Movie Review Oppenheimer
Movie Review Operation Fortune Ruse de Guerre
Movie Review Pearl Harbor
Pearl Harbor (2001)
Directed by Michael Bay
Written by Randall Wallace
Starring Ben Affleck, Josh Hartnett, Kate Beckinsale, Cuba Gooding Jr., Tom Sizemore, Alec Baldwin
Release Date May 25th, 2001
Published May 25th, 2011
The blockbuster Pearl Harbor turns 10 years old this month and so I decided to look back on it with new eyes a decade later.
Movies are not living things; they don’t grow or change or evolve over time. Once a film is completed it will, generally speaking, be as it is forever. What does change? We do. We age and we mature and our intellect and tastes evolve over time. Our ever evolving tastes and growing intellect can change the way we experience a movie.
It is with this in mind that I endeavor to look back 10, 20 and 30 years at some of the most well remembered movies of all time and see how my own evolving tastes effect the way I experience these movies. I invite you to join me on this unique journey and offer your own insights ever changing opinions.
Evolving the human element
The blockbuster Pearl Harbor turns 10 years old in May of 2011. My first experience with Pearl Harbor was not good. I was in my second year as a full time film critic for a now defunct website called Bikkit.com. The website and my original Pearl Harbor review are long gone but I can recall a scathing, often snide review that may have invoked the words jingoistic and manipulative.
I have always been very hard on director Michael Bay. He has an extraordinary talent for scope and scale and could be fairly considered a modern day Darryl Zanuck or D.W Griffith, filmmakers of the grandest vision. Disappointingly, for all his talent for staging massive productions, Bay has never evolved the human element of his filmmaking.
Disingenuous and insincere
The characters in a Michael Bay film are stick figures weighted down by leaden dialogue and sublimated by large scale special effects. Sadly, Pearl Harbor is no different from any other Michael Bay film. Despite a harrowing historic tale, Bay delivers characters in Pearl Harbor that never resonate and never come to life before our eyes.
So busy is Michael Bay restaging one of the worst days in American history with painstaking detail, he forgets to populate his stage with characters of resonance whose experiences we can believe in. Two false, forced romances and several coat hanger characters--actors assigned to hold up archetypes of real people—leave Pearl Harbor feeling disingenuous and insincere.
Faux romance
The glossy, 1940’s style romance of Pearl Harbor is a cheesy throwback that lacks passion because it’s infused only with nostalgia. Ben Affleck is a terrific actor but teamed with Kate Beckinsale in a series of facile romantic encounters he leaves no real impression beyond his handsomeness and her beauty.
Josh Hartnett brings a soulful quality to the character of Danny and his struggle with falling for his best friend’s girl but Michael Bay has no interest in exploring or allowing these characters to expand upon the difficulty of their situation. Instead, we get scenes of the happy couple swimming and frolicking in the sand as stand-ins for real interaction.
The dual romances appear in Pearl Harbor not because the story was of interest to Michael Bay or screenwriter Randall Wallace. No, the romance exists solely as a marketing ploy, a way to sell a war movie to mass audiences. Instead of being honestly romantic the love triangle subplot cheapens the movie and makes all around it feel hollow.
Undeniably awesome CGI effects
There is tremendous power to be found in the action scenes of Pearl Harbor. I have no honest idea how well Michael Bay and his exceptionally talented team captured what December 7th 1941 was like but the veterans of that day, interviewed on the Pearl Harbor DVD, offer no criticism.
The action, especially an extraordinary dogfight sequence early in the film while Affleck’s pilot Rafe McCawley is fighting with the British against the Germans, is as exciting an action sequence as any you’ve ever seen. The Pearl Harbor sequence is a monotonous onslaught of special effects and CGI but they are very effective special effects and CGI and you are hard pressed not to be compelled by the action.
Gorgeous Cinematography
The cinematography of Pearl Harbor is immaculate. The deep focus and bright colors of Pearl Harbor add to the scope and scale of the story and create some unbelievably beautiful pictures. The gorgeous orange skyline of a scene where Hartnett and Beckinsale go for an unscheduled flight around the Hawaiian Islands threatens to create the romance that the actors never muster.
