Movie Review Wind River

Wind River (2017) 

Directed by Taylor Sheridan 

Written by Taylor Sheridan 

Starring Jeremy Renner, Elizabeth Olson, Graham Green, Gil Birmingham, Q'Orianka Kilcher  

Release Date September 8th, 2017 

Published September 8th, 2017 

Wind River is one of the most emotional experiences I have had at the movies in 2017. The modern western from writer-director Taylor Sheridan is a cold and harsh drama about a cold and harsh place where these characters don’t merely live, they survive. The film also shines a devastating light on the plight of Native Americans and the criminal lack of care we give to their living conditions and well-being. That it takes a white writer-director and two white movie stars to get this story told says nearly as much as the movie itself.

Wind River begins terrifyingly with a young Native American woman running through a barren, snow covered valley. You can feel the cold simply from her manner and the way Sheridan films her running at a distance. Upon closer look your fear for her amps up as it is revealed that she is not wearing shoes or gloves. She collapses and tries to get up and keep going, she’s bleeding. The scene fades to black with her running toward a forest on a mountainside.

The body of the young girl, Natalie, is found a day later by Corey (Jeremy Renner), a hunter employed by the US Fish and Wildlife Administration as he is tracking mountain lions that have been attacking livestock. Corey knows the young girl and her family, they live on the reservation where he met his now ex-wife (Q’Orianka Kilcher). The dead girl was a friend of Corey’s late daughter.

Since the death happened on an Indian Reservation, the jurisdiction is murky, somewhere between County Sheriff’s, the Bureau of Indian Affairs, and the FBI. The FBI is represented by Jane Banner (Elizabeth Olson), an inexperienced agent from Las Vegas who is ill-prepared for the frozen conditions of Utah; she is somehow the closest available agent for the job despite being stationed nearly 400 miles away.

Read my full length review at Geeks.Media 

Movie Review The House

The House (2017) 

Directed by Andrew Jay Cohen

Written by Brendan O'Brien 

Starring Will Ferrell, Amy Poehler, Jason Mantzoukas, Jeremy Renner, Nick Kroll 

Release Date June 30th, 2017

Oh, how I hate The House! This one note joke of a comedy about morons trying to send their daughter to an upscale college is an embarrassing and sad mess. Will Ferrell and Amy Poehler star in The House as a married couple about to empty their nest when they send their daughter off to Bucknell University. However, when they lose out on their daughter’s scholarship due to a scheme by a corrupt city council member (Nick Kroll) they are forced into criminal behavior to make their daughter’s college dream come true.

Ferrell and Poehler play Scott and Kate, a married couple with the believability and romantic chemistry of a brother and sister. With no options to send their daughter to college they decide to take up their friend Frank’s advice and join him in running an illegal casino out of his mini suburban mansion. Playing off the cliché that the house always wins they set out to steal the money of their neighborhood friends who are so eager to break the monotony of suburbia that they don’t mind losing loads of money to do it.

Read my full length review at Geeks.Media 

Movie Review Mission Impossible Rogue Nation and Ghost Protocol

Mission Impossible Ghost Protocol (2011) 

Directed by Brad Bird

Written by Josh Applebaum, Andre Nemec

Starring Tom Cruise, Jeremy Renner, Simon Pegg, Ving Rhames, Paula Patton 

Release Date December 16th, 2011 

Mission Impossible Rogue Nation (2015) 

Directed by Christopher McQuarrie

Written by Christopher McQuarrie

Starring Tom Cruise, Jeremy Renner, Simon Pegg, Ving Rhames, Rebecca Ferguson

Release Date July 31st, 2015 

Published July 25th, 2018 

Mission Impossible 3 made an indelible mark in my mind as the most entertaining and accomplished take on the entire Mission Impossible franchise. After seeing both Mission Impossible: Ghost Protocol and Mission Impossible Rogue Nation, I can now say with certainty that the series peaked with number 3. J.J Abrams' kinetic direction was artful and exciting with an eye toward drama, action and suspense all in the same package.

That’s not to say that Ghost Protocol and Rogue Nation are bad, they just lack the same clarity, focus and skill of MI3. Neither directors, Brad Bird or Christopher McQuarrie, appear capable of imposing their vision on the franchise, or at least, they didn’t impose it as well as Abrams did as each seems far more at the mercy of stunt coordinators and the daredevil antics of star Tom Cruise than Abrams was.

