Compliance

Directed by Craig Zobel.

2012. Rated R, 90 minutes.

Cast:

Ann Dowd

Dreama Walker

Pat Healy

Ashlie Atkinson

Bill Camp

James McCaffrey

Philip Ettinger

Nikiya Mathis

Ralph Rodriguez

Sandra (Dowd) is the manager at Chickwich, a fast-food restaurant, and her day starts off on the wrong foot. One of her employees left the freezer open last night and almost fifteen hundred dollars worth of food is ruined. This includes much of the all-important bacon supply. She’s fairly certain it was the dopey Kevin (Ettinger), but doesn't have any proof. Oh well. Becky (Walker), the young blond who works one of the registers, thinks that Sandra thinks it was her. Becky professes her innocence and makes it known she can’t afford to lose her job. Smack dab in the middle of the busiest time of day, a police officer, Officer Daniels (Healy) calls the store and tells Sandra that he is with a woman who says Becky stole money from her. He instructs Sandra to bring Becky into the back so they can all get to the bottom of this matter. This begins with Sandra checking Becky’s pockets and even her purse. From there, things escalate to dizzying heights.

As events unfold, we’re simultaneously amazed and appalled by what we’re seeing. Our stomachs churn, forcing us to vocalize our displeasure. Not only are we upset with the man on the phone, but also with Sandra and others physically present for their roles in what happens to Becky. We pray in vain for one of them to grow a brain and get over their blind allegiance to authority, to simply ask themselves how any of this makes any sense. Sandra only occasionally shows the slightest reluctance while marching forward with her orders. The others only momentarily question her when she involves them at the officer’s behest, but fall in line. Only Kevin, the one we thought wasn't so smart, takes any sort of stand before it’s too late. The entire situation gets beneath our skin.

Our hearts bleed for Becky. As viewers, we share in her helplessness. Whatever belief we have in our fellow man to do what’s right, not necessarily the same as what they’re told is right, is dismantled right before our eyes. However, we wonder at what point will she stand up for herself, if at all. How complicit is she in her own victimization? To be clear, we don’t want to blame the victim. Still, even the movie itself wonders aloud if she could’ve put a stop to the whole thing herself rather early on. That said, we realize she is totally taken advantage of.

The performances of the two women in the lead roles are excellent conduits for our anger and sympathy. Dowd, as Sandra, perfectly echoes many we've all encountered in lower/middle management positions. She’s doing what she thinks is right from an organizational standpoint without actually thinking about what is really right. This is why she’s so willing to comply with a voice on the phone. We marvel at how naive she is, but don’t doubt for a second that there are plenty of real Sandras out there. As Becky, Walker pulls off a remarkable innocence that combines with the situation itself to make many portions of the movie very tough to watch.

That Compliance is so tough to watch is what makes it a compelling piece of American horror. The fact that the victims never see their boogeyman doesn't make him any less scary. In fact, it makes him more so. He does what anyone can. Behind a veil of anonymity, and with the illusion of power, it is much easier to get others to do your bidding, no matter how twisted. To make matters even more terrifying, the movie is inspired by true events from a few years ago. Many of the things that happen here really did take place. Again, there are real Sandras out there. And Beckys.

Now that I've built this movie up as a great horror film, get that idea out of your head. It is, but many will think it isn't. The problem is Compliance bypasses most of the genre’s traditional tropes and resembles nothing of the sort. There is no masked madman dismembering co-eds or ghosts trying to make us jump. If that’s what you’re looking for, look elsewhere. If you’re interested in a truly disturbing picture that deserves to be seen, this is for you.

Enchanted

Directed by Kevin Lima.

2007. Rated PG, 107 minutes.

Cast:

Amy Adams

Patrick Dempsey

James Marsden

Susan Sarandon

Timothy Spall

Rachel Covey

Idina Menzel

Julie Andrews

In what appears to be a stock, animated fairy-tale, a prince (Marsden) meets a fair maiden (Adams) in the woods and the two fall in love. This doesn't sit well with the prince’s evil witch of a mother (Sarandon) who banishes the bride-to-be to “the land where there are no happily ever afters.” That land would be live-action New York City.