In many ways Pearl Harbor is a remarkable film. Michael Bay has the vision of Howard Hughes and the limitless imagination of old school directors like Howard Hawks and Victor Fleming. Bay only lacks the human element. Were Michael Bay ever to figure out how to make his characters as compelling as his special effects he would be a rival to James Cameron and Steven Speilberg as a mainstream artist.
A decade later the same result
Unfortunately, in the 10 years since the making of Pearl Harbor Michael Bay has not developed the human touch; in fact with his Transformers movies he has regressed even further into a director of automatons.
In the end, my experience with Pearl Harbor 10 years later was not much different than it was the first time. I’ve dropped the word jingoistic as it seemed a little harsh in retrospect and I have offered a little more praise for the effects than I did the first time but my overall experience of the film is fundamentally the same. I still don’t like it, the flaws that I saw as a young, fiery junior critic are still seen as flaws to the much calmer, measured and professional critic of today.
Movie Review Lucky Number Slevin
Lucky Number Slevin (2006)
Directed by Paul McGuigan
Written by Jason Smilovic
Starring Josh Hartnett, Bruce Willis, Ben Kinglsey, Morgan Freeman, Lucy Liu
Release Date April 7th, 2007
Published November 14th, 2007
Director Paul McGuigan is a rising star amongst hipster film critics like myself. His style is witty, ironic, romantic, referential and just plain hip. Most important to his hipster fans, McGuigan's films aren't all that popular at the box office which allows us the opportunity to claim him as our own and say that the masses simply don't get it.
We love it when we can do that, anyone who's heard me talk about the unpopular horror film The Descent knows that. So, I'm sure, that element plays at least a small role in my appreciation of the hip hitman flick Lucky Number Slevin, a comic, romantic modern noir with plenty of bodies, bullets and dark humor. A combination that always warms my heart.
Slevin Kellevra (Josh Hartnett) is having a bad couple of days. After losing his job he found his apartment building condemned. Going to stay at his girlfriend's place he finds her in bed with his best friend. Now having made his way to New York to stay with his pal Nick, Slevin finds himself mistaken for Nick by a pair of mob bosses each claiming Nick owes them large sums of money.
Morgan Freeman plays the Boss, head of a predominantly African American mafia who remains at all times locked away in his penthouse behind panes of bullet proof glass. His nemesis is the rabbi (Ben Kingsley) who lives directly across the street also in a penthouse, also behind bullet proof glass. The two have lived in harmony and fear of one another since ending their partnership some twenty years earlier.
Now both mobsters have competing interests in this kid Nick who is actually Slevin. Nick/Slevin owes The Boss 93,000 dollars and the rabbi somewhere in the 30 to 32,000 dollar range. The boss however, is the only one to offer a way out of debt that doesn't involve large sums of cash. If Slevin will kill the Rabbi's son, known to everyone but the Rabbi as The Fairy (go ahead and guess why he's called The Fairy), his debt will be wiped clean.
What Slevin doesn't know is that the man really pulling the strings on these dueling debt scenarios is a world renowned hitman named Goodkat (Bruce Willis). The hitman is targeting Slevin but the reasons why are unclear to either the Boss or the Rabbi and to us in the audience until the clever twists begin.
To give away too much, as recent commercials for the DVD release of Slevin have, would be a crime. Part of the fun of Lucky Number Slevin are the ways in which director McGuigan and writer Jason Smilovic twist and turn audience expectations, distracting us one way with clever dialogue and turning us the other way with unexpected bursts of violence or even romance.
While staying at Nick's apartment, Slevin strikes up an unexpected flirtation with Nick's neighbor played by Lucy Liu. Josh Hartnett and Lucy Liu spark exceptional chemistry that is at first quite reminiscent of old school, fast talking, 1940's romantic comedy. As the relationship develops it becomes quite heated and becomes one of the more winning aspects of Lucky Number Slevin.
Josh Hartnett is becoming one of my favorite actors. I like the choices he makes as an actor. First with the offbeat romantic thriller Wicker Park, also directed by Paul McGuigan, in which he turned a typical thriller character into a curiously straight edge hero. Now with Lucky Number Slevin, Hartnett delivers another slightly offbeat performance.