Ghost Protocol picks up the action of the MI story some five years after the action of MI3. Ethan Hunt is behind bars in a foreign country, accused of having murdered 6 Serbian nationals. We will eventually be told that his wife, Jules (Michelle Monaghan), a prominent part of the action in MI3, was killed, but death in a spy movie doesn’t always mean death. The big bad this time out is a man code named Cobalt (Michael Nykvist), an arms dealer with the aim of ending the world with a nuclear missile.

It will be up to Agent Hunt and his new IMF team, including Field Agent Benji Dunn (Simon Pegg) and Jane Carter (Paula Patton). Carter is still reeling from the murder of her partner, Agent Hanaway (Josh Holloway, Lost) who was murdered by a killer for hire employed by Cobalt. They are joined by Analyst William Brandt (Jeremy Renner) who gets added to the team after his boss, the Secretary of the IMF (Tom Wilkinson) is murdered and the team is disavowed.

Brad Bird is a competent and highly capable director who keeps the pace up and the action well managed. Unfortunately, the film is little more than set-pieces strung together by a thin plot and a less than compelling villain. Ghost Protocol is remembered for the controversial CGI destruction of the Kremlin and a death-defying sequence in which Cruise appears to scale the outside of the world’s tallest building, Dubai’s Burj Khalifa.

Both sequences are solid and well captured with the Burj Khalifa climb coming the closest to evoking the best of the franchise. That said, they appeared to have the stunts before they had a script and wound up tailoring the story to the stunts. This was seemingly confirmed when writer Christopher McQuarrie was brought on half way into production for an uncredited rewrite of the script by Andre Nemec and Josh Applebaum.

Does this make Mission Impossible Ghost Protocol bad? No, it means that it comes up short of the legacy crafted by Mission Impossible 3. That film had big stunts and a big story to tell along with it. Ghost Protocol has ambition stunts but lacks the story to lift it to what I had hoped the series would be after MI3. Still, the movie is good enough, entertaining enough, and has just enough appeal that I don’t dislike it, but I don’t love it either.

Mission Impossible Rogue Nation, at the very least, improved upon Ghost Protocol. Here, Ethan Hunt opens the movie by being captured by the big bad, this time played by Sean Harris. Harris’ Solomon Lane has been eluding Ethan for two years since Ethan began to track him down. Lane has remained 2 steps ahead of Ethan while creating a series of tragedies intended to have a drastic effect on world markets.

Ethan is in so much hot water that the CIA, seen here in the form of a blustering Alec Baldwin, believes he is responsible for the terrorist acts caused by Lane’s outfit called, The Syndicate. In attempting to stop The Syndicate, Ethan recruits Benji to join him on the run from the CIA and they are joined by a British double agent named Ilsa Faust (Rebecca Ferguson) who has infiltrated The Syndicate and is the key to getting to Lane.

Director Christopher McQuarrie both wrote and directed Mission Impossible Rogue Nation and that fact does lend some clarity to the storytelling. The conspiracy in play is a wild one and rather clever and well executed. The film is still defined by one big stunt, in which Cruise legendarily clung to the side of a plane as it was taking off, but the stunt doesn’t completely overshadow the movie as the Burj Khalifa sequence in Ghost Protocol certainly did.

McQuarrie marries the slick, shallow thrills of MI2 with a little of the grit of the original with the craftsmanship of MI3 and creates easily the second best of the then 5 film franchise. I especially enjoyed the use of Rebecca Ferguson whose lithe physicality matches that of co-star Tom Cruise. The way she floats about fluidly in major fight scenes is really cool and in keeping with the action style of most of the Mission movies. She’s a really solid addition.

Sadly, the villain of Rogue Nation is once again the weakest part of the film. Who’s Sean Harris? He’s not a bad actor but I have no reference point for who he is as an actor. He’s not remotely on the star level of the rest of the cast, even Ferguson who makes her debut in this film. Harris’s lack of a profile makes him forgettable and when compared to the best villain in the franchise, Phillip Seymour Hoffman’s exceptional, Owen Davian, he comes up well short.

