I’ve written before that director Matthew Vaughn is the best big screen filmmaker when it comes to making the most of studio money. This is the man who made Daniel Craig Bond, rejuvenated the dormant X-Men franchise, and gifted Fox a twenty-first century James Bond of its own. The first Kingsman movie was one of the best films of 2015 and was bursting with attitude, style, and perverse entertainment. It was my favorite James Bond movie that was never a Bond movie. Success demanded a sequel, and now Kingsman: The Golden Circle is upon us and proof that Vaughn may be mortal after all.
Eggsy (Taron Eagleton) is living a charmed life now that he’s earned his place within the ultra-secret, ultra-powerful Kingsman spy organization. In between battling villains and the riffraff, Eggsy tries to maintain some semblance of a normal life with his girlfriend Tilde (Hanna Alstrom), who, yeah, happens to be the princess of Sweden. Poppy (Julianne Moore) is a drug baron in the vein of Martha Stewart. She’s tired of lurking in seclusion in the jungles of Cambodia and wants the credit she deserves as the most successful businesswoman. She locates the homes of the remaining Kingsman and blows them up, leaving only Eggsy and Merlin (Mark Strong). Poppy takes aim at the war on drugs. She infects her own product with a deadly agent and holds the world hostage. Unless global leaders decriminalize drugs, millions of infected people will die. In the meantime, Eggsy and Merlin travel to Kentucky to seek out help from their American brethren, the Statesmen (Jeff Bridges, Channing Tatum, Halle Berry), a clandestine spy organization that also doubles as a gargantuan bourbon distillery.
With Vaughn back at the helm I expected the best, and while Kingsman: The Golden Circle has plenty to like there is noticeably less to love. Being a sequel means that what once felt fresh will now lose some measure of its appeal and charm, and Vaughn and company do falter at times under the pressure to live up to what they established with their rip-roaring spy caper of an original. The brilliant structure of the first movie (mentorship, spy camp competition, class conflict themes) cannot be readily duplicated. There are interesting story elements here but Golden Circle doesn’t seem to know what to do with them, including with the titular Golden Circle. The villains never really feel that threatening. Poppy’s scheme is great and the 1950s diner iconography of her home is an eye-catching lair worthy of a demented Bond villain. It’s just that it feels like we never get a villain worthy of their wicked scheme. Where did she get all of this tech? Her henchmen are lackluster and a lackey with a cybernetic arm (Edward Holcroft) is no competition for Sofia Boutella (The Mummy) and her slashing blade legs. When the bad guys don’t feel like much of a challenge, it deflates the stakes and enjoyment factor of the big finale. It’s a series of ideas that need to be pushed further, refined, revised, and better developed. The first film was packed with surprises and payoffs both big and small, and the sequel feels lacking in payoffs of any kind.
The Statesmen are more a pit stop than integral plot element. You would think a majority of the film would be the international clash between Yanks and Brits, supplying some of that class friction that energized the first film. With the exception of Pedro Pascal (Narcos), you could eliminate them from the movie with minimal damage to the story. Channing Tatum (Logan Lucky) has gotten large placement in the advertisement but he is literally put on ice for a majority of the movie. The exaggerated cartoon nature of the Statesmen feels like Vaughn’s goof on American hyper machismo, but they stay at that same cartoon level throughout. They feel like parody figures, and Vaughn sidelines their involvement. The spy missions are a letdown. There’s an enemy compound atop a mountain in Italy, and all they do is walk inside, immediately grab the thing they need, and immediately run away. It all adds up to a two-hour-plus movie that’s still consistently enjoyable but also consistently unmemorable.
