The Boston Online Film Critics have announced their picks for the best of 2014!
(While I doubt that this will lead to Snowpiercer becoming a major player in the Oscar race, the Boston Online Film Critics do have excellent taste in film…)
BEST PICTURE:
SNOWPIERCER
BEST DIRECTOR:
Alejandro González Iñárritu, BIRDMAN
BEST ACTOR:
Brendan Gleeson, CALVARY
BEST ACTRESS:
Marion Cotillard, TWO DAYS ONE NIGHT
BEST SUPPORTING ACTOR:
Edward Norton, BIRDMAN
BEST SUPPORTING ACTRESS:
Tilda Swinton, SNOWPIERCER
BEST SCREENPLAY:
John Michael McDonagh, CALVARY
BEST FOREIGN LANGUAGE FILM:
TWO DAYS ONE NIGHT
BEST DOCUMENTARY:
LIFE ITSELF
BEST ANIMATED FILM:
THE LEGO MOVIE
BEST CINEMATOGRAPHY:
BIRDMAN
BEST EDITING:
James Herbert & Laura Jennings, EDGE OF TOMORROW
BEST ORIGINAL SCORE:
Mica Levi, UNDER THE SKIN
THE TEN BEST FILMS OF THE YEAR:
1. SNOWPIERCER
2. UNDER THE SKIN
3. BOYHOOD
4. ONLY LOVERS LEFT ALIVE
5. THE BABADOOK
6. TWO DAYS ONE NIGHT
7. BIRDMAN
8. CALVARY
9. INHERENT VICE
10. SELMA
He so seriously does. The deep-voiced character actor, beloved by fans of Allstate Insurance, Spider-Man, Jason Reitman, and the Coen Brothers alike, has been memorable so many times in the past that it’s easy to take him for granted. However, with Whiplash, he proves himself to be not just a distinctive screen presence but to be a brilliant actor as well. There’s a lot of good things about Whiplash but, ultimately, it’s Simmons who makes the film something more than just another promising indie film.
Simmons plays Terrence Fletcher, the legendary and feared conductor of the Schaffer Conservatory jazz band. (We’re told that Shaffer Conservatory is the best music school in the country. Of course, in a real life, the best music school in the country is located at University of North Texas, where I studied Art History but still enjoyed occasionally listening to the One O’Clock Lab Band.) As played by Simmons, Fletcher is both a genius and a sadist. When he talks about music, he does so with a passion that makes it impossible not share his love for all that jazz. When he conducts his band, he does so with a cruelty that makes you question if the music is worth the cost of the emotional stability of the people playing it. When he hears that someone is out of tune, he responds by reducing a musician to tears. When he says, “Not my tempo,” it’s both a critique and a threat. The fact that he’s creative and quick-witted with his insults does nothing to lessen the pain that they cause.
Fletcher’s latest protegé/victim is a talented 19 year-old drummer named Andrew (Miles Teller). Andrew shares Fletcher’s love for jazz but nothing can prepare him for the lengths that Fletcher will go to manipulate him. Whether it means insulting Andrew’s father (Paul Reiser) or casually threatening to give Andrew’s spot away to another drummer, Fletcher’s nonstop and often viscous criticism makes Andrew a better drummer but also threatens to destroy his sanity.
Director and screenwriter Damien Chazelle understands that those of us in the audience have seen literally hundreds of films about intense teachers and the students that they teach. Chazelle cleverly manipulates all of our expectations. The minute that we expect Fletcher to say something encouraging or to reveal himself to actually be a compassionate mentor, Simmons instead barks out another insult or regards Andrew with a withering glare. And, as we wait for Andrew to stand up to Fletcher or prove his mentor wrong, we are instead forced to admit that Fletcher’s approach does seem to be working.
When, towards the middle of the film, Andrew crashes his car while rushing to a jazz competition and then attempts to play the drums with both blood on his suit and a broken hand, you can’t help but both admire his determination and fear where that determination is going to take him.