The character of Solomon Lane is not all that compelling. His aims are clear but the character is a shell and a full-fledged villain should be. He has no life, no personality, he’s not tough and while he’s portrayed as super-smart, our first time seeing him, he immediately chooses not to kill Ethan Hunt even though he easily could. The sequence makes the character look silly, especially when the script gives him zero reason to keep alive the one man he’s aware could stop his agenda.

The lack of care in the details of the script of Rogue One is part of what keeps the film far from greatness. It’s still solid and has terrific stunt work and top-notch action scenes, but sadly I was hoping for more of a brain. Instead, we get yet another Tom Cruise running chase scene and another Tom Cruise motorcycle chase scene, obligatory action beats that likely existed before a script ever did.

McQuarrie is also the writer-director of Mission Impossible Fallout which hits theaters this weekend. I believe Fallout will be good but my expectations have dimmed for the franchise. I had hoped Ethan Hunt would usurp James Bond as the top movie spy of all time. Sadly, Bond’s legacy is kept safe by a star too eager for stunts and directors unable to make the stunts into a fully compelling story beyond the mere presentation of spectacle that just happens to be part of a story.

Movie Review Tag

Tag (2018) 

Directed by Jeff Tomsic

Written by Rob McKittrick

Starring Jeremy Renner, Ed Helms, Jon Hamm, Jake Johnson, Hannibal Burress

Release Date June 15th, 2018

Published June 16th, 2018

Is Tag juvenile? Of course, the comedy featuring an all star cast playing an extreme version of the schoolyard classic game will inspire a number of think pieces about growth stunted man-boys and their unwillingness to grow up. This however, misses the genuine and very sweet, and very funny point of Tag. Based on a true story, Tag is an ode to friendship and how the friends we make as children remain special whether we stay in touch or not.

Tag stars Ed Helms as Hoagie, a veterinarian with a thriving practice, a loving and supportive wife, played by Isla Fisher and even kids that we don't meet in the movie. However, for one month of each year, all of Hoagie's grown up responsibilities go out the window. In the month of May, Hoagie plays an unending game of Tag with his group of childhood friends including Callahan (Jon Hamm), Chili (Jake Johnson), Sable (Hannibal Burress) and the best of the best Tag champion, Jerry (Jeremy Renner).

In the nearly 30 years that these friends have played Tag, Jerry has never been tagged and now, he's decided to retire, un-tagged. This sends Hoagie and the rest of the gang on a desperate quest to get Jerry before the end of the month and his retirement. How far is Jerry willing to go to keep his streak alive and make things interesting? He's scheduled his wedding on May 31st and specifically did not invite his four closest friends.

Naturally, Hoagie finds out about the wedding and notes it as the perfect time to tag Jerry. However, these guys are actually Jerry's friend and don't want to ruin the big day, thus allowing for rules to be in place specifically to cater to the feelings of Jerry's new bride, Susan (Leslie Bibb), who may or may not be in on Jerry's scheme to remain un-tagged. Along for the ride is a Wall Street Journal reporter, Rebecca (Annabelle Wallis) who drops her story on Callahan as the CEO of a major company in favor of this story about this epic game.

Tag is the first feature film for director Jeff Tomsic. Previously, Tomsic has made his career in television, directing comedy specials for people like T.J Miller and sitcoms such as TBS's underrated The Detour and Comedy Central's much loved Broad City. Tomsic doesn't yet have much visual invention in his work but it's solid and professional. The stand out moments are the big comic set pieces such as a forest chase where Jerry has an elaborate escape and a church set scene that once again finds Jerry out thinking about his buddies.

As I was saying in the opening however, as juvenile as Tag unquestionably is, there is a good heart to it. The goal of these guys, characters who are based on a real group of friends in Oregon, is to remain friends and remain in touch, quite literally. Many of the set pieces in Tag are based on bizarre things these real guys have actually done including dressing in costumes and chasing one another on golf carts.

The point is that the childlike joy inspired by the game Tag keeps these lifelong friends from growing complacent. That's the thing about friendships from childhood, complacency and distance creeps in and while modern technology allows many ways for us to stay in touch, there is nothing better than a milestone moment of being in the same place at the same time to really remind you how important having friends is. Life can so easily get in the way, a game of Tag now and then, or your friendship equivalent, may be just the thing an adult needs to get by.