There are things in The Golden Circle that feel like they’re here just because of fan response rather than narrative necessity. The biggest offender is the return of Harry (Colin Firth). He served his purpose bringing Eggsy into the clandestine yet dapper world of the Kingsman, modeling as a father figure, and dying to push our protagonist onward. Bringing him back to life doesn’t serve the story except to bring back a character we genuinely liked. In this sequel, his return and subsequent amnesia doesn’t force Eggsy to retrain his former mentor. Instead he’s mostly a tag-along as another character to shoot the bad guys. Harry simply shouldn’t be here, and resurrecting him takes away from the shock of his death and the weight of his loss. They even recreate the “manners maketh man” bar fight, except the inclusion is so contrived that I thought it was all some kind of Statesman plan to ease Harry back into fighting shape. Nope. Another aspect that feels forced is Eggsy’s relationship with the princess of Sweden. This feels like an apology for the crass joke from the first movie that upset people’s delicate sensibilities (apparently this was worse than a montage of people’s heads exploding). The relationship feels forced and every time the movie cuts back to his troubles with Tilde, they feel small and annoying. It’s like Vaughn is trying to salvage a risqué joke by turning them into a committed couple. Then again the “mucus membrane” moment in Golden Circle (you’ll know it when you see it) seems like a renewed attempt at being transgressive.
The action set pieces have their moments but like everything else there are few that stand out or will stand the test of time. The film starts off strong with a brutal fistfight inside a speeding car. Even with the cramped quarters, it feels easy to follow, creatively inventive, and exciting. As the fight continues, the sequence loses its creative verve and becomes indistinguishable from any other silly Bond car chase. The big finale where the remaining Kingsman storm Poppy’s jungle compound has some cool moments, like Eggsy taking cover behind a giant rolling donut. Regrettably, the action sequences lack the snap and imagination that have defined Vaughn’s films, proving to be yet another underdeveloped aspect. The hand-to-hand fight choreography is still strong and stylish. The final fight between Eggsy and the metallically armed henchman has the fluidity, vision, and fun that were missing from the other scuffles. I’ll credit Vaughn with finding ways to make a lasso and whip look badass and integrating it elegantly with fight choreography (no easy task, right, season five of Game of Thrones?). I kept patiently waiting for any sequence that grabbed my attention like the insane church massacre.
There are two elements in The Golden Circle that rise to the level of entertainment of the first film, and one of those is literally Elton John. It starts off as a cameo with John being kidnapped and forced to perform for Poppy’s private audience. Then he just keeps appearing. He passes over from cameo to downright supporting actor, and just when you think you’ve had enough and that Vaughn has overindulged his Elton John fandom, here comes a climactic solution that is inspired and completely justifies the repeated John appearances. I howled with laughter and wanted to clap in appreciation. It was the best setup-payoff combo in the entire film. The other creative highpoint is a treacherous left turn into the politics of the war on drugs. Poppy argues how legal consumables like alcohol and sugar are far more deadly and addictive. I’ve heard all those arguments before about the hypocritical nature of the war on drugs from every armchair philosopher. Where the film really surprised me was when it gave voice to a nasty perspective I’ve heard in response to the rising opioid crisis in America. Some view drug addicts more as criminals needing to be punished rather than victims needing a helping hand and treatment. When Poppy makes her demands, there are government representatives that openly cheer her ploy, believing they can wipe out the junkie scum. This unsympathetic yet eerily resonant response felt like Vaughn and company finding organic ways to raise the stakes and bring in more sinister forces.
The movie never addresses one holdover from the original Kingsman that I think deserves at least a passing mention, and that’s the fact that every government leader or head of state in Western democracy had their head explode. That kind of public service vacuum would sow plenty of chaos and controversy, especially when people discovered that their elected leaders were complicit with the plan to kill the world’s remaining population. I feel like this was such a huge event that it at least deserves a cursory mention of some sort.
With the glut of disappointing and alternatively maddening action cinema this year, I’ll still gladly take Vaughn’s reheated leftovers. Kingsman: The Golden Circle feels like it’s succumbing to the bombastic spy hijinks it was satirizing before, losing some semblance of its identity and wit to crank out an acceptable though unmemorable sequel. It lacks the sense of danger and genre reinvention that powered the first film. Vaughn’s signature style is still present and there are fun and intriguing story elements available; however, the development is what’s missing. The cool stuff is there but Golden Circle just doesn’t know what to do with it, and so we gallop to the finale feeling a mild dissatisfaction. Apparently the studio execs at Fox want Vaughn to get started on a third Kingsman as soon as possible. I just hope he hasn’t lost his interest in the franchise he birthed. It would be a shame for something like this to become just another underwhelming franchise.