As I said at the beginning of this review, there’s a lot of good things about Whiplash. As you might expect for a film about jazz, it has a great soundtrack. Miles Teller gives a great lead performance, one that may be overshadowed by J.K. Simmons but which — along with his work in The Spectacular Now — indicates that Teller is an actor to watch. (We’ll just forget the fact that he was also in Project X.) Some of the film’s best moments don’t even involve J.K. Simmons, instead they’re just scenes of Teller obsessively drumming until his hands are bloody.
But, ultimately, it is J.K. Simmons who truly elevates this film. Simmons makes Fletcher into a truly fascinating villain, one who constantly leaves you guessing. By the end of the film, you may not like Fletcher but you definitely can not get him out of your head.
Ultimately, the success of Whiplash stands as a tribute to the talent of J.K. Simmons.
The National Board of Review has spoken! They named their picks for the best of 2014 earlier today and — to the shock of many (especially me) — they picked JC Chandor’s crime drama A Most Violent Year as the best film of the year!
I love surprises!
Now, a lot of us were expecting A Most Violent Year to be an Oscar contender, with practically everyone expecting Jessica Chastain to either be nominated for best actress or supporting actress. (The NBR named her best supporting actress.) But I think a lot of us were expecting to see the NBR select Boyhood, Birdman, or maybe Selma.
Also of note is that Clint Eastwood won best director for American Sniper, which appears to be coming on strong as a potential Oscar nominee as well.
(Also of note: Foxcatcher was totally ignored by the NBR.)
Here are the NBR winners!
BEST PICTURE
“A Most Violent Year”
BEST DIRECTOR
Clint Eastwood, “American Sniper”
BEST ACTOR (TIE)
Oscar Isaac, “A Most Violent Year”
Michael Keaton, “Birdman”
BEST ACTRESS
Julianne Moore, “Still Alice”
BEST SUPPORTING ACTOR
Edward Norton, “Birdman”
BEST SUPPORTING ACTRESS
Jessica Chastain, “A Most Violent Year”
BEST ORIGINAL SCREENPLAY
Phil Lord and Christopher Miller, “The Lego Movie”
BEST ADAPTED SCREENPLAY
Paul Thomas Anderson, “Inherent Vice”
BEST ENSEMBLE
“Fury”
BEST ANIMATED FEATURE
“How to Train Your Dragon 2”
BEST FOREIGN LANGUAGE FILM
“Wild Tales”
BEST DOCUMENTARY
“Life Itself”
SPOTLIGHT AWARD
Chris Rock for writing, directing, and starring in “Top Five”
BREAKTHROUGH PERFORMANCES
Jack O’Connell, “Starred Up” and “Unbroken”
DEBUT DIRECTOR
Gillian Robespierre, “Obvious Child”
WILLIAM K. EVERSON FILM HISTORY AWARD
Scott Eyman
FREEDOM OF EXPRESSION
“Rosewater”
“Selma”
BEST PICTURE NOMINEES (alphabetical)
“American Sniper”
“Birdman”
“Boyhood”
“Fury”
“Gone Girl”
“The Imitation Game”
“Inherent Vice”
“The Lego Movie”
“Nightcrawler”
“Unbroken”
BEST FOREIGN LANGUAGE NOMINEES (alphabetical)
“Force Majeure”
“Gett: The Trial of Vivian Amsalem”
“Leviathan”
“Two Days One Night”
“We Are the Best!”
BEST DOCUMENTARY NOMINEES (alphabetical)
“Art and Craft”
“Jodorowsky’s Dune”
“Keep On Keepin’ On”
“The Kill Team”
“Last Days in Vietnam”
BEST INDEPENDENT FILMS (alphabetical)
“Blue Ruin”
“Locke”
“A Most Wanted Man”
“Mr. Turner”
“Obvious Child”
“The Skeleton Twins”,
“Snowpiercer”,
“Stand Clear of the Closing Doors”
“Starred Up”
“Still Alice”
‘The Babadook’ is a truly effective horror film whose beautiful and twisted imagery – as well as complex and powerful explorations of grief and the bonds between a mother and her child – cut to the bone, managing to scare and move all at once. The film, which explores maternal affection, depression, grief – and a whole multitude of similar themes – is not just one of the best horror films of the past few years, but is also just simply one of the best films of the current year.