Movie Review: 28 Weeks Later

28 Weeks Later (2007) 

Directed by Juan Carlos Fresnadillo

Written by Rowan Joffe

Starring Robert Carlyle, Rose Byrne, Jeremy Renner, Imogen Poots, Idris Elba 

Release Date May 11th, 2007

Published May 10th, 2007 

There is something horribly insidious about the creeping terror of modern horror. A creeping lack of hope and humanity. Directors like Eli Roth revel in it. Movies like Roth\'s Hostel and soon Hostel 2, Rob Zombie\'s Devil\ 's Rejects, Greg McLean\'s Wolf Creek or Alexandre Aja\'s High Tension, exist to profit from the exhibition of this newfound lack of hope and humanity.

Some have theorized a political motivation. A reaction maybe to the Bush administration\'s leadership that has bred a hopelessness for the future. He has made us less secure with his policies and this has led to hopelessness expressed as artful horror violence. I think this kind of intellectual leap of faith gives these filmmakers far too much credit.

The real fact is that these filmmakers thrive financially from out grossing, literally and figuratively, their predecessors and the lack of humanity is merely an extension of the directors, producers and studios, avarice.

The latest exhibition of this avarice comes in the sequel to the cult hit 28 Days Later. 28 Weeks Later is an ugly, hopeless exhibition of humanity at it's lowest point. While some critics perform the intellectual gymnastics necessary to find politics in this horror, all I see is the kind of lack of humanity that simply does not belong in mainstream cinema.

Directed by Juan Carlos Fresnadillo, 28 Weeks Later is a grotesque exercise in grisly violence. Robert Carlisle is the ostensible star of this mess as a father who is reunited with his children following what the American military believes is the end of the viral outbreak that devastated much of England. 28 weeks earlier the so called rage virus turned citizens into blood thirty zombies. Now the infected citizens are assumed to have all died and life is being restored to the continent.

Don (Carlisle) was one of the lucky ones. While he hid out in a farmhouse with his wife and a few other survivors, his children were safe on a trip to America. Now that he is reunited with his daughter Tammy (Imogen Poots) and his son Andy (Mackintosh Muggleton), he has some explaining to do as to what happened to their mother.

Turns out, mom didn't die at the hands of the infected. She, in fact, is of a rare breed of human who is resistant to the rage virus. When she is discovered and brought to the Americans for testing, a scientist, Scarlet (Rose Byrne), uncovers the possibility that her children may also be resistent and thus able to provide a cure for the virus.

That sounds like a hopeful plot but as played out by director Juan Carlos Fresnadillo, 28 Weeks Later is just a grim exercise in Hollywood cannibalism and the lowest aspects of humanity. Where Danny Boyle\'s original 28 Days Later had a visceral artistic quality, 28 Weeks Later attempts to leech some of the viscerality of the original but fails miserably, falling back on the mere exhibitiion of the ugliest forms of violence.

This ugliness would be excusable if there were a point to it. Give us something to hang on to, a good performance, a charismatic character, or even a shred of artfulness. Unfortunately the whole effort is so slapdash that the only thing the film has to fall back on is the violence. The filmmakers simply throw a bunch of blood and guts at the screen and hope that no one notices how empty the whole thing is. Needless to say, they fail miserably.

The oppressive air of hopelessness hangs over 28 Weeks Later from the beginning and never lifts. The film lurches from piece of disturbing, bloody violence to the next. Some may argue that blood and guts violence is a hallmark of the horror genre and of course they are right. However, great horror movies have ideas behind them. The first Nightmare On Elm Street played on the fears expressed in our sub-conscious.

The Saw films deliver a complex examination of the meaning and importance of life. Jigsaw is unquestionably a villain and a psychopath but there is a deep method behind his madness. Teaching those that do not take care with the gift of life, how tenuous that gift can be is a rather deep message for your average mainstream horror film.

28 Weeks Later has some alleged political pretensions but god help me I couldn't locate them. The kind of intellectual gymnastics necessary to bring politics to bare on 28 Weeks Later are simply beyond my capacity. Instead, all I witnessed in 28 Weeks Later was the continual explication of the most vile and disturbing violence.

