhooks.

Bridges’ character finally came into the fold (unleashing some of that Oscar winning prowess) after countless scenes of him wandering around and playing the waiting game.

The unravelling of the brother’s motives behind the robberies was actually quite clever. I loved how Sheridan encapsulated the hypocrisy of the financial system through the incompetent Loan Officer (Richard Christie). Bureaucracy at its best.

Hell Or High Water was very much in the same vein as No Country for Old Men. Just without all the cryptic metaphors. And the closing minutes. Tense doesn’t even come close. The bubbling tension and still atmosphere, aided by the mere sound of creaking oil pumps between the thieves and their fate, felt like something out of a Western. Perfect.

Film of the year? Too early to tell. BUT certainly worth your attention if you’re in the mood for a well acted gritty crime thriller.

3.5/5

*NEW* THE NICE GUYS REVIEW *NEW*

Kiss Kiss Bang Bang, this ain’t.

A mismatched pair of private eyes (Ryan Gosling and Russell Crowe) investigate the apparent suicide of a porn star in 1970s Los Angeles.

From the mad opening sequence of a pornstar crashing her car into a family home, I knew what I was getting myself into. One mad ride.

Writer/director Shane Black is back with a new noir thriller and a dysfunctional duo in Crowe and Gosling as the private eyes who unwittingly get involved in the same case.

Crowe was brilliant was the no holds barred ‘punch first ask questions later’ Jackson Healey. I wasn’t sure if I was going to like his character after his macho introduction. Black’s lines didn’t really fly out at me like Kiss Kiss BUT there were still a few jewels: “Marriage is buying a house for somebody you hate. Remember that”.

Crowe playing yet another hard man. Here we go. BUT once he crossed paths with the equally mental Holland March, I knew we were in for a treat.

The pair had great chemistry and worked well off each other. Gosling stole the show. After seeing him in so many super serious dramas; Drive, The Place Beyond the Pines and Only God Forgives (God forgive whoever made that movie), it made a change to see him play such an idiot.

He was hilarious and made the fumbling fool look effortless. Cutting up his hand trying to break into an office. Dropping his gun on numerous occasions. The guy literally falls into trouble. A running gag with the drunk detective falling everywhere had me in stitches.

Despite all the tomfoolery, March and Healey were perfect noir protagonists. Healey, the man with a grudge. Out to right wrongs. No matter the cost. March, a man on the edge seeking solace in the bottom of a bottle after losing his wife. We introduced to the guy fulled dressed in the bath. A tattoo on his right hand saying; “You will never be happy”.

The first 45 minutes was fantastic. It was mad, quick witted and confusing as hell. Everything I expected from Black. It ticked all the boxes.

Keith David (The Thing) and Beau Knapp (Southpaw) were great as the appropriately titled Older Guy and Blue Face. Two murky underlings hot on the pair’s track to find the only witness to the crazy case.

The introduction of Angourie Rice as March’s daughter Holly gave March an extra depth and showed a softer side to Healey. However, she soon overstayed her welcome and took a good portion of the attention (and gags) away from the pair.

Her ‘moral compass’ viewpoint and busybody detective solving got on my nerves and killed a lot of the fun for me. And that was the problem, a heavy middle act got bogged down by too many serious moments and a befuddling plot.

Margaret Qualley (The Leftovers) was dreadfully irritating as Amelia. The running gag of her (Well, running away) got on my nerves. Her constant reappearances throughout the film really tested my patience. I’m sure that was the point BUT it didn’t leave me smiling.

Matt Bomer (Magic Mike) was heavily underused as the merciless hitman. A change of role BUT anyone could have played him. Kim Basinger (L.A. Confidential) was also wasted in her role as the shady Chief Justice. She may be looking good at 62 BUT her character was pushed in the background too much. Just another generic corrupt politician. Shame.

“Okay, that explains basically nothing” – The plot, despite all its intentional contrivances, was actually quite predictable and a little flat after all the mystery.

The lumbering pace and the snappy one liners lost their zing. BUT thankfully, a frantic and fiery final act restored it back on track.