Slevin is a character with a big mouth and no fear. He even has invented a little term for his inability to show fear, he calls it Ataraxia, it's fake don't bother looking it up. It means he simply has no fear whether it's facing down giant thugs or looking down the barrel of a shotgun or being told he has to kill another man. Hartnett plays this lack of fear to terrific comic effect and is aided greatly by a very witty and slightly off kilter script.
Bruce Willis is the rock of Lucky Number Slevin, always lurking in the background, occasionally filling in the holes of the plot but never revealing anything till it's necessary. Like his hitman character, Willis is efficient and expert in his performance. His description of a Kansas City Shuffle, a kind of con game, in the film's opening scene, is something Christopher Walken might have really enjoyed playing.
There are many pleasures to behold in this smart, hip and humorous hitman/mobster flick. Josh Hartnett is a star of the future and surrounded by Bruce Willis, Morgan Freeman, Ben Kingsley and romantically paired with Lucy Liu, Hartnett's starpower and charisma get the perfect showcase. Director Paul McGuigan, like his star, is also on the rise. With Lucky Number Slevin and Wicker Park as his first two Hollywood pictures he is stoking the fire of hipster imaginations. I for one cannot wait to see what McGuigan, the hipster's director of the moment, will do next.
Movie Review Resurrecting the Champ
Resurrecting the Champ (2007)
Directed by Rod Lurie
Written by Allison Burnett
Starring Samuel L. Jackson, Josh Hartnett, Kathryn Morris, Alan Alda, Rachel Nichols
Release Date August 24th, 2007
Published August 23rd, 2007
Josh Hartnett is a young actor who I have really come to enjoy. His work is always complex and never predictable. His performances in Lucky Number Slevin, The Black Dahlia and Mozart & The Whale are three of the best performances by any actor in the last two years. Each has a different tone, a different approach and requires different skills and yet Hartnett nails each one.
For his latest film Resurrecting The Champ, Hartnett outclasses the material which takes a compelling true story and fouls it up with false subplots and an ending far too neat and tidy to be believed.
Resurrecting The Champ is loosely based on a story by L.A Times writer J.R Moehringer. The story of an old homeless man who claimed he was once a heavyweight boxing contender. His stories about Rocky Marciano and Jake LaMotta and Floyd Patterson held Moehringer in sway for weeks but in researching this compelling fellow, Moehringer discovered a secret that changed the story from one of redemption to one of grand delusions and good intentions.
The movie Resurrecting The Champ casts Josh Hartnett in the role of Erik Kernan, a struggling boxing beat writer for a fake Denver newspaper, The Denver Times. His boss (Alan Alda) feels his writing lacks personality and buries most of his stories. Kernan's wife, Joyce, also a journalist, has kicked him out of the house for reasons that are only moderately clear.
Kernan lives in the shadow of his father, a legendary boxing announcer who abandoned him and his mother when Erik was only 6 years old. He is at the bottom of his self loathing, daddy blaming rope when he stumbles across the champ (Samuel L. Jackson). Claiming to be Bombing Bob Satterfield a one time contender for boxing's world heavyweight championship, the champ as those on the street call him, is now living next to a dumpster behind the Denver sports arena.
Sensing a heart rending sports story that could save his career, Erik implores the champ to tell him his life story and how he went from nearly fighting for the title to being homeless in Denver. His stories about breaking Rocky Marciano's nose and falling to Pretty Boy Floyd are compelling and Erik is at rapt attention. However, the champ has a secret that threatens to take both of them back down to the gutters.
Resurrecting The Champ is a project 10 years in the making. Producer Mike Medavoy bought the rights to J.R Moehringer's LA Times Magazine story not long after it was published in 1997. The film passed between a number of talents, including Morgan Freeman who was once set to play the champ. Finally, producer Bob Yari and director Rob Lurie managed to land Sam Jackson and Josh Hartnett for the leads and Medavoy's Phoenix Pictures finally gave the go ahead.
Jackson and Hartnett are terrific casting. Though Jackson has struggled recently, allowing his bad ass reputation to become something of a caricature, he redeems himself with an immersive performance as the champ. Josh Hartnett continues a series of tremendous performances with complex turns as a feckless self aggrandizer who is forced to confront the emptiness of his own life opposite the life of the champ who despite his circumstances, seems to want for nothing.