The film stars Essie Davis as Amelia, a widow living alone with her hyperactive son Sam (Noah Wiseman). Amelia loves her boy, but his presence is a constant reminder of the death of her husband – who died in a crash while driving Amelia to the hospital to give birth. The grief of the accident constantly lingers over them both. This is made all the worse for Amelia as Sam has become more of a burden as of late. Sam is beginning to more strongly deal with the absence of his father and expresses this in some unusual ways – including making up scary monsters and weapons to fight them with. Their strained relationship takes a dark turn when a mysterious pop-up book appears – the character in which is a spooky creature that awakens in Amelia fears and dark thoughts about her son that have long been hidden under the surface. She doesn’t know where the book came from or who this nightmarish Babadook is – but she can’t seem to escape it. The situation and Amelia’s mental state is exasperated by sleep deprivation, social pressures and growing depression as the anniversary of her husband’s death approaches. She is soon forced to confront a demon – both physical and psychological – that threatens to destroy her and Sam.
‘The Babadook’ very much reminded me of ‘Repulsion’ and ‘The Shining’ in its portrayal of a mental spiral into very dark places – as well as ‘The Orphanage’ in its handling of grief and loss. This is all packaged in a visually striking story – lots of blacks, greys and whites – with a creature that is sure to be an instant classic. What makes it all the better is the way in which it constantly subverts the expected in both genre tropes and what we are actually seeing on the screen. Is the Babadook real? Or is it simply a mental manifestation of the pain and grief that runs deeply through the story? Either way, the fears, doubts and terror it all elicits amount to more than just scares – it also moves with real and honest emotion. Take out the horror aspects and the film is still a moving portrait of a mother dealing with loss and the responsibility of mothering a troubled child. This is a shining example of the brilliance that the horror genre can achieve – how it can be emotionally affecting in ways no other genre can. Add to that a phenomenal performance by Essie Davis and the confident direction of Jennifer Kent and the result is a masterpiece of the genre – and easily one of the year’s best films.
*I discuss the ending in the comments. I say this to warn of spoilers below – as well as to continue my above analysis for those who have seen the film.*
Well, of course, Grumpy Cat would have hated Grumpy Cat’s Worst Christmas Ever. That was kind of the point of the whole damn movie. The reason why Grumpy Cat has become such a popular meme is because her permanently sour face confirms what many of us suspect but often try to deny — i.e., that our cats are, for the most part, disgusted with us. However — and this is why people like me cherish our cats — they all have one or two people who they love enough to set aside their natural disgust and allow to be a part of their life.
Cats aren’t like dogs. A dog will love anyone. A cat picks someone to love and then they do it despite all of their better instincts. And because of that, cats will occasionally do stuff that they normally should hate.
Like starring in a holiday-themed film, for instance.
Grumpy Cat’s Worst Christmas Ever, which premiered on Lifetime last night and was watched by me and a thousand other cat lovers on twitter, works because it not only realizes that it should not exist but it also has no problem admitting that it should not exist. In Entertainment Weekly, Grumpy Cat’s sarcastic narration and continual breaking of the fourth wall is described as being “oddly meta.”
Personally, I call it being clever, cute, and funny.
But, let’s be honest. The majority of critics were never going to give a fair review to a film called Grumpy Cat’s Worst Christmas Ever. (A fair review, by the way, would have been: “The story’s dumb, the film looks cheap, but the cat is cute and, seeing as that’s the only reason anyone’s watching, that’s all that matters.”) Most critics probably had their review already written in their head before they even saw the movie. Complain about the commercialization of Christmas. Whine about how an internet meme now has her own movie while your coming-of-age screenplay remains unproduced. Make a few snarky comments about Lifetime, in general. Admit that Aubrey Plaza totally kicks ass as the voice of Grumpy Cat (because she so totally does). End it by sadly predicting that Grumpy Cat’s Worst Christmas Ever will lead to a sequel.