What was the purpose of this film? Is it meant to be entertaining? Titillating? Horrifying? If someone is entertained by this that worries me. It takes a pretty twisted mind to find this level of viscera entertaining. The same goes for those who may be titillated by this. Horrifying? Not really. The film is supposed to be tense and breathtaking but as directed the story is so hopeless and the characters so thin, what tension there is can only be wrung from the cheap plot device of children in danger.

And even the cheap trick child in danger plot fails to hold us because you never for a moment feel that director Juan Carlos Fresnadillo would have a hard time killing children in this movie.

I don\'t understand the purpose of a film like 28 Weeks Later. Hopeless, ugly, mean spirited, 28 Weeks Later appeals only to the darkest parts of the human mind. What entertainment is to be gleaned from watching human beings tear one another limb from limb? What are we supposed to take away from the oppressive hopelessness of this plot?

Movies like this and Hostel and Devil\ 's Rejects, et al, revel in the worst of humanity, the ugliness of the world recycled onto the film screen without any purpose. Can someone please explain why?

Movie Review: Dahmer

Dahmer (2002) 

Directed by David Jacobson

Written by David Jacobson 

Starring Jeremy Renner, Bruce Davison

Release Date June 21st, 2002 

Published July 28th, 2002

The mind of the killer is one that has fascinated filmmakers for decades. The question of what drives someone to kill is very conducive to drama. It involves conflict, emotion, action and intellect. Films like Silence of The Lambs or Henry: Portrait Of a Serial Killer attempt to make sense of psychotic behavior. In the new to video, Dahmer, writer director David Jacobsen looks into the mind of real life serial killer Jeffrey Dahmer, and like Silence and Henry it comes away without any real answers.

The story of Jeffrey Dahmer is well known; he was sentenced to 900+ years in jail for murdering and eating 19 men. What isn't well known is what drove Dahmer to be a killer. The film has two competing theories, first is his struggle with his homosexuality. Dahmer was openly gay but still ashamed of his sexuality.

The other theory involves the divorce of Dahmer's parents when he was 18. In flashbacks we meet Jeffrey's father well played by Bruce Davison as a cold but caring father completely at a loss when trying to understand his son’s odd moods.

In the present tense we meet one of Dahmer's victims, a 14-year old Asian boy who Dahmer offers to buy shoes for in exchange for letting him take his photograph back at his apartment. We see Dahmer's mind twisting and turning as he decides just what to do with his victim. We also meet the potential victim that would go on to be Dahmer's downfall, a young black hustler named Rodney (Artel Kayaru). Dahmer meets Rodney at a hunting shop where Dahmer purchases a hunting knife. They have an immediate attraction and are soon at Dahmer's apartment.

Jeremy Renner plays Dahmer and looks strikingly like the Dahmer I remember from TV. That greasy haired creepiness. Renner is very good at playing Dahmer's strange insecurity. It's one of the most unusual parts of Dahmer's story that many of his gay victims would have come to him willingly, but Dahmer still choose to drug them before having his way with them. Renner and Artel Kayaru as his last victim have a fantastic series of scenes where they challenge each other with intelligent dialogue and each scene has an undercurrent of twisted humor as Rodney trades irony-laced dialogue with Dahmer while not knowing how ironic it is.

Renner and writer director avid Jacobsen succeed in humanizing Dahmer, not so much that you identify with him, but enough that you understand why his neighbors were so shocked by his crimes. Dahmer was a quiet gay, a chocolate factory employee who kept to himself and never bothered anybody. Isn't that what they all say after they find out their neighbor was a serial killer? The film Dahmer gives you a sense of why they say that.

While the film isn't entertaining, it works on an intellectual level as a psychological profile of Jeffrey Dahmer. And while we will never really know what drove Dahmer to such sickness, we can at least learn a lesson from this film in perhaps how to spot the next Dahmer.