The script by Michael Bortman and Allison Burnett mirrors in many ways Stephen Ray's Shattered Glass. Both films are about journalists who find themselves overwhelmed by their own ambition. Shattered Glass is more accomplished, but Resurrecting The Champ benefits from a cast that elevates similar material. Both films are insightful about the pressures of the world of journalism through Glass again has the advantage with a cleaner, linear narrative.
Resurrecting The Champ tries a little too hard to cover a number of complex issues. As if the central story of this homeless fighter and the opportunistic journalist weren't enough, the film ladles on a backstory for each character about fathers and sons and the lengths one goes to be a good father or to avoid becoming a bad father. It's not that this fathers and sons subplot is poorly played, rather just that it distracts from the more interesting world of journalism and this dynamic relationship between the champ and the journalist.
Regardless of some aching narrative problems, including an ending that is far too easily tied up in a pretty bow, Resurrecting The Champ is a compelling character study. Watching Samuel L. Jackson return to form by becoming 'the champ', you are reminded of what a great talent Jackson is when given a good character to play.
His work in Resurrecting The Champ alongside Josh Hartnett is so good that you can't help but get caught up rooting for both characters even as they fail and reveal their flaws. The champ is something of an innocent, having spent much of his later years punch drunk from years in the ring, he is easy to sympathize with to a point.
Josh Hartnett has the more difficult character. His Erik Kernan is feckless, self loathing and a little lazy. When confronted about his writing early in the film we are told he really isn't very good. His own wife evinces only disappointment when she looks at him. Worst of all, Erik feels compelled to lie about his life to his six year old son leading to a scene with former Broncos quarterback John Elway that is painful and embarrassing in very real ways.
Hartnett's job is to somehow bring us to care about this guy and root for his redemption and he succeeds with an earnest come to Jesus series of epiphanies about his life that had me riveted. His character is, unfortunately, undermined late in the film by an ending that rushes past some of his more emotional moments, on its way to a too tidy ending, but Hartnett throughout remains a compelling presence.
Resurrecting The Champ is something of a disappointment in the end. The film aches to be deeper than it is and more complex than it needs to be. The story wraps up too quickly and too neatly. Still, Samuel L. Jackson and Josh Hartnett make a great team and they elevate the material to the point that their work together is worth the price of admission even if the movie itself does not hold up to much inspection.
Movie Review: Wicker Park
Wicker Park (2004)
Directed by Paul McGuigan
Written by Brandon Boyce
Starring Josh Hartnett, Rose Byrne, Matthew Lillard, Diane Kruger
Release Date September 3rd, 2004
September 2nd, 2004
When Josh Hartnett starred in Jerry Bruckheimer’s awful blockbuster Pearl Harbor, his next-big-thing status was just hitting its stride. Then, his first solo starring gig, 40 Days and 40 Nights tanked. Then his shot at action stardom opposite Harrison Ford in Hollywood Homicide also failed. Suddenly the next big thing was next to nothing.
That may explain why the film Wicker Park, a once highly buzzed about remake of a French movie called L’Appartement, ended up in the September waste bin. It is quite a shame that MGM has chosen to give up on this film because it’s really not that bad.
A plot description for Wicker Park is a bit of a minefield. There are a number of important twists and turns that are better left unmentioned. What can I tell you without giving anything away? Well, Josh Hartnett stars as Matthew, a dour young ad exec who has just moved back to his old Chicago neighborhood, the artist enclave Wicker Park. Two years earlier Matthew moved to New York to escape the memories of a lost love.
Her name was Lisa (Diane Kruger) and it seemed like they would be together forever. Then out of the blue, right after he asked her to move in with him, she vanished. No note, no phone call, no explanation whatsoever. Despondent, he took the gig in New York and disappeared himself.
Now back in Chicago, Matt has reconnected with his old friend Lucas (Matthew Lillard), thanks to a chance meeting on the street while Lucas was leaving lunch with his girl, Alex. Alex has a mysterious connection to Matt that is one of the film’s more intriguing plot points. Later, as Matt is having dinner with his new fiancé Rebecca (Jessica Pare), he thinks that he saw Lisa leaving the restaurant, a sight that sends him into a tailspin and effects everyone he knows.