Bleh. Forget the other critics. Speaking as the only critics who really matters, here’s what I think you need to know about Grumpy Cat’s Worst Christmas Ever:
If you own and like cats, you’ll find a lot to enjoy about Grumpy Cat’s Worst Christmas Ever. Yes, the story is dumb. Yes, the movie was obviously cheaply made and, in case there was any doubt, Grumpy Cat herself pops up to point out how cheap the movie was. But Aubrey Plaza was born to be the voice of Grumpy Cat. And Grumpy Cat herself is adorable in her grumpy way! Along the way, we get to see Grumpy Cat drive a car and shoot a paintgun. We also get to meet Grumpy Cat’s British equivalent.
I realize that is a big claim to make. Birdemic, after all, is known for not only being one of the worst but also for being one of the most inept films ever made. It’s a film that regularly appears on lists of the worst films ever made and, unlike the always entertaining The Room, Birdemic actually deserves the honor.
So, when you compare a movie to Birdemic, it’s kind of a big deal.
However, having now sat through April Rain on multiple occasions, I can say that April Rain totally deserves the comparison.
Imagine if your local community theater decided to put on a low-budget, theatrical adaptation of 24, with the director’s son playing Jack Bauer and a retired accountant playing the main villain and you might have some idea of what it’s like to watch April Rain.
The film opens with endless overhead shots of Los Angeles while stirring “epic” music plays in the background. The movie uses these overhead shots in much the same way that Tommy Wiseau used the Golden Gate Bridge in The Room. Whenever the scene needs to change, we get an aimless overhead shot of Los Angeles that rarely seems to have much to do with either the scene we just viewed or the one that we’re about to watch. At first, it amused me to notice how many buildings had helicopter landing pads but then I realized that I was just looking at the same buildings over and over again.
After we spend a while looking down on Los Angeles, we are immediately thrown into the middle of the action as six men have a fierce gun battle outside of a warehouse. And by gun battle, I mean that each man stands about four feet away from the other, shoots a gun, and somehow manages to miss just as often as they hit. It’s during this scene that we learn two important things about April Rain:
1) Nobody in this film dies without flailing around for a few minutes before hand.
2) Anyone firing a gun will be shown in slow motion.
As for why everyone is shooting at each other, it all comes down to weapons. The group in the warehouse has a few crates full of weapons. The people attacking the warehouse want the weapons so that they can sell them to a terrorist cell.
The people attacking the warehouse, incidentally, a members of the Russian mob. I figured this out because they had names like Nikolai and Dimitri and not because any of them actually had a Russian accent or, in any other way, came across as being Russian.
Which is not to say that they don’t have accents. Their boss, Kotov (Adrian L. Tutor), definitely has an accent. Actually, he has several and they change from scene-to-scene. Sometimes, he sounds like he’s from Italy and then other times he sounds like he’s from Scotland…
Anyway, when we first meet Kotov, he’s running around in circles in his suburban front yard while his two youngest daughters chase after him. He’s wearing a dark blue apron that reads, in bright red letters, “World’s Greatest Dad.”