Nate’s Grade: B-
I was expecting to bury Little Boy in an avalanche of negativity once I found out a late plot point that made my jaw drop. This inspirational Christian independent film is set during World War II and features a pint-sized moppet, Pepper (Jakob Salvati), whose only real friend is his father (Michael Rapaport), who is now serving in the fight in the Pacific. He’s told that through the power of belief he can accomplish great things, and well, he really wants his dad to come home. So through the power of belief he causes… the dropping of the atomic bomb (WWII aficionados will recognize the nickname of the bomb). I was waiting for the moment and amping my sense of dread and moral outrage. A funny thing happened on the way to a nuclear bomb detonation, and that is that Little Boy is a fairly agreeable and effective family film that conveys a message with a welcomed degree of ambiguity and complexity and tolerance. This is a Christian-themed film about the power of belief but at no point does it make explicit whether it’s coincidence or the power of Pepper channeling God. Part of Pepper’s list of good deeds given to him by a priest (Tom Wilkinson) is to befriend a Japanese neighbor who returned home from an internment camp. The movie shows how casual these small-town folk indulge in racism and bullying. The Japanese man is also an atheist and I was legitimately astonished that the movie never makes a judgment about this. He’s treated as a complex man with his own system of thinking, and he’s not viewed as lesser or wayward because of his lack of belief in a higher power. Little Boy is no God’s Not Dead. The melodrama is well paced, the acting is solid if a bit heavy on long bouts of weeping, and the movie undercuts what normally would be the inspirational apexes with harsher reality. The bomb is dropped, and Pepper is initially celebrating until he discovers the total horror of Hiroshima. His “wish” may have even backfired with his father getting further punishment in a POW camp. While I still find the development tacky, I have to reluctantly credit the filmmakers for refusing to pander in a style that removes the complexity and ambiguity of real life. It’s still a movie and it still has a rather predictable albeit emotionally earned ending, but Little Boy might just be one of the biggest surprises of this year for me at the movies.
Nate’s Grade: C+
I’ve never read a Russian novel before, mostly because I don’t need to read 900 pages of bleakness and repressed happiness. With that said, I knew very little going into Anna Karenina (the very title sounds too heavy in syllables, like you’re stuttering). What didn’t help matters was director Joe Wright’s edict to set the story as if it was being performed on a living stage. This bizarre visual concept is interesting for a little while until you realize that it never goes further than the obvious note that the lives of the elites were played out in public for cruel judgment. The staging also gave me many periods of confusion where it felt like a character fantasy was taking place. The peculiar staging seems superfluous and the real draw for the film, not the relatively fine performances or Tom Stoppard’s (Shakespeare in Love) adaptation. I don’t think it works as a movie because, much like Wright’s Atonement, it feels too self-satisfied in its own mannered artifice. It’s an overload on style and the film neglects to give me a reason to care about the story and the characters. Keira Knightley as the titular heroine is hard to embrace, Aaron Taylor-Johnson (Savages) seems miscast as her dashing lover, and Jude Law (Hugo) comes across as unreasonably tolerable of his wife’s flights of fancy, so much so it makes it hard to sympathize with her downward spiral. It’s a pretty movie and I applaud its attempt to do something different, but Wright’s Anna Karenina feels too fanciful to come across as tragic.
Nate’s Grade: B-
Steven Spielberg and war seem like a dynamite combination. The popular director puts away his childish things and becomes a much more mature, thoughtful artist, with the obvious exception of 1979’s 1941. War Horse is the adaptation of a children’s book-turned-Tony-Award-winning play, where the title star was brought to life on stage via skilled puppeteers. And lo, did people weep for that puppet horse on stage, and lo will they likely weep for the flesh-and-blood version on the big screen. However, I’d hardly call this movie a mature examination on the horrors of World War I. It’s more of a touchy-feely, stodgy, vignette-heavy drama that brings out the worst in Spielberg’s sentimental side.