Movie Review SWAT

S.W.A.T (2003) 

Directed by Clark Johnson

Written by David Ayer, David McKenna

Starring Samuel L. Jackson, Colin Farrell, Jeremy Renner, L.L Cool J, Josh Charles, Michelle Rodriguez, Olivier Martinez 

Release Date August 8th, 2003

Published August 7th, 2003

Can anyone give me one plausible reason why this film is related to the 70's TV show indicated in its title? Other than that killer theme song that is. Outside of the song, there is no necessity to relate this movie to that lame Robert Urich lead TV serial, other than maybe to avoid the hassle of having to explain that they are not related. Why tie the film to this sinking lead weight of a 70's TV bomb? S.W.A.T only lasted one season on ABC. It's not as if remakes of 70's TV shows are guaranteed blockbusters. That only works when you can populate the lead roles with super hot babes like Charlie’s Angels.

Then again, maybe that is the theory here, but with reverse genders. Colin Farrell, LL Cool J and even Sam Jackson to a point could be considered eye candy for the ladies. That said you could do that without the TV connection. So we are back to my original question. Regardless of the TV connection or the eye candy, S.W.A.T. as directed by cop show vet Clark Johnson is a somewhat competent action movie/police procedural.

Colin Farrell stars as Jim Streets, the same role as Bobby Urich on TV but the comparison ends there. Streets is a swat team member who joins his fellow teammates at the site of a bank robbery. It's a nightmare scenario that evokes memories of a real life incident in Brentwood, California just last year where two heavily armed men shot it out with police in broad daylight, a scenario they were rumored to have cribbed from the Michael Mann’s Heat. Call it art imitating life, imitating art.

Anyway, Street and his partner Gamble (Jeremy Renner) are deployed on the roof and gain access to the hostages being held by two more armed men inside the bank. Despite being told to wait, Street and Gamble make a move and put down the bad guys and save the hostages. Unfortunately one hostage is wounded during the rescue and the boys are rewarded with a demotion for Street and firing for Gamble who pulled the trigger.

Cut to six months later, Street is stuck cleaning guns amongst other of the worst jobs a cop can do and still be a cop. Things change though when an ex swat leader named Hondo Harrelson (Jackson) returns from retirement. Hondo's gig is to help the LAPD remake its image by assembling a top-notch new SWAT team, a team more competent and efficient than ever before. Hondo's first choice is Street, but not before he jumps through some hoops and watches the rest of the team come together. The recruits are Deke (LL Cool J), Sanchez (Michele Rodriguez), McCabe (Sports Night's Josh Charles) and Boxer (Brian Van Holt).

There’s a couple of montages of the personal lives and training sequences and one very well choreographed training sequence set on a decommissioned airplane. We then move headlong into the main plot of the film which is the transfer of a high profile prisoner, an international drug runner named Montel (Olivier Martinez). Sounds easy, and it would have been except Montel has, through the throng of media covering his shootout with police and eventual arrest, offered 100 million bucks to anyone who can get him out of police custody and back home to France.

What's surprising is that despite the typicality of the stunts featured in the film’s trailer, S.W.A.T. unfolds very logically from the opening hostage sequence to the training all the way to the final gun battles. Director Clark Johnson makes even the biggest stunt sequences that have never been seen in real life seem perfectly plausible in the context of the film. Though I must quibble with the drug dealers who happen to have rocket launchers laying around just in case they have to break a rich guy out of jail for 100 million dollars. Hey, that is why we have the willing suspension of disbelief?

Almost everything in S.W.A.T. is pro quality, especially the casting which smartly unites a number of recognizable faces both well known and the type that you know you've seen before but you've never known the name. The cast makes any of the rough spots of the film easier to take because we like the actors. Each actor is very sympathetic to the audience.

However, despite all that I liked about S.W.A.T., the film has two massive, nearly unforgivable flaws. One is its ending which goes ten minutes too long. The other is one massive lapse in the otherwise impeccably logical flow of the film. There is a decision made by one character that calls that character's sanity into question. It's a decision that is so highly illogical that it renders what comes after it ridiculous. It's one of those moments where if the character makes the right decision, the one that is obvious to everyone but him, the film would be over right then. If you can't fix a logical hole better than this, don't make the movie.

For most of the time S.W.A.T. is a suspenseful, action filled thriller. It's a rare actioner with a logical narrative thrust to it. Until, of course, the demons of film shorthand step in and ruin everything. It's a shame because there are elements of a pretty good movie sprinkled throughout this otherwise dreary television retread. 