Director Paul McGuigan and writer Brandon Boyce, adapting the original French screenplay by Gilles Mimouni, have crafted a dense, often confusing story of lost love, manipulation and heartbreak. Step away from the movie at the end and you realize that this twist filled story has a rather thin plot. The film uses many flashbacks, often covering the same scene more than once. This use of flashbacks tends to confuse the film’s timeline and leave the audience playing catch-up.
However, as confusing as this film can be it’s also surprisingly engaging. Hartnett in particular does a tremendous job of drawing in the audience, gaining our sympathy and delivering in the big emotional moments. He is well matched with Kruger (whose face launched a thousand ships in Troy) with whom he has a terrific chemistry. Matthew Lillard is quite a surprise in a strong supporting role in which he drops his usual obnoxious posing in favor of real acting.
Lillard does not spark with Rose Byrne’s Alex but he’s not necessarily supposed to. Alex is the most complicated character in the film and also the most difficult to describe without giving something away. I can say that Byrne, who had a walk on in Troy with Diane Kruger, does what she can with this difficult role. If she did not succeed it’s likely because of how the character is written as opposed to her performance.
McGuigan, whose previous film was the underrated The Reckoning, does a fantastic job of disguising this paper-thin plot. His film style evokes a Eurpoean aesthetic, a likely nod to the film’s French roots. From its color palettes to its somber mood, it is very easy to imagine Wicker Park set in the classic French traditions of sidewalk cafes and disaffected artists. The script includes a quick nod to the Italian master Fellini, who also knew a little something about making the most of a thin plot.
Wicker Park is a stylish, well-acted romantic drama the likes of which we rarely see anymore. Yes, the plot is thin and becomes quite obviously so after you leave the theater but the good in Wicker Park far outweighs the bad. What makes it work is Hartnett in what could have been a comeback performance if MGM hadn’t decided to give up on it. What a shame to have your career best performance in a film so few people will see.
Movie Review: 40 Days and 40 Nights
40 Days and 40 Nights (2002)
Directed by Michael Lehmann
Written by Robert Perez
Starring Josh Hartnett, Shannyn Sossomon, Paulo Costanzo, Vinessa Shaw, Griffin Dunne, Monet Mazur
Release Date March 1st 2002
Published February 27th 2002
In the 1980's, guys attempting to get laid became a genre all it's own. In the 90's however, political correctness threatened to destroy the horny guy movie. Now in 2002, things have become so inverted that we have a film featuring a guy doing all he can to not get laid. What is this world coming to? 40 Days & 40 Nights stars Josh Hartnett as Matt, a web designer recovering from a bad breakup by having a lot of meaningless sex. After finding sex not to be the answer, Matt decides to go in the opposite direction, no sex at all.
Of course it is then that he meets the girl of his dreams, Erica (Shannyn Sossamon). Matt decides to try to just be friends with Erica but mistakenly does not explain his current no-sex crusade. Matt's friend and Roommate Ryan (Road Trip's Paulo Costanzo) finds out what he's up to and seize the opportunity to start a website to take bets as to whether Ryan can hold out the full 40 days.
From there we are treated to the usual romantic comedy situations that desperately throw up lame roadblocks to keep the lovebirds apart. Of course all of the complications could be avoided if the characters were honest with one another, but if they did that there wouldn't be any movie. Director Michael Lehman obviously knew his story was weak so he also throws in a little gross-out humor to fill out the film’s just-over-90 minute runtime.
40 Days & 40 Nights is a well-crafted film. It is well shot, the performances are good. Hartnett occasionally looks like he is straining for the joke, but for the most part comes off as the likeable doofus the character is supposed to be.
In the end the film isn't bad but it is far from memorable. It is the definition of average.
Movie Review Hollywood Homicide
Hollywood Homicide (2003)
Directed by Ron Shelton
Written by Ron Shelton
Starring Harrison Ford, Josh Hartnett, Master P, Lena Olin, Bruce Greenwood, Isaiah Washington, Keith David, Dwight Yoakam, Martin Landau
Release Date June 13th, 2003
Published June 12th, 2003
Every time I complain about a film’s marketing campaign I get emails asking me why I complain about something that has nothing to do with the film. I politely disagree with that sentiment. A film’s marketing shapes your perception and the movie Hollywood Homicide is an excellent example of my feelings. The ad campaign of the film is accompanied by a rap soundtrack that is not only misleading, it's misguided. That aside, and despite his aging demographic, Ford shows in Hollywood Homicide that he's still got that magical IT quality that makes a superstar.