We’re introduced to our young horse early on, where young Albert (Jeremy Irvine) spies the colt and forms an instant bond. Albert’s father Ted (Peter Mullen) buys the horse on a whim, even though the family could really use a plow horse. Albert names the horse Joey and is determined to prove everybody wrong who doubts the both of them. Together they indeed plow that rocky field and Albert’s family keeps their farm. Then World War I breaks out across Europe and the family ends up losing the horse. Joey is confiscated by the English cavalry and goes on a fantastic journey, switching sides over the course of the war (and allegiances?). Albert enlists in the military so that he can find his long-lost horse. I guess they’ll be no “Dear John” letter when your beloved only has hooves.
War Horse is a throwback to old-fashioned Hollywood epics. It’s like John Ford took control of this movie from beyond the grave (note to self: premise for a supernatural comedy). My theater was filled to the rafters with old people. It was like the nursing home emptied out for the Greatest generation’s couples night. It’s easy to see why the movie would appeal to such an older crowd. It’s a simple story told with its emotions squarely on its sleeve like a badge of honor (mixed metaphors!). It’s so unflappably earnest and sentimental that it can occasionally fall into cornball territory. There’s the greedy landlord who wants to kick the poor family off their farm. Being a Spielberg movie, no expense is spared in milking as many emotions as possible. Spielberg demands tears and you will deliver them, or so help him. It’s all about Joey the horse prancing through people’s lives, touching hearts, bringing enemies together. The movie is primed for mass (older) audience appeal; for God’s sake there is a sassy goose that Spielberg can’t help himself but continue to include. Sassy goose equals money in the bank. This is the only movie I can imagine where plowing is treated as a point of dramatic catharsis. Suffice to say, War Horse is a stodgy war drama that won’t offend anyone with delicate sensibilities.
I wasn’t expecting War Horse to be the equine version of The Red Violin (if you unfamiliar with the masterful 1999 film The Red Violin, go see it immediately instead of watching this flick). We see the horrors of war through a series of vignettes as Joey passes from owner to owner, each befalling some unfortunate fate, though I don’t think the horse is to blame (or is he…?). The vignettes run about 15-20 minutes or so apiece and because the one constant is the horse, that means we have to feature characters talking out loud explaining everything they do and feel. The horse just kind of takes in everyone’s secrets, probably wishing these people would stop their yapping. The characters are drawn rather broad so we get the German brothers who desert their posts, a French girl wanting to learn to ride a horse, and a noble English cavalry marshal, amongst others. It’s hard to get attached to such disposable characters that fail to leave a modest dent. I thought maybe all these characters would converge in the end for an emotional climax, but then I remembered that many of them were dead, so nope. It’s a strange screenwriting shortcoming when the most engaging character for most of the movie is on four legs and never says a word.
It’s hard not to emote when Spielberg lathers on the sentimentality with aplomb. But if you took away John Williams’ earnest score, Spielberg’s sappy staging, and all those close-ups of animals, would you feel anything for this story or these characters; would you feel anything without all the reminders to feel? I doubt it. Don’t count me heartless, for I’ll have you know I bawled like a baby who just watched another baby hit with a shovel at Marley & Me, but does the life of one horse matter so much more than the millions of lives lost at war? We watch all those boys, many not old enough to be called men, run into the unforgiving gauntlet of war, but someone the life of one horse is supposed to outweigh the countless death. I understand a tight narrative focus so that large, unfathomable horrors can feel personable and better felt. Shindler’s List is that kind of movie. War Horse is not. This isn’t even Black Beauty or National Velvet. One of the English soldiers chides the sobbing Albert with a sharp quip: “It’s not a dog, boy, it’s just a horse.” I felt sad when the horse was in danger; I’m not a heartless bastard.