Movie Review: The Town

The Town (2010) 

Directed by Ben Affleck

Written by Peter Craig, Ben Affleck

Starring Ben Affleck, Jeremy Renner, Jon Hamm, Blake Lively, Chris Cooper

Release Date September 17th, 2010 

Published September 16th, 2010 

Ben Affleck has spent the past decade, give or take, getting a hard time for his choice of friends, relationships and films. Since his break out success, and Oscar win, for “Good Will Hunting,” the knives have been out for the Boston native. At times it's been deserved, “Armageddon” and “Gigli” are terrible films, oftentimes it has not been deserved, his personal life is none of our business and “Jersey Girl” was unfairly maligned by those attacking 'Bennifer.'

Though he may deny it, the digs did get to Affleck in the mid 2000's and it drove him away from Hollywood for a time. Back in Boston he got the nerve to go behind the camera and the result was the highly compelling crime drama “Gone Baby Gone” starring his little brother Casey. Growing bolder from that success, Affleck is back in front and behind the camera for his latest effort, another gritty crime drama, “The Town.”

In “The Town” Ben Affleck stars as Doug MacRay a life long resident of the crime riddled neighborhood of Charlestown. Doug was born into crime and as a grown up he has taken up the family business; robbing banks. With his highly efficient, professional crew, including his best friend Jem (Jeremy Renner), Doug plots highly detailed heists that leave law enforcement officials baffled.

The latest heist however has an unexpected twist. In a fit of pique over a silent alarm trigger, Jem takes the bank manager, Claire (Rebecca Hall), hostage, a first for this crew. Doug manages to convince Jem not to kill her but releasing her is a decision that will come to haunt them all.

With Jem suspicious of what Claire may have seen of the crew and wanting to go back and finish her off, Doug decides to protect his hot headed friend by tracking her himself. However, upon meeting Claire in person he is drawn to her and against all good judgment a romance develops.

As all of this happening an FBI Agent, Adam Frawley (Jon Hamm) catches the bank robbery case and seeing the level of efficiency involved, he becomes even more determined to catch the bad guys. Claire is the main lead and with her direct link to Doug you can imagine the intrigue and drama. Add Jem's growing suspicions and hothead tendencies to this mix and you have a recipe for piping hot drama.

”The Town” burns with drama, tension, excitement and action. Overcoming the challenge of directing and starring, Ben Affleck dominates the screen and turns in an Oscar caliber lead performance. The romance between Affleck and Rebecca Hall is subtle, natural and would be downright sweet if we weren't aware of just how it came to be.

Affleck and Hall do a tremendous job of bringing us into their world and nearly making us forget about the rest of the plot when they are together. That feeling is brilliantly shattered in the film's most effective scene, when Jem bumps into Claire and Doug having lunch at an outdoor cafe.

Jeremy Renner and Jon Hamm are tremendous back up for Affleck and Hall in the leads. Renner's string of brilliant performances, stringing back to his stunning debut as Jeffrey Dahmer through last year's Oscar nomination for “The Hurt Locker,” continues here as he essays a hotheaded psycho who with a cool streak of mean that separates him from similar characters in other crime dramas.

Jon Hamm does something similar to Renner, taking a character that is quite familiar and giving the expectations a twist. The key to Hamm's performance is his focus on the job, being an FBI professional, right down to the clipped speech direct manner, over looking cool. Hamm is essentially the good guy, he's fighting criminals but he's not afraid of playing the heavy and letting the audience not like him even as we know from a moral standpoint we should admire him.

It’s a trick of the best crime dramas to get the audience to abandon their better judgment and come to root for the bad guys. It’s exciting to have your values challenged and live vicariously through eyes and lives of those who live outside the law. Most will never have this experience but we can all easily understand the allure of easy money and of the bad guys who do things we know we could never do.

Ben Affleck and the crew behind The Town certainly know this appeal of the bad guy and the bad deed and they cleverly manipulate that appeal to draw the audience into this criminal world as well as into the forbidden romance between Doug and Claire.

“The Town” is smart, compelling, fast paced and exceptionally well crafted. Watch out for Affleck at the Oscars as “The Town” could bring nominations for Ben in front of and behind the camera.