The face of the Russian Mafia
His oldest daughter, Katrina (Brittany Beery), would probably disagree with that. She’s got a crush on the newest member of the mob, Alex (Ryan Guzman). When Kotov drags Katrina to church, she gets out of it by saying, “I’m getting my period, dad!” and doing a massive eye roll. (Interestingly enough, I used to do the exact same thing to get out of going to Mass. Never underestimate the importance of the eye roll.) What makes this scene especially memorable are the extras sitting on the pew directly behind Kotov and his family. When Katrina explains why she has to leave church, they gasp and look like they’re about to faint from the shock. They do this despite the fact that Katrina and Kotov are whispering and that their voices would undoubtedly have been drowned out by the church organ that is played throughout the entire scene. Perhaps, at one point, the filmmakers were planning on including a subplot that hinged on super hearing…
ANYWAY — and watching April Rain is one of those films that will inspire you to say “anyway” quite a lot — it turns out that Alex has a secret of his own. He’s not really a Russian mobster! No, he’s a member of an elite division of the — well, to be honest, I’m not sure which agency he works for. However, I do know that it’s top secret because it’s housed in a huge warehouse and everyone spends a lot of time talking about how it’s all top secret.
Along with Alex, the team includes:
1) Sikes (Luke Goss), who is I guess is supposed to be in charge. He’s a taciturn but fair man who is first seen disciplining his teenage son. (“I can do what I want!” his son shouts, “In your face, old man!”) Sikes spends a lot of time shouting things like, “I WANT HIM ALIVE!” just before then shooting a bad guy in the head. (Incidentally, in April Rain, getting shot in the head means that a small splotch of red paint appears on your forehead.)
2) Rita (Miranda Frigon), who I liked because she’s a redheaded administrative assistant, just like me! At one point, Rita gets a phone call from someone outside of the agency. Sikes tells her that he needs her to be 100%. Rita agrees. The phone call is never mentioned again.
3) Kenny (Doug Savant), who doesn’t really have much of a personality.
4) Thomas (Vincent Spano), who is Kenny’s best friend and who, as a part of his job, is currently sleeping with Hellen (Anne Leighton) who works for Kotov. At one point, Thomas’s wife (Hillary Tuck) shows up and points a gun at him and screams at him for cheating on her. An exasperated Thomas yells back, “I work my ass off and you show up here and make me look like an ass in front of Kenny!” And the scene goes on and on from there…
And finally,
5) Hillary Miller (Ming-Na Wen!) is apparently Sikes’s superior. Thomas refers to her as being the Wicked Witch of West Los Angeles. “She flies around on her broomstick with a strap-on and a jar of vaseline,” he informs Alex. Ming-Na gets top billing but she’s actually only in a few minutes of the film and she spends most of that time yelling and glaring. It’s almost as if she’s daring you to ask her how she ended up in a movie like April Rain.
Ming-Na dares you to ask her what she’s doing in April Rain.
ANYWAY — Kotov has been supplying terrorist leader Tariq (Deniz Akdeniz) with guns and Vespa motor scooters and you better believe that we eventually do get a chase scene where the bad guy is fleeing on a Vespa. (And you also better believe that almost the entire chase scene is filmed in slow motion.)
Before launching his terrorist scheme, Tariq becomes an American citizen. The oath of citizenship is delivered by a judge who actually shows up on a Sunday to do so. “It’s the least I can do, after all the work you’ve done on my house,” the judge helpfully explains. Of course, as Tariq and the Judge enter the courthouse, the camera lingers on a security guard who views both of them with clear suspicion.
Upon returning to his apartment, Tariq and his family celebrate his new citizenship. Then, his two neighbors arrives to congratulate him. These two neighbors — well, they simply have to be seen and heard to be believed. “Share the wealth!” one of them proclaims, “then maybe everyone won’t want to kill us…” Another one drinks a toast to “education and the redistribution of wealth,” which I guess is the film’s way of letting us know that the only thing needed for the Tariqs of the world to succeed is for them to live next door to stereotypical California liberals.
What’s especially interesting about this film is that, for all the time devoted to the Judge, the security guard, and those two neighbors, none of them are all that important to the plot. In fact, after their initial scenes, neither the judge nor the security guard are ever seen again. As for the two neighbors, they’re kicked out of the apartment after Tariq is visited by Yusef, a jihadi who is also a pizza deliveryman…
(Just about every film has a few red herrings but few take it to the extreme of April Rain, a movie in which just about everyone in the cast is a red herring.)