And oh does this horse seem to be Spielberg’s symbol of purity, mankind’s ultimate accomplishment, or, you know, something Big and Important. At one point, Joey gets tangled in a mess of barbed wire and the English and Germans all come to some sort of uneasy truce to work together to free this beautiful animal (if only more hapless horses had gotten lost in No Man’s Land maybe the war would’ve been over sooner – now I sound heartless). The horse is supposed to represent some messianic cost of war, where we destroy nature, turning majestic creatures into weapons of war, etc. I don’t really know what the message/symbolism is striving for but it’s constantly grappling, looking for a suitable sticking point. Honestly, if Joey was supposed to represent purity, goodness, nature, then that filly needed to get turned into glue by film’s end (spoiler alert). I erroneously predicted War Horse to be the “Marley & Me of war pictures.” The horse lives, rejoice America. Never mind the millions of people who died horribly. You can’t have a messianic symbol without martyrdom. If Spielberg wants to drive home the loss of innocence that many underwent thanks to the War to End All Wars (oh, if only), then the horse, a symbol of innocence and nature, needed to die at the machines of war. Otherwise the movie becomes an episodic journey of a single horse, an equine Forrest Gump. I can’t imagine that’s what Spielberg had in mind. I envisioned an M. Night Shyamalan-esque ending wherein the horse does eventually die, get turned into glue, and that glue is sued to construct a bomber plane for World War II. That plane? The Enola Gay. Cut to end credits. War Horse!
This movie has deteriorate in my mind the more I think back, picking away its cornball earnestness and stodgy sensibilities. When the horse is your greatest character then your war drama has some problems. War Horse is not a bad movie by most counts. It looks swell, the emotions are big, and hey horses are pretty aren’t they? But for any discerning moviegoer looking for a strong narrative, incisive commentary on the war, or even moderately appealing characters, well I hope you like looking at horses.
Nate’s Grade: B-
Nothing comes easy when dealing with acclaimed screenwriter Charlie Kaufman. The most exciting scribe in Hollywood does not tend to water down his stories. Kaufman’s latest head-trip, Synecdoche, New York, is a polarizing work that follows a nontraditional narrative and works on a secondary existential level. That’s enough for several critics to hurtle words like “incomprehensible” and “confusing” as weapons intended to marginalize Synecdoche, New York as self-indulgent prattle. I guess no one wants to go to the movies and think any more. Thinking causes headaches, after all.
Caden (Phillip Seymour Hoffman) is a struggling 40-year-old theater director trying to find meaning in his beleaguered life. His wife (Catherine Keener) has run off to Germany with his little daughter, Olive. He also manages to botch a potential romance with Hazel (Samantha Morton), a woman who works in the theater box-office who has an unusual crush on Caden. He’s also plagued by numerous mysterious health ailments that only seem to multiply. While his life seems to be in the pits, Caden is offered a theater grant of limitless money. He has big ambitions: he will restage every moment of his whole life to try and discover the hard truths about life and death. Caden must then cast actors to portray the various people in his life. Sammy (Tom Noonan) argues that no other actor could get closer to the truth of Caden; Sammy has been following and studying Caden for over 20 years (don’t bother asking why in a movie like this). Caden also casts his new wife, Claire (Michelle Williams), as herself. The theater production gets more and more complex, eventually requiring the “Caden” character to hire his own Caden actor. Caden hires Hazel to be his assistant and Sammy falls in love with her. Caden admonishes his actor, “That Hazel isn’t for you.” Caden then tries sleeping with “Hazel” (Emily Watson) to get even with the real Hazel. By producing a theatrical mechanism that almost seems self-sustaining, Caden wants to leave his mark on the world and potentially live forever.
I heard plenty of blather about how mind-numbing Synecdoche, New York was and how Kaufman had really done it this time when he composed a script that involves characters playing characters playing characters. People told me that it was all too much to keep track of and that it made their brains hurt. The movie is complex, yes, and demands a viewer to be actively engaged, but the movie is far from confusing and any person or critic that just throws up their hands and says, “Nope, too much to think about,” is doing their brain a disservice. The movie is relatively easy to follow in a simple linear cause-effect manner; Kaufman only really goes as deep as two iterations from reality, meaning that Caden has his initial doppelganger and then eventually that doppelganger must get his own Caden doppelganger (it’s not nearly as confusing as it sounds if you see it). Now, where the movie might be tricky to understand is how deeply contemplative and metaphorical it can manage to be, especially at its somber close. That doesn’t mean that Synecdoche, New York is impossible to understand only that it requires some extra effort to appreciate. But this movie pays off in huge ways on repeat viewings, adding texture to Kaufman’s intricately plotted big picture, unfolding into a richer statement about the nature of life and death and love.