In Hollywood Homicide Harrison Ford is Joe Gavilan, real estate agent by day, Hollywood homicide cop at night. His young partner is KC Calden (Josh Hartnett), who is also a part-time yoga instructor and wannabe actor. The two are brought in to investigate the murder of an up and coming rap group in a LA nightclub owned by Julius (Master P). In one of the film’s funniest moments, Joe takes time out from the investigation to pitch Julius about a house he has for sale. The murder sets the plot in motion but there is something else going on in this film.
In most cop movies, we would track from the evidence that implies the rap groups record company owner killed them for trying to break their contract. Isaiah Washington fills that vaguely Suge Knightish role. However at some point in the making of Hollywood Homicide, director Ron Shelton forgot about this by-the-numbers plot and fell in love with his quirky characters. Lucky for him, these are great characters and even better actors playing them.
As the murder plot becomes merely a subplot, it's the weird friendship between Ford and Hartnett that takes center stage and the two actors show an excellent chemistry. Ford also has a subplot with the wife of one of his fellow LAPD detectives, who also happens to be working for the bad guys. Lena Olin fills the role of Ford's love interest and brings a mature sexuality to what could have been a throwaway role. There are a couple of strands of plot also working throughout Hollywood Homicide, such as Dwight Yoakam as a dirty former cop working for Isaiah Washington and his connection to the murder of Hartnett's father. Yet again, such plot machinations are merely background for the actors.
The film’s ending is a car wreck, literally and figuratively. The figurative car wreck is the number of unresolved plot points that are simply thrown away or disregarded. Bruce Greenwood in particular gets the short shrift as his character arc is resolved with little notice to the audience as to why or how. Not that it made any difference to the plot but it didn't fit any kind of logic. You can tell a lot of this subplot was left on the cutting room floor. In fact, from the messy narrative that is on display, I would bet the director’s cut must have been just over three hours just to explain the extraneous plot points..
You can speculate for hours as to what happened during the filming of Hollywood Homicide that brought it to it's current state. Despite my praise of the film’s leads and its humor, the film is a real mess from a plot standpoint. One could wonder if the obvious allusions to Suge Knight in Isaiah Washington's character caused that character to be cut back a good deal. You can see many of the cop movie cliches fighting to surface and Shelton seemed to make a very pronounced effort to downplay those cliches. He leaves the film’s big action movie moments until the end of the film and focuses on the films strengths, it's actors and the humor they generate from their interaction.
That doesn't make the film feel any less messy but it makes it far more tolerable than it might have been. -
Movie Review: 30 Days of Night
30 Days of Night (2002)
Directed by Michael Lehmann
Written by Robert Perez
Starring Josh Hartnett, Shannyn Sossamon, Maggie Gyllenhaal, Vinessa Shaw, Griffin Dunne, Paulo Costanzo
Release Date March 1st, 2002
Published March 1st, 2002
I'm really beginning to dislike the horror genre. Though regular readers and horror fans might argue that I have always hated horror movies, that is not true. I loved Freddy and Jason as a kid. As an adult, I find the Saw films to be utterly ingenious. My issue with modern horror films is the growing, ugly nihilism of the genre. More and more this genre that once exposed our humanity and capacity for bravery and compassion, now comes to exploit our humanity and compassion.
The latest film to trade on our humanity, depicting violent death with style, wit and impoverished morals is the vampire movie 30 Days of Night. Josh Hartnett stars in 30 Days of Night as Eban Oleson the sheriff of Barrow Alaska. Settled on the uppermost point of the United States, Barrow is home to only the most hardy winter lovers. For 30 days of every year Barrow goes into darkness. Many citizens cannot handle the lack of sun and take off. The 150 or so people who stay behind find something they never could have imagined.
A stranger (Ben Foster) arrives in town. He murders all the sled dogs. He steals and burns all of the cell phones. After he is caught by sheriff Oleson, he warns that 'they' are coming. Who are they? The stranger won't say but once citizens begin getting their heads ripped from their bodies, it's clear that 'they' have indeed arrived. Now, the sheriff with his ex-wife Stella (Melissa George) and a ragtag band of survivors must find a way to survive for 30 days when the sun returns and 'they' go back from where they came.