Everyone’s either a red herring or a redhead or both.
Much like Birdemic, The Room, and Troll 2,April Rain is such a uniquely bad film that it becomes oddly fascinating. You watch and, with each moment, you can not help but wonder how much worse the film can get. And, with each passing moment, you discover that it can get a lot worse.
You want a cast that alternates between catatonic underplaying and histrionic overacting? April Rain hasgot you covered. (In defense of the cast, it’s not that any of them are bad actors as much as the script doesn’t leave them much choice. For instance, I thought Brittany Beery did the best that anyone possibly could with her role. The same can be said of Ryan Guzman and Luke Goss. As for Ming-Na — well, I imagine she probably just wanted to get her scenes over with.)
You want action scenes that essentially look like a bunch of kids making finger guns and going, “Bang! Bang!” at each other? April Rain is the film to see.
Do you want random scenes that come out of nowhere, make you go, “What the Hell?,” and are then promptly forgotten about in the movie’s grand narrative scheme? April Rain will not disappoint.
Do you want pages and pages of dialogue that add up to nothing more than empty verbosity? Might I suggest watching April Rain?
Do you want to see a movie that’s so bad that it’s good? Well, I’d suggest watching The Room and then Troll 2 and then Birdemic. But once you’ve got those three out of the way, definitely give April Rain a try!
The Town That Dreaded Sundown is the latest classic horror remake. In this case, it’s a remake of a 1976 docudrama about a real-life serial killer who, shortly after World War II, haunted the streets of my former hometown of Texarkana, Texas. (You can read my review here.) The original was a low-budget but effectively creepy little film that was shot on the streets of Texarkana and was full of authentic Texas atmosphere. (It helped that it was directed by Charles B. Pierce, a Texarkana native, as opposed to some jerk from up north.) What made the film all the more haunting was the fact that — in both the movie and in real life — the Phantom Killer was never captured.
So, how does the remake compare?
*Sigh*
(For the record, I’m not only signing but I’m also massively rolling my mismatched, heterochromatic eyes.)
Listen, I will give this film credit for attempting to be something more than just your usual horror remake. It actually does have a fairly clever premise. Instead of retelling the original story, the remake of The Town That Dreaded Sundown begins with a bunch of people in present-day Texarkana sitting around and watching the original film. There’s even an eccentric character named Charles B. Pierce, Jr. (Denis O’Hare) who we are told is the son of the original director. It’s a clever idea, one that wisely acknowledges the effectiveness of the original film while also commenting on the continuing mystery surrounding both the identity and the fate of the Phantom Killer.
And, when someone dressed like the original Phantom Killer starts to murder young couples in Texarkana, we — just like the characters — are left to wonder whether it’s the spirit of the Phantom or if it’s someone imitating the murders from the original film or whether it’s something else altogether.
That’s certainly the question faced by Jami (Addison Timlin), who survives being attacked by this new Phantom but then grows obsessed with trying to discover who he is. Addison Timlin gives a really good performance here. She’s likable and sympathetic, the perfect “final girl.”
In fact, the entire film is well-cast. Anthony Anderson is a lot of fun as a cocky Texas Ranger while Gary Cole and Joshua Leonard do good work as members of local law enforcement. Denis O’Hare, who I will always think of as being Russell on True Blood, brings a certain dissipated nobility to his role. The victims are all sympathetic and the killer is creepy.
But, with all that in mind, I was disappointed with the remake of The Town That Dreaded Sundown. The reason the original film worked is because it was made by a member of the Texarkana community. Charles B. Pierce knew the town and he understood why the Phantom Killer continued to haunt the citizens. What his movie lacked in technical polish, it made up for in authenticity.
Though the remake features a narrator and duplicates the original’s obsession with letting us know whether each scene is taking place on the Texas-side or the Arkansas-side of the town, there’s still absolutely nothing authentic about it. Whereas the original was filmed entirely on location, the remake was mostly filmed in Shreveport with only three days devoted to getting some location footage of downtown Texarkana. As someone who has lived in both Shreveport and Texarkana, allow me to assure you that you can totally tell the difference.