Theater has often been an easy metaphor for life. William Shakespeare said, “All the world’s a stage, and all the men and women merely players; they have their exits and their entrances; and one man in his time plays many parts.” Kaufman movies always dwell substantially with the nature of identity, and Synecdoche, New York views identity through the artifice of theater. Caden searches for something brutal and true via the stage, but of course eventually his search for truth becomes compromised with personal interests. Characters in Caden’s life are altered and in the end when Caden steps down, as himself, reality starts getting revised. The truth is often blurred through the process of interpretation. Caden ends up swapping identities with a bit player in the story of his life, potentially finding a greater sense of personal comfort as someone else. Don’t we all play characters in our lives? Don’t we all assume different identities for different purposes? Do we act differently at a job than at home, at church than at a bar? Caden remarks that there are no extras in life and that everyone is a lead in his or her own story.
Kaufman’s movie is also funny, like really darkly funny and borderline absurdist to the point of being some strange lost work by Franz Kafka (Hazel even mentions she’s reading Kafka’s The Trial). You may be so caught up trying to render the complexities of the story to catch all of the humor. The movie exists in a surreal landscape, where the characters treat the fantastic practically as mundane. Hazel’s house is constantly on fire and yet none of the characters regard this as dangerous or out of the ordinary. It is just another factor of life. The entire subplot with Hope Davis as a hilariously incompetent therapist is deeply weird. Caden suffers some especially cruel Job-like exploits, particularly what befalls his estranged daughter, Olive. He’s obsessed with her hidden whereabouts and European upbringing, to the point that Caden cannot even remember the name of his other daughter he has with Claire. There is a deathbed scene between the two that is equally sad and twisted given the astounding behavior that Caden is forced to apologize for. There are running gags that eventually transform into metaphors, like Caden’s many different medical ailments and the unhelpful bureaucratic doctors who know nothing and refuse to divulge any info. Kaufman even has Emily Watson, an actress mistaken for Morton, play the character of “Hazel.”
This is Kaufman’s debut as a director and I think the movie ultimately benefits by giving its writer more control over the finished product. The movie is such a singular work of creativity that it helps by not having another director; there is no other artistic vision but Kaufman’s. While the film can feel slightly hermetic at times visually, Kaufman and cinematographer Frederick Elmes (The Ice Storm) pack the film with detail. Stylistically, the film is mannered but this is to make maximum impact for the vast amount of visual metaphors. Synecdoche, New York never feels as mannered as the recent Wes Anderson films, henpecked by a style that serves decoration rather than storytelling. The production design for the world-within-a-world is also alluring and imaginative, like a living, breathing dollhouse.
The assorted actors do well with their quirky, flawed characters, but clearly Hoffman is the linchpin to the film. He plays a character from middle age to old age, and at every step Hoffman manages to infuse some level of empathy for a man routinely disappointed by his own life. The failed yet lingering and hopeful romance between Caden and Hazel provides an almost sweet undercurrent for a character obsessed with death. Hoffman is convincing at every moment, even as a hobbled 80-year-old man, and gives a performance steeped in sadness but with the occasional glimmer of hope, whether it be the ambition of his theater project or the dream of holding Hazel once more. Morton is also wonderfully kindhearted and endearing as the woman that just seems to keep slipping away from Caden.
There’s no other way to say it but Synecdoche, New York is a movie that you need to see multiple times to appreciate. The plot is so grandiose in scope and ambition that one sitting does not do it justice. Kaufman has forged a strikingly peculiar movie that manages to be surreal and bleakly comic while also being poignant and humane. This is a big movie with big statements that can be easily missed, but for those willing to dig into the wealth of metaphor and reflection, Synecdoche, New York is a rewarding film experience that sticks with you. By the end of this movie, Kaufman has earned the merging of metaphor and narrative. I have already seen the movie twice and still cannot get it out of my thoughts. This isn’t the kind of movie that you feel warm affection for, like Kaufman’s blissfully profound Eternal Sunshine of the Spotless Mind. This movie is less a confounding puzzle than an intellectually stimulating examination on art, the human experience, and, ultimately death. If people would rather kill brain cells watching whatever dreck Hollywood secretes every week (cough, Street Fighter: The Legend of Chun-Li, cough) then that’s their prerogative. Give me a Charlie Kaufman movie and a bottle of aspirin any day.