Movie Review The Assassination of Jesse James by the Coward Robert Ford

The Assassination of Jesse James by the Coward Robert Ford (2007)

Directed by Andrew Dominik 

Written by Andrew Dominik

Starring Brad Pitt, Casey Affleck, Sam Shepard, Mary Louise Parker, Jeremy Renner, Sam Rockwell, Zoey Deschanel

Release Date September 21st, 2007 

Published September 21st, 2007 

Few actors are as charismatic and in control as Brad Pitt. His handsomeness causes some to underestimate his talent. Pitt uses this to his advantage and almost constantly surprises. For his latest film, The Assassination of Jesse James By The Coward Robert Ford,  Pitt uses this audience bias to great advantage. As the legendary outlaw Jesse James, Pitt oozes charisma and draws us into this meandering, off-kilter art film.

That it doesn't quite work in the end is not Pitt's fault as much as director Andrew Dominic's overly ambitious artiness.

You could, if you were prone to being flippant, call The Assassination of Jesse James By The Coward Robert Ford -Jesse The E True Hollywood Story-. Jesse was among America's very first celebrities with his every move documented in front page headlines and in books. He was often received by fans when he arrived in a new town.

That Jesse was a thief and a cold blooded killer doesn't change his perception even in our modern culture filled with celebs who don't murder the innocent. In a day and age where serial killers receive repeated marriage proposals behind bars, Jesse James would likely be an even bigger star than in his own time as an infamous outlaw.

Another strange connection between Jesse and modern celebrity culture is how his celebrity played a role in his death. An obsessed fan, Robert Ford (Casey Affleck), took James' life after not finding the man a match for the legend he worshiped. Paranoid with an explosive temper and a deep dislike for anyone outside his family, Jesse was not really meant for worship. If that isn't the wrap up of an E True Hollywood Story then what is?

Add to this celeb culture stew the fact that Jesse James is played by uber-celebrity Brad Pitt and the mind reels with the synergy of such a cultural clash. All flippancy aside, for a moment, The Assassination of Jesse James By The Coward Robert Ford is quite a lovely looking movie. Director Andrew Dominik, with the aid of legendary cinematographer Roger Deakins, crafts a number of striking visuals. In fact,  throughout the film you can see where Dominik got lost in the scenery and forgot about telling his story.

There is so much fat on The Assassination of Jesse James that two movies likely could have been cut from what Andrew Dominik shot. Dominick's original cut of the film was actually over 4 hours long. He never planned on trying to release it at that length but that did not stanch rumors of a troubled production. In fact the film has been in the can since 2005 following battles between Dominik and the studio as to just how long the film could be. For once the studio was right and remained so even after the final cut which could be improved with a few more edits.

Brad Pitt remains, even in a meandering art-fest like this one, an electric presence. Jesse James has the lightning presence that was the legend of Jesse James but it is the anger, paranoia and frightening fragility in Pitt's performance that is truly riveting. As he did in Babel and to a lesser extent in Troy, Pitt captures the essence of heartache and turns it out at the audience in waves. On the other hand, there are also occasional flashes of that easygoing Ocean's 11 charm that shows how Jesse James could invite so much loyalty and worship.

Casey Affleck delivers quite ably in the very difficult role of the star struck Robert Ford. A perennial child, Robert Ford was the runt of his family. His defining characteristic was his desperate worship of Jesse James. His devotion won him a few moments in his hero's presence and the realization of the classic cliché 'be careful what you wish for'. Jesse James may not mind being worshiped but he was not above abusing that worship.

The Assassination of Jesse James By The Coward Robert Ford has moments that are rich and haunting and quite powerful. The problem is the journey which is overloaded with too much scenery and too little focus on what made these characters who they were. We get essences, ideas of who these men are. Unfortunately, Dominik is distracted by his scenery, overdose on a number of scenes and repeats others. A tighter edit could have made for a far more focused and fascinating film.

The Assassination of Jesse James By The Coward Robert Ford is a maddening mess of a movie. There is a very good film buried somewhere beneath the mountains of film that director Andrew Dominik shot. Sadly, Dominik just didn't have the distance from the material to step away and allow someone else to cut the film a little more closely.

There is a masterpiece buried somewhere in all of this celluloid though we will likely never see it. The Assassination of Jesse James By The Coward Robert Ford will go down as one of the great ambitious misfires in history.