It was tough NOT to draw comparisons with Kiss Kiss Bang Bang. An underrated and heavily recommended watch. BUT this was still good fun and definitely a breath of fresh air after the feeble efforts I’ve slogged through.

Despite my grumbles, I still enjoyed it. Thanks to the crazy coupling of Crowe and Gosling.

3/5

I will leave you with one of my favourite scenes and the best movie line I’ve heard in a while.

 

THE DROP REVIEW

Tom Hardy’s performance certainly got the drop on me.

He proves yet again why he is one of the most versatile actors going.

So what’s it all about? Bob Saginowski (Hardy) finds himself at the centre of a robbery gone awry and entwined in an investigation that digs deep into the neighbourhood’s past where friends, families, and foes all work together to make a living. No matter the cost.

Penned and adapted from a short by Dennis Lehane, I knew I was in for a treat. Lehane has been responsible for some of the better crime dramas and thrillers of the last few years; Gone Baby Gone, Mystic River and Shutter Island.

It was also a fantastic and fitting endnote for the career of another talented actor who left us too soon. I’m looking at you, Big T. Mr Soprano himself, James Gandolfini.

BUT despite the fantastic casting, the pace leaves a little to be desired and the story? Considering the hype about killer twists. I found it all a little too simple and predictable.

Lehane’s work us very much in touch with my favourite genre, the film noir. The characters and seedy underworld were certainly captured perfectly by director Michael R. Roskam. Complimented by the grainy cinematography of Nicolas Karakatsanis.

BUT the convoluted, multi-layered story line? Not so much.

It did leave me wanting a little afterwards. All that promise and a twist that I saw coming a mile off. A shame.

BUT that’s not to say it isn’t worth checking out. Hardy is a charismatic lead, who has great chemistry with the equally talented Noomi Rapace (The Girl With the Dragon Tattoo).

Rapace played the anxious and hesitant Nadia perfectly. Her role and motive questionable throughout.

The pair worked well together and I didn’t mind following them as their relationship inevitably blossomed.

Their bonding was helped by the discovery of an abused puppy that Bob finds in a trash can.

Rocco the puppy was adorable (What? He was. Losing man points like crazy). It lightened up the dark, gritty undertones bubbling beneath the surface which killed the atmosphere a little bit.

BUT if the little pup didn’t appear, there wasn’t much else going on to begin with.

It also allowed for Bob to break his shy demeanour and pry into his background a little.

Oh! James Gandolfini was superb. To be honest, there wasn’t enough of him. I couldn’t help but feel that his character Cousin Marv was nothing more than a “What If . . . Tony Soprano went in Witness Protection and became a bar owner”.

His presence and delivery stole every frame. No, not like that. His one liners just made me want to go back and watch The Sopranos all over again. Marv’s fractious relationship with Bob was an interesting one to watch.

The tension slowly building as tempers rose. The pressure mounting from their business interests under the vague title of “The Armenian Mob”.

However, as the mayhem ensued, I felt Gandolfini’s character took a back seat. Understandably to an extent, without spoiling any content BUT still a little disappointing.

Matthias Schoenaerts (Bullhead) was also fantastic. A nasty piece of work. Chewing up every bit of suspense. A ticking time bomb. His predatory stalking was a masterclass in suspense.

First toying with Bob by asking for an umbrella and gradually making his presence known more and more. The kitchen scene with Rapace was nail biting stuff.

Morgan Spector and Michael Aronov played the roles of the Armenians quite well. BUT at the same time, despite putting pressure on our sparring bartenders, I felt they were a little wooden and by the end, nothing more than stereotypical foreign mafia guys. Shame.

The closing 20 minutes HOWEVER were tense, suspenseful and brilliant. Double crossing and backstabbing galore. I just wish there was more of this throughout.

I won’t divulge too much information but perceptions are changed. The slow burning tension did meander and sizzle a little too much for the 106 minute running time.

I felt John Ortiz’s (Silver Linings Playbook) role was completely unnecessary. Nothing more than a suspense catalyst. And a poor one at that.