Nate’s Grade: A
Not as good as Nightmare Before Christmas, but really, what can be? Tim Burton second stop-motion animated film is beautifully crafted and emotionally involving. It’s interesting because all three characters in the movie’s love triangle have really done nothing wrong, and our sympathies are stretched to all three. The contrast of the world of the living (drab, formal) and the dead (colorful, lively) is stark, and death in Corpse Bride is presented as simply another stage of living. Therefore, you don’t have to worry about scaring the kids with this one. The ending is a bit too conventional and the songs are all lackluster, nothing ever as remotely hum-able as Danny Elfman’s masterpieces in Nightmare Before Christmas. Despite the unfair comparisons, Corpse Bride is easy on the eyes, amusing, and nicely romantic.
Nate’s Grade: B
Barry Egan (Sandler) is a self-employed supplier of novelty toilet plungers. His seven older sisters have made it their job to torment him ever since he was young. In moments of confession of his unhappiness Barry usually prefaces by pleading with people not to tell his sisters. Barry is a timid introverted wallflower yet full of volatile rage fit to senselessly trash a restaurant bathroom. Lena Leonard (Emily Watson) pursues Barry after being introduced through one of his sisters. Lena latches onto the oddball and he finds the maternal comfort and acceptance he has missed his entire life. Somehow these two souls have crossed paths and become exactly what the other has always needed.
But Barry has trouble ahead of him. One night he called a phone sex line and innocently gave out all of his personal information over the phone. Now a sleazy Provo mattress store owner (Phillip Seymour Hoffman) is extorting money from Barry and using four blond Mormon brothers as his muscle. When Barry confronts the thugs, whom have now begun to endanger Lena as well, he boldly states, ”I have a love in my life and that gives me more strength than you will ever know.” You cant help but believe it and genuinely feel for the resurgence of this character’s dignity.
Writer/director Paul Thomas Anderson spins an engrossing character study deconstructing the angry goofball Sandler has been so accustomed to playing in all his slapstick comedies. He plays the same character archetype but is now given new dimensions to play with and depth. The true revelation of Punch-Drunk Love is that Sandler can really act. No, really, I’m dead serious.
The direction and writing are much more restrained than with Andersons previous films. The world of Punch-Drunk Love is full of stark colors, slow camera movements and vast amounts of spatial emptiness. The scope is much narrower, focusing on a small set of characters and just allowing them to tell the story without outside interference — like a frog shower. Due to the attention paid to Barry, everyone else becomes underwritten including the stoic love interest. After being convinced of Barry’s instabilities the audience is left to assume sheer blind faith at what Lena sees in Barry.
Punch-Drunk Love gleefully ignores and plays with romantic comedy conventions. The running time is under 90 minutes, (which is still only HALF of Magnolia) but the pacing is precise. John Brions percussion heavy musical score wonderfully displays the boiling anger behind Barrys placid exterior during key moments.
The storytelling of Punch-Drunk Love is full of uneasily accessible quirks and will likely be reacted to with hostility by mainstream America. What Anderson has crafted is an arty Adam Sandler movie that few thought even possible. Next thing you’ll tell me is that David Lynch will do a G-rated Disney Film. What’s that now?
Nate’s Grade: B+
Person #1: So this Hannibal movie made like a ton of green. What else can we do to squeeze out some more money?
Person #2: Hey, do you remember a movie called Manhunter based on the first Lector novel?
Person #1: Nope.
Person #2: That’s fine because nobody else does.