The remake was produced by Ryan Murphy (of Glee and American Horror Story fame) and the film really does feel like a lesser season of American Horror Story. It’s a film that has so little use for subtlety (just check out Edward Herrmann going totally overboard as a hypocritical preacher) that its creepy moments are totally smothered by all the heavy-handed cartoonishness that surrounds them.
Ultimately, the remake fails because it has no feel for or understanding for my homestate. It was made by people who obviously know nothing about Texas or Arkansas beyond what they’ve seen in other movies produced, directed, and written by other northerners.
The 1976 Town That Dreaded Sundown worked because it was authentic. Despite a few good ideas, the remake is just too generic to do justice to the original.
So, there’s this fucking movie called Blood Ties and it’s about a lot of fucking guys who live in fucking New York City in the fucking 70s and they’re all kind of a bunch of fuck-ups but they all know how to fucking use the word fuck as both an adjective and an adverb. That’s the main impression that I took away from Blood Ties, a film that feels a lot like a mash-up of Place Beyond The Pines and every Martin Scorsese film ever made.
The year is 1974. After serving several years on a murder conviction, 50 year-old Chris (Clive Owen) has been released from prison. Chris’s transition back into society is a bumpy one. For one thing, his ex-girlfriend (Marion Cotillard) is now a prostitute and refuses to let Chris see his children. Though he gets a new girlfriend (Mila Kunis), he still finds himself struggling to hold down a job and he soon finds himself tempted to once again pursue a life of crime.
What might make that difficult for him is the fact that his younger brother, Frank (Billy Crudup), is now a cop with an old school porn star mustache. Frank makes little secret of how much he resents his older brother and it isn’t long before the two of them are constantly fighting. However, Frank has problems beyond Chris. For one thing, he’s romantically pursuing Vanessa (Zoe Saldana), despite the fact that he earlier put her husband, Anthony (Matthias Schoenaerts), in prison.
In order to keep their dying father (James Caan) happy, Chris and Frank try to put aside their differences. However, when Frank sees Chris fleeing from the scene of a robbery, it becomes harder and harder for him to ignore his brother’s activities. Meanwhile, Chris has to decide whether or not to potentially sacrifice his freedom to keep his brother safe from a vengeful Anthony…
When Blood Ties was originally released at the beginning of the year, I considered seeing it but — for some reason — I ended up seeing The Legend of Hercules instead. (Don’t you hate it when that happens!) And I have to admit that I had forgotten about Blood Ties until I discovered that we were getting EPIX for free this holiday weekend. Blood Ties is one of the films that’s currently showing on EPIX and, when I saw it was available, I thought to myself, “I can’t wait to see A Most Violent Year but until that opens up down here in Dallas, why not watch another violent New York period piece?”
And so I watched Blood Ties and … well, bleh. Actually, bleh may be too harsh of a judgment. The film is full of fun period details and Billy Crudup gives a really good performance as Frank. There are some well done action scenes and I appreciated the fact that, for the most part, the film did not try to make violence look glamorous or fun. The film has a great soundtrack though, for the most part, most of the songs here can also be heard in a countless number of superior Scorsese films.
But, ultimately, Blood Ties is never as good as you want it to be. The film’s plot is about as predictable as can be and, far too often, scenes that start out interesting quickly degenerate to various characters standing around and yelling at each other. And while that may often be what happens in real life, it still doesn’t make it particularly interesting to watch. And then you’ve got poor Clive Owen, a good actor who is seriously miscast here. Casting Clive Owen as a streetwise New York gangster is a bit like casting Ray Liotta as a member of the Queen’s Guard. It just doesn’t work.
For those of us hoping for a great New York City crime epic — well, we’re just going to have to keep hoping that A Most Violent Year turns out to be just as good as everyone says it is…