Re-appearing when the film seemed to lull or asking rather mundane questions after a nasty bit of business had gone down. Even his covert dark alleyway rendezvouses with fellow officers led nowhere.

Merely relaying information we already knew from Big T but with a much flatter and duller delivery.

I kept hoping his character would go somewhere (Preferably out of this movie). BUT nope! Not even the final exchanges in the closing minutes were revelatory or needed. Weak.

Suspenseful, tense and brutal (in parts) but also a little predictable and long at the tooth. However, Hardy has certainly established himself in the big leagues and with performances like these, he will continue to do so.

And farewell Big T. One final – CUT TO BLACK.

3/5

A WALK AMONG THE TOMBSTONES REVIEW

Or Taken To The Grave? Liam Neeson uses his particular set of skills. No, wait! His acting skills (Remember them?) and his gravelly gravitas for the hardened private eye thrown into the seedy underworld of a 90s New York City.

A return to form for the reformed action hero in a suspenseful, if drawn out, gritty neo-noir. If you’re expecting another Taken, then you may be left disappointed.

Now I loved Taken (the first one) and it was great to see Neeson back in the limelight. But I was afraid that he was going to be typecast in the action role indefinitely. Non-Stop (Taken on a Plane) proves my point. BUT I’ll always commend Neeson for Schindler’s List and Rob Roy.

However, Neeson plays the part to perfection. A grisly Philip Marlowe. To be honest, the 90s setting didn’t really provide anything additional to the film. Other than the fact he uses old computers in libraries and payphones. I don’t really believe in the whole “Based on True Events” spiel. Not since Fargo and every horror film for the last decade.

So what’s it about? Private investigator Matthew Scudder (Neeson) is hired by a drug kingpin (Dan Stevens) to find out who kidnapped and murdered his wife.

Dan Stevens (Downton Abbey) is really starting to make a name for himself and plays the part well. But to be honest, his character was a little weak and didn’t really do much until the closing moments.

Astro (Earth to Echo) played Neeson’s homeless sidekick well and the pair worked well together. Some will find his character incredibly irritating and their “bonding” conversations completely unnecessary and unsuited to Scudder’s loner.

At least we won’t be as annoyed as Ruth Wilson (Luther) whose part was completely removed from the film to make Scudder more of a loner. All she has attached to her name is a credit. And yet Astro made the cut? Strange.

However, the real scene stealer and adversary to Neeson’s Marlowe was David Harbour (End of Watch) as the maniacal killer. He was brilliant and sinister as hell. His creepy voice delivery was memorable enough. Olafur Darri Olafsson (The Secret Life of Walter Mitty) also made a memorable role as the strange but morally torn middle man.

My main quip with A Walk Among The Tombstones was the length. A zippy opening with Neeson doing what he does best was soon put on a slow boil. The story tries its best to keep you hooked but there isn’t enough to justify the running time.

The story barely scrapes the surface of the sordid underbelly that these dark antagonists lurk from. There are creepy and suspenseful moments and Neeson certainly carries the film but despite all its promise; Mihai Malaimare Jr’s grainy noir-esque cinematography, Neeson’s snappy one liners and Harbour’s menace, it falls short of your expectations.

The story line meanders along with the surprise abduction and punch-em-up from Neeson but it’s all a little by the book. Endless red herrings with leads that go nowhere slowing down and killing what mystery and suspense was brewing.

The finale was certainly tense and made up for the meandering middle act but it was all so predictable. I was little disappointed that it had to go for a big fist fight and shoot em up to keep in and bank on Neeson’s resurged action hero fame.

The first hour was engaging, tense and slow burning but we got to see Neeson do what he does best . . . Act. Don’t get me wrong, there were some decent punch em up moments that Sam Spade would be proud of but it seemed to run out of ideas, go on a bit too long and then end with a big action number to stop bums fidgeting in seats.

If you want Taken, watch . . . Taken. But if you want to see a return (of sorts) for a talented actor and have a taste for noir, then it’s worth a gander.

3/5