It’s official folks: Hannibal Lector, America’s favorite cannibal, is now more comical than scary. See the element that 1991’s Silence of the Lambs carried with it was a stealthily gripping sense of psychological horror. It hung with you in every closed breath you would take, surrounding you and blanketing your mind. I mean, there aren’t many serial killer movies that win a slew of Oscars. And while the follow-up, last year’s Hannibal, gleefully bathed in excess at least Ridley Scott’s sequel was so over-the-top with its Baroque horror that it was entertaining. So what’s Red Dragon, the latest Lector flick based on Thomas Harris first novel like? Well it’s like the bastard child of Lambs and Hannibal after a drunken one-night-stand neither would be proud of in the pale light of morning.
In an extended prologue we see the capture of the good doctor with a good appetite, Hannibal Lector (Anthony Hopkins, completing his trilogy of the character). FBI Agent Will Graham (Edward Norton) seeks his advice on a profile of a serial killer, not knowing that Lector more than fits the bill. A violent struggle ensues that leaves Graham with a long scar across his abdomen and Lector locked away for nine consecutive life sentences.
Turns out there’s another madman on the loose. The Tooth Fairy, dubbed by tabloid journalist Freddy Lounds (Phillip Seymour Hoffman), has butchered two families in their homes and inserted shards of broken mirror into their eyes. The FBI coaxes Graham out of retirement to try and track down the Tooth Fairy. But it seems in order to make any significant ground he must seek help from an old advisor – Hannibal Lector.
The crux of the film follows Graham’s attempts to figure out the identity of the Tooth Fairy, which we learn fairly fast is pretty boy Ralph Fiennes. Seems Fiennes has a cleft palette and years of physical and sexual abuse to toil over. He desires to transform into a mythical Chinese creature known as the Red Dragon. But wait, the lonely Fiennes is befriended by a lovely blind woman (Emily Watson) who identifies having people look differently at her. Can her affections melt the cold heart of a cold-blooded killer? Well, if they did thered be no other half of this movie.
What Red Dragon feels like is more of a checklist of what we expect to see in a Hannibal movie than anything of creative nourishment. It’s like a slimmer version of Lambs plot. Once again there’s an FBI agent who recruits Hannibal for advice on tracking down a serial killer. Once again there’s a disturbed killer trying to transform himself. Once again Hannibal Lector scares the crap out of anyone at will. Check, check, and check. Creative stagnation? Double check. The most disappointing aspect is the rudimentary feel this whole exercise has. Even though Red Dragon is a prequel it still seems like it’s begging to meet our expectations of two earlier films.
The first stab at the Red Dragon novel was in 1986 by director Michael Mann (Ali, The Insider) with the thriller Manhunter. William Peterson (before his work at CSI) was a more brooding Graham, Tom Noonan was a spookier Tooth Fairy, and the tension was stacked better. There were no comparative expectations.
Norton is the finest actor of his generation but has certain trouble breathing life into Graham. The character is far more straight-laced than what we’ve been told is an expert at delving into the minds of killers. Grahams relationship with Lector doesn’t have any of the complexity, or interest, that Jodie Foster’s Clarice Starling had. He can even be very flat-footed in his detective work for a specialist. He stares at the home videos of the two slain families for about an hour wondering what the connection is while we in the audience shout it out to him. Lets go to the videotape Ed!
Anthony Hopkins returns as the devil in the flesh and seems to have another grand old time. Lector worked in Lambs because he was caged up, like a wild animal not meant for four glass walls. You never knew what would happen. He’d get in your head and he would know what to do with your gray matter — not that he didn’t have a culinary degree in that department with Hannibal. With Red Dragon, Hannibal is just window dressing to another serial killer. He’s a supporting character in a story that he has nothing to do with. He’s reduced to comic relief with his sudden attacks of chattering teeth and velvety voice. The amazing supporting cast of actors all do well, especially the beaming Watson who will shine in anything you put her in. Just try.
Ultimately the story of Red Dragon is far from flawless and meanders for quite a while. It would have been a marginally competent movie had it not been trying to replicate Silence of the Lambs so damn hard. So, is this the last youll see of Hannibal Lector? No as long as clinging cash registers can still be heard. Cue evil laughter.
Nate’s Grade: C+