It’s a simple premise, executed very well. Essentially, it’s a fish-out-of-water tale. In this case, the fish comes from a world we've all watched numerous times as kids and again when we ourselves have kids. To effectively tell its story it has to poke fun at itself and it does. The cast really helps in this department. Patrick Dempsey gives his normal bland performance. However, everyone around him is obviously hamming it up and having a great time doing so, including a wonderful turn by James Marsden as our prince. Not least of all in the ham department is Susan Sarandon as the evil witch. She just seems to be having a ball by running with the opportunity to overact on purpose. She and her cast-mates clearly convey the message this is a fairy-tale that knows fairy-tales are inherently preposterous. It’s not an all-out deconstruction of the genre like the original Shrek but it holds its own as a self-parody that’s smart enough to entertain adults. It’s also wacky enough, with plenty of songs to keep the kids into it.

Of course, on the flip side, it’s wacky enough, with plenty of songs to keep the kids into it. Let’s be honest, whenever Disney movies kick into Broadway show-tune mode plenty of adults would gladly murder a loved one if we knew that would make it stop. We just don’t for fear of being perceived as heartless menaces to the unrelenting joy being shoved down our throats. Anyhoo, I’m pretty sure my two daughters watched this movie 647 times in a three day span.

This one’s an easy call. If you have small kids, particularly girls, they will love this movie. All of you strange, creepy adults who are still huge Disney fans will probably enjoy this more than is healthy and should seek professional help. Just kiddin'. Sort of. Let's move on. Parents shouldn't mind this. It’s funny, smart enough for you to “get” and plenty of fun.

MY SCORE: 7.5/10

How to Survive a Plague

Directed by David France.

2012. Not Rated, 120 minutes.

Cast:

Bob Rafsky

Larry Kramer

Jim Eigo

Iris Long

David Barr

Mark Harrington

Bill Bahlman

Gregg Bordowitz

Dr. Ellen Cooper

Franke-Ruta Garance

In the late 1970s, AIDS became a known disease and it seemed to only affect gay men. By the early 1980s it had become an epidemic and a death sentence for the stricken. Hundreds of thousands of people were dying around the world on an annual basis. The development of effective medication was slow. How to Survive a Plague is the story of a group of activists, collectively known as Act Up, who fought to expedite the process.

The people of Act Up diligently filmed seemingly everything they did. As a result we get a documentary that tells its story mostly through actual footage, relying very little on interviews and less prone to the possible misrememberings of the people involved. There is not only video documentation of their rather public protests and run-ins with public figures, but of many of the group’s private meetings. This is where the movie’s real power lies. Though it is present, this isn't another documentary built upon a bunch of seniors reminiscing on the good ol’ days.

In this case, the ol’ days were actually pretty bad. The situation was bleak and spreading as the world slowly came to realize anyone could become infected with AIDS. Act Up formed out of a mass sense of urgency. That urgency is poignantly conveyed by the use of all that footage I mentioned. We see on the faces, and hear in the voices of the people involved, real emotion, real passion for the work they’re doing. It’s hard for the viewer to not root for them. Also helping in that regard is an ominous ticker that marks the passing of each year by displaying how many people had died of the disease to that point.

During the course of the movie, we’re introduced to a number of dynamic personalities. Some of these people have succumbed to the disease and are no longer with us. Nonetheless, we can understand why these folks became leaders of a movement. We see how much their lives, and in some cases, their deaths impacted the community and their cause.

Perhaps best of all, we learn that Act Up and its leadership weren't always right and they most certainly were not always operating in harmony. We see rifts form within the organization, even to the point some very prominent members of the group break off and do their own thing. Among those that remain, we witness more in-fighting as their best efforts seem to be going for naught and they try to come up with new strategies. It eventually comes to light that the sheer panic that drove them in the early days led them to push for things that may not have been all that beneficial.