Based on the 2004 graphic novel by Steve Niles and Ben Templesmith, 30 Days of Night is stylish, darkly humorous and undeniably cool. And therein lies the problem. Like much of modern horror 30 Days of Night exploits our humanity and compassion to get us to invest in these characters and then destroys them in the most eye catching and gory fashion.
I am conflicted about this because I cannot deny the artistry with which director David Slade delivers this carnage. However, the style, the cool, dehumanizes the characters and takes pleasure in their misery. This brings an ugliness, a pseudo-nihilism to the proceedings that frankly makes me ill. I've grown weary of the stylish presentation of the destruction of humanity.
I get that it's a vampire movie and realism is not a question. And yes; you can argue that the style employed only serves to further distance the characters from reality. My point is however, that the danger that these characters find is meant to earn our sympathy and care and thanks to the talented performances of Josh Hartnett and Melissa George, they do.
We are invested emotionally, engaged by these characters. When these characters, not necessarily Hartnett or George, are violently dissected by vampires, the fillmmakers are taking advantage of that sympathy, exploiting it. For what purpose? Why are our sympathies engaged and then violently and bloodily turned against us?
In the Saw films, James Wan, Leigh Whannell and Darren Lynn Bousman engage us similarly but with a point and a purpose. There is a philosophy behind the carnage, a lesson to be imparted about the gift that is life, the gift that is forgiveness and the possibility of redemption. What lesson do we learn from 30 Days of Night other than fake blood looks cool when splashed on white snow.
Josh Hartnett is one of my very favorite actors. Wearing his vulnerabilty on his sleeve and his wit as well, Hartnett has a talent for characters that win us over from the moment we meet them. His sheriff in 30 Days of Night wins us over from his first scene as he stares into the horizon, an undeclared sadness plagues him as the last sunset for 30 days begins to fall.
Melissa George matches Hartnett in her appeal to our sympathies. Also carrying the burden of memory her Stella just wanted to get in and out of town without Eben knowing she was there. The sadness they share over the end of their marriage is never openly discussed but it is written in their every glance and gesture toward and away from one another. In another movie, one with a depth of feeling for these characters beyond finding unique ways for them to kill vampires or to die violently, Hartnett and George could really make something lasting and beautiful. That is something that the creators of 30 Days of Night are incapable of providing.
What is the point of 30 Days of Night. What are we supposed to take away from it? What is it that we find so exhilarating or exciting about the destruction of humanity. There is no subtext, there are no lessons imparted, this film is merely an exercise in the stylish presentation of hardcore violence. Maybe it's because I'm getting older but I just don't get it anymore.
Movie Review The Black Dahlia
The Black Dahlia (2006)
Directed by Brian De Palma
Written by Josh Friedman
Starring Josh Hartnett, Aaron Eckhart, Scarlett Johansson, Hilary Swank, Mia Kirschner, Fiona Shaw
Release Date September 15, 2006
Published September 14th, 2006
Director Brian De Palma is one of the bravest filmmakers in the business. Each of his films are perilous high wire acts deftly treading the line between masterpiece and utter disaster. His last film, 2002's Femme Fatale, was a disaster of lurid exploitation in which the director became more enamored of his scenery than even his often nude starlet. On the flipside, his Untouchables, Dressed To Kill and Raising Cain are masterpieces, by De Palma standards, of trashy, entertaining, style.
De Palma's latest picture The Black Dahlia, based on the Elmore Leonard novel, again walks that razor's edge between masterpiece and disaster and finds De Palma once again on the side of the masterpiece. The Black Dahlia is a lurid, shocking, exciting noir mystery that uses real life brutality to tell a stunner of a fictional detective story, one worthy of the 30's and 40's noir that inspired it.
For anyone going into The Black Dahlia with ideas about learning more about the famed death of Elizabeth Short; be prepared, this is not her story. This story, based on Elmore Leonard's fictional take on Hollywood's most notorious unsolved murder, is more about the fictional L.A cops created by Leonard and the various shocking and devastating twists that Leonard smartly crafted and now De Palma and screenwriter Josh Friedman adapt.