The movie ends in 1996 after a major medical breakthrough. Despite growing up in New York City, where the group was based, much of this happened on the very edges of my periphery awareness. This is particularly true of the stuff from the 80s as I was very young and had only the knowledge of AIDS that most regular junior high and high school kids of that era possessed, which isn't much. I heard about AIDS protests in the city, but not much more than that they happened. From this outsider’s point of view, it seems two topics are wholly missing from Plague. This first is how basketball legend Magic Johnson contracting HIV affected their cause, if at all. Magic’s announcement marked a tectonic shift in the way many people though about the disease. He himself, become a crusader for finding a cure and joined a presidential committee. Did any of this matter to Act Up? Did it help them, hurt them, or neither?

The other topic is the country’s, even the world’s, changing outlook on and attitude toward homosexuals and homosexuality. From the time AIDS was discovered until ’96, I’d like to think the world became a bit more enlightened and/or tolerant. Again I’m left wondering how the people of Act Up felt about this. Granted, the main point of the movie is their battle for effective medication, but those things could easily fit into the narrative.

Despite the absence of these issues, Plague is still an enthralling documentary. Its story is very well told. It is also a reminder that even though AIDS isn't the immediate nailing up of the coffin it once was, it’s still out there and plenty of people continue to die from it. That said, this showcases a remarkable group of human beings who helped make the world a better place.

Killing Them Softly

Directed by Andrew Dominik.

2012. Rated R, 97 minutes.

Cast:

Brad Pitt

Richard Jenkins

Ray Liotta

James Gandolfini

Scoot McNairy

Sam Shepard

Ben Mendelsohn

Slaine

Vincent Curatola

Max Casella

Trevor Long

Linara Washington

When a mob run card game gets robbed, the local economy is severely affected. It pretty much comes to a halt and won’t get going again until the people responsible are dealt with. And I don’t mean by the police, either. This is where enforcer Jackie Cogan (Pitt) comes in. He promptly gets to work figuring out the issues. Of course, his taking any action requires permission he has to work through his unnamed liaison (Jenkins) to get. Meanwhile, we also watch the schmucks who did it assess the situation from their point of view.

Brad Pitt is excellent in the lead. He hits every note perfectly. His cold-blooded arrogance is difficult to look away from. The supporting cast, mostly of sporadic screen-time is wonderful, as well. Each one makes us feel what’s at stake for them more than just by the words they speak. Of course, two characters never fully understand the potential consequences, but we feel that too. There is one performance that stands head and shoulders above the rest, though. James Gandolfini as overly seasoned vet hit-man Mickey is absolutely fantastic. He’s a very bad guy with a bad attitude and some serious personal problems. Somehow, the actor crafts him into someone we feel sorry for in spite of who and what he is. He commands your attention whenever he’s on screen, even away from Pitt.

This is not a movie heavy on action. However, what is there is visually arresting. Unfortunately for him, Markie (Liotta) is on the receiving end of two of these scenes. One is spectacularly brutal and the other is an amazing slo-mo sequence. Other than that latter scene, all of the action has an real feel to it. I’ll admit to flinching once or twice.

As great as the performances and  the visuals are, the hardly concealed subtext has to be addressed. The movie is set during the financial crisis that marred the final days of George W. Bush’s presidency and set the table for Barack Obama’s. Just so you don’t forget this, political news is constantly used as background noise, either on television or radio. From time to time, the focus even shifts directly to it. It comes across as totally cynical and, perhaps, a way right leaning view on America. It’s possible I could be misreading the latter, but not the former. It’s fairly clear that everything happening on the screen is a metaphor for what went on in late 2008. In case somehow, after an hour and a half, you’re not so sure this movie isn't too excited about the country’s future, it’s last spoken line will confirm it for you. For some, it might decide whether or not you like the film.

For me, the last line doesn't dictate either as I figured out that was the movie’s outlook early on. Regardless of whether I agree or not, Killing Them Softly is a fascinating experience with a different take on the mafia and how it operates, presenting them more symbollically than anything else. I rather enjoyed it. Sadly, I was disappointed that despite the movie’s title, we never get to hear Roberta Flack’s nor The Fugees’, or anyone’s rendition of the classic song from which it is derived. Hmph.

(Note: I’m generally a little slow getting reviews up. Depending on what’s going on in real life, it usually takes me three or four days to write a review and get it posted, but it can be over a week. This is my hobby, not my job. Yet. I only mention this because I actually watched this and had the review hand-written a few days before the passing of one of this movie’s stars, James Gandolfini. He was an amazing talent that I’ve praised in other reviews and, of course, he IS Tony Soprano. That said, I really do think his performance in this movie is amazing and I’m not just saying nice things because he’s recently deceased.)

MY SCORE: 8/10   

Skyfall

Directed by Sam Mendes.

2012. Rated PG-13, 143 minutes.

Cast:

Daniel Craig

Judi Dench

Javier Bardem

Ralph Fiennes

Naomie Harris

Bérénice Marlohe

Albert Finney

Ben Whishaw

Ola Rapace

Bill Buckhurst

Skyfall opens with the death of James Bond (Craig), in spectacular fashion, of course. No worries, or spoiler alert necessary. His condition doesn't last long. After all, this is a 007 movie. You just can’t go killing him before the opening credits. Besides, both MI6 and M (Dench) are in great danger. Who else is gonna save the day? However, the genius of this movie is that it’s not really so simple as the hero saving the day, despite appearances.

Someone has stolen a list that reveals the identities of all of MI6’s undercover agents around the world and is fond of sending M personal, if cryptic, messages. This is a big problem, as you might imagine. The already difficult task of retrieving this list and/or tracking down the person responsible is made that much more so by the fact that our hero is suffering from fairly significant physical and emotional issues.

Beginning with Bond himself, extending to M, the entire movie is a dissertation on old vs. new. The franchise itself has long understood that its main character is a relic of the Cold War. He is even referred to as such in one of those abysmal Pierce Brosnan outings. Here, the point is driven home. MI6 is under fire from its own government for being antiquated and clinging to its old ways. We’re also reminded numerous times that Bond is not of this generation. His time seems to have past. As evidence, his edges are more frayed than ever before. Daniel Craig continues to play the role brilliantly, both as a man and a super-spy. With three 007 flicks under his belt, it’s debatable whether or not he’s the best Bond ever. It’s inarguable that his is the most human rendition of the character. And the actor is not alone on his quest to make this true. He’s been given scripts that not only allow him to bleed, but to actually feel.

No matter how much emotion our hero has to deal with, it couldn't be a great Bond movie without heart-pounding action and an eccentric villain. The action is terrifically ridiculous. All manner of vehicle is given a whirl, most notably trains. Lots of fun with trains. There’s lots of exciting hand-to-hand combat and plenty of shooting. Oh, and we have some rather large man-eating lizards. The only drawback in the action department is the best sequence opens the movie. We keep hoping something will top it, but none can. What happens with the helicopter during the last big set gets closest. Still, it’s all loads of fun.

As far as our bad guy, Silver, he’s gleefully played by Javier Bardem who brings his usual excellence to the role and has fun with it. Unfortunately, he may have a little too much fun. Silver comes off more amusing, if creepy and eventually pathetic, than menacing. True, he puts our hero into some harrowing situations. I’m just not so sure he inspires feelings of dread. That’s a bit disappointing since the same actor gave us one of this century’s most frightening film villains in No Country for Old Men.