Josh Hartnett leads an exceptional cast in The Black Dahlia as detective Dwight 'Bucky' Bleichert, a former boxing star turned L.A flatfoot. Bucky's partner is a fellow former boxer Leland 'Lee' Blanchard. Rising through the ranks together, using their boxing star status to impress superiors, the two end up partners in the robbery homicide division.
When the nude, bisected body of young Elizabeth Short is found, it is Bucky and Lee's celebrity that gets them on the Dahlia case, over Bucky's objections; he's concerned about a murder case they were already working and were nearly killed while investigating. The Black Dahlia case however is the department's top priority and they want their most high profile cops out front cracking the case.
On January 15th 1947 the body of Elizabeth Short (Mia Kirschner) was discovered on a side street by a woman with a stroller. Short was nude and her body bisected, cut at the waist. Her blood was drained and internal organs removed. There are other more gruesome details that even Elmore Leornard left out of his account of this real life murder that the papers called The Black Dahlia for the victims penchant for black clothes and flowers in her hair.
Who was Elizabeth Short? In the movie she is a wannabe starlet from a small town in Massachusetts who came to L.A, like so many young girls, with stars in her eyes. She was said, by friends, to have a number of gentlemen callers and was welcome in local lesbian bars as well. It is at one of these bars where Bucky follows a lead to a woman named Madeleine Linscott (Hillary Swank). A dead ringer for Dahlia, Madeleine was seen talking to Elizabeth and another woman not long before she disappeared.
Rather than arrest and interrogate Ms. Linscott, Bucky begins a dangerous affair with her and promises to keep her name out of the papers. The Linscott name is quite well known; Madeleine's father built much of the town. Finding daddy's little girl in a lesbian hangout and linking her to the Dahlia murder would be a media frenzy.
In parallel plot, Bucky and Lee share the attention of a beautiful former prostitute, Kay Lake (Scarlett Johansson). Kay is Lee's girl, he rescued her from a violent pimp, but it's clear she and Bucky have an attraction. When Lee becomes engrossed in the Dahlia case, Kay and Bucky come dangerously close to crossing a line.
Josh Hartnett continues to grow into one of the most interesting actors working today. His style is shy and understated but it's the inner strength that he reveals just when the character needs it that makes him so interesting. His reticence as Bucky belies the toughness of a character that is shown to be quite a good boxer. He is gentle even as he is an invasive interrogator and by the end of the film his horror at all he's seen brings his character around to being a classic noir character. Hartnett has alot to play in The Black Dahlia and he pulls it all off extremely well.
As good as Hartnett is, the true showstopper performance in The Black Dahlia is that of Fiona Shaw. To give any details of who her character is or reveal anything about her is to give away a little more than I want to of this clever plot. Nevertheless, I can tell you that Ms. Shaw delivers an Oscar worthy turn with a speech near the end of the film that would make Norma Desmond blush.
Brian De Palma's style could be called classy trash. Look closely at his resume and you can find a number of movies that fit that description or atleast have moments that fit that description. In Femme Fatale, De Palma crafts a number of gorgeous visuals, classy architecture and the like. It's a great looking film even when it dips into trashy lesbian trysts and gratuitous displays of flesh. And Femme Fatale is one De Palma's lesser works.
Applying his style to material he actually seems invested in, De Palma is invigorated and his excitement translates to the screen with great enthusiasm. The macabre fascination that the public had with the Black Dahlia murder is a subject that suits Brian De Palma's dark, lurid, some would say trashy personality. Indeed he is quite fond of the darker side and expresses that dark side with glee in The Black Dahlia.
And yet for all of its ghastly fascination with the lurid details of not only the life of Elizabeth Short but for those of the cop characters, the rich family and the prostitute, The Black Dahlia manages to be both engrossing and highly entertaining. De Palma invites you down the path of the lurid back streets and somehow; you willingly and wantonly follow him to the movie equivalent of the red light district known as The Black Dahlia.
When he's on his game Brian De Palma is one of the most skillful and talented directors in the business and The Black Dahlia is his best work in nearly a decade. Stylish, mysterious, trashy yet kinda classy, The Black Dahlia is a cinematic smorgasbord that offers something for all audiences, true crime, mystery, sex, graphic violence and great performances. The Black Dahlia will, no doubt, divide many and unite many others. For my money, it's one of the best films of the year.
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