Luckily for us, this is the rare Bond film that doesn’t sink or swim based on its bad guy. That’s because, at the end of the day, Skyfall is probably the most self-aware Bond film ever made. Of the three Daniel Craig entries into the canon, two of them are excellent. The first, Casino Royale, is a brilliant series reboot. Also self-aware, it purposely avoids the cheesiest and most over-the-top aspects of the franchise. Most noticeably, Bond’s gadgets, which the Brosnan flicks were overrun by, are nowhere to be found. In their absence we begin to delve into the psychology of the character along with the action. This is where some tenets of Bond, such as his love for scotch, are no longer seen as just things that a cool and manly super-spy does. Quantum of Solace, an incoherent mess, is the oddball. It’s somewhat enjoyable, but a far cry from its predecessor. Skyfall is a return to greatness. It continuously questions its own place in today’s world. It questions the way its hero and, by extension, the movie itself goes about its business. It even gives us a few gadgets, simultaneously paying homage to Bond’s glorious past and wondering whether they have any place in his future. Even M must face this same judgment, both explicitly by members of Parliament and within the film’s subtext. Much more than just another Bond flick, or an excuse to showcase shootouts and car chases, this is a movie that recognizes the status of its protagonist as a pop-culture icon and his battle to stay relevant.

Speed Racer

Seven Psychopaths

Directed by Martin McDonagh.

2012. Rated R, 110 minutes.

Cast:

Colin Farrell

Sam Rockwell

Woody Harrelson

Christopher Walken

Tom Waits

Abbie Cornish

Linda Bright Clay

Olga Kurylenko

Gabourey Sidibe

Michael Stuhlbarg

Helena Mattsson

Kevin Corrigan

Marty (Farrell) is a Hollywood screenwriter and the world is anxiously awaiting his next masterpiece. He’s titled it “Seven Psychopaths,” but that’s pretty much as far as he’s gotten. His bestest buddy Billy (Rockwell) wants to help him write the thing and offers up some inspiration in the form of a story he heard in a bar and a newspaper article about an actual nut job, still at large, called the Jack ‘O Diamonds killer who goes around murdering members of the mob. Before long, real life intervenes when Billy’s “job” brings a genuine psychopath their way. He’s part of a dog-napping scheme with Hans (Walken). The two snatch up some poor unsuspecting canine then later return it to the owner for the reward money. It just so happens that their latest acquisition belongs to local gangster Charlie (Harrelson). Let’s just say he’s not planning on paying to get his dog back.

From the outset, we realize this is going to be a hyper-violent comedy. That the scenery will be blood-soaked is a given. The question is whether or not it can maintain the humor aspect. Thankfully it does, for the most part. Writer-director Martin McDonagh, who gave us the incredible In Bruges, crafts a script that’s borderline self-parody. It echoes sentiments others may have about his own work or of these sorts of movies, in general, purposely and sarcastically reinforcing them. Most noticeably, this includes apparent misogyny. Through other characters questioning Marty on his handling of his female characters, it becomes McDonagh fielding questions from critics. Through the course of the movie, his answer seems to be a defiantly waved middle finger. This doesn't make what happens pro-feminist in any way, but makes it easier to take because we sense the movie is aware of what it’s doing and simply trying to push our buttons.

The actors themselves also help push our buttons. Pulling off the delicate balance between graphic violence and snarky humor always requires strong performances. This movie has them in spades. The constant banter between Farrell and Rockwell works wonderfully as both men turn in stellar work. To compliment them, Woody Harrelson and Chrisopher Walken absolutely steal every scene either of them are in. This keeps the movie moving along at a snappy pace. Between the action and these guys tearing up the screen, Seven Psychopaths is a hard film to take your eyes off.

The biggest drawback to SP is that, at times, it feels overly influenced by early Guy Ritchie and Quentin Tarantino. This could very easily be mistaken as part of either director’s filmography (sans the British accents for Ritchie). Honestly though, McDonagh is a skilled enough filmmaker to make this is a good thing. More than just aping the movies we love, it stands alongside them as a sharp-tongued and mercilessly violent dark comedy that is at once absurd and sublime.