The Nice Guys (Blu-ray/4K)

 

The Nice Guys is a throwback to the cop dramas and mis-matched buddy movies of the 70s, 80s and 90s. Even though the comedic elements are front and centre, the story and characters still manage to tread into mystery/thriller territory, feeling very much like a much less series version of Chinatown. Yet still covering a serious subject hidden by unexpected comedic chemistry between Ryan Gosling and Russell Crowe plus the frequent porn connections to the case they’re working on. Releasing on UHD and Blu-ray, The Nice Guys gets the Second Sight Films treatment, after nearly 10 years since its initial release in 2016. This release feels like it was long overdue.

Full review over at Filmhounds.

Drive Away Dolls

 

Ethan Coen’s first solo outing was a documentary about notorious musician Jerry Lee Lewis. A man known for his incredible piano skills and for the fact that he married his 13-year-old cousin. Obviously these two pieces of trivia don’t go hand in hand. But the latter is a sordid affair, and fact. Ethan Coen, judging by his other solo works; a book of poetry, plays and short stories, has a flair for the crude and downright filthy. Throughout the Coen Brothers’ catalogue there are moments that do really make you stand back and think, ‘why did they think of that’. A prime example is in Burn After Reading, when its revealed what George Clooney’s character, Harry Pfarrer is building in his basement. After watching Drive Away Dolls, its clear which brother thought of this.

After Jamie is thrown out by her girlfriend, she and best friend Marian take a road trip to Tallahassee, Florida. But after a mix up with their rental car, the women find they are in possession of some sensitive materials belonging to some shady people who are in hot pursuit.

Along with his wife, Tricia Cooke who co-wrote and co-produced, Ethan Coen’s second outing as director without Joel is one that, on the surface feels like just another Coen Brothers film. However, while the film does include the crime caper elements and a certain air of ridiculousness, the film is missing something. The run of the mill suspicious behaviour from the shady criminals alongside a completely different story about two friends taking a road trip and becoming more than just friends, feels like half-baked ideas, mashed together with a lot of lesbian jokes and unnecessary scenes.

Along with similar beats we have seen before from both the Coens, along with very random psychedelic moments that only sort of make sense at the end, Ethan Coen’s film feels familiar but doesn’t quite hit the right notes.  This is shame as there are some great characters, amusing quite firing dialogue and one or two very funny moments, but its just not what you’re going to expect, in an unsatisfying way.

Mean Streets

 

Martin Scorsese has been known for his gangster films, as well as a foray into other genres, but his third film, Mean Streets was the one that pushed him into the spotlight. A gangster film about violence, crime and fraught friendship, Mean Streets not only showcased Scorsese's talent, this was Harvey Keitel and Robert De Niro's first appearance together in a film, as well as the first in a long line of films, the latter worked on with the director. It could be said that Mean Streets was the start of something special.

Following a group of 20-somethings as they each try to make a name for themselves in New York city, going from small time criminals to aspiring gangsters. Charlie, trying his best to avoid crime but working for his mafia boss uncle, dreams of opening his own restaurant. Along with Tony, who runs the local bar and Michael, a loan shark who runs small dodgy deals, Charlie spends his time cleaning up the messes of his sometimes friend, Johnny Boy, a petty thug who rips off loan sharks for a living. But sooner or later, Johnny Boy's bad habits will catch up with him.

Full review over at Filmhounds HERE.

Mafia Mamma

 

When you think of crime family, we don’t automatically think comedy about a woman having a midlife crisis discovers she’s actually part of the mafia. Comedy and violence have gone hand in hand with plenty of other films, sometimes treading that fine line between funny and tasteless. It would be harsh to say that Mafia Mamma is both as there are comedic moments and a fair few eye rolling scenes too. Especially with every mention or reference to The Godfather. But instead of the mix of comedy and obvious violence, we also get the woman wants and has it all scenario, with a touch dull romance on the side. Just like the wine they make in the film, it does not go down well.

Full review over at Filmhounds.

The Retirement Plan

 

A crime thriller starring Nicolas Cage as a beach bum with a secret government past sounds enticing enough. There are most likely going to be entertaining fight scenes, amusing dialogue, and no doubt another iconic look created for Cage himself. Unfortunately, The Retirement Plan, slips into the worn-out predictable film category where there is very little to redeem itself. 

After getting caught up with dangerous criminals, Ashley and her daughter Sarah seek out help from her estranged father, Matt. But when crime boss Donnie and his henchman Bobo catch up with them, Ashley soon finds out that her father had a secret violent past she knew nothing about.

Full review over at Filmhounds.

Thieves Like Us

 

Criminal lovers on the run, made popular by the ‘Bonnie & Clyde’ type stories seen in films and TV shows, the original though was a novel by Edward Anderson. His novel, Thieves Like Us, inspired the Nicholas Ray 1948 film, They Live By Night which explored this them. But director Robert Altman took a different approach with his 1974 adaptation. While there is a very sweet and tender romance at the heart of the film, there is no ‘Bonnie & Clyde’, there is just Bowie, the criminal and Keechie, the garageman’s daughter, but just like any story from this period, it’s no less tragic.

Full review over at Filmhounds HERE.

The Hot Spot

 

Released on the cusp of the 90s boom of erotic thrillers, The Hot Spot, directed by Dennis Hopper, is drenched in sweat, blood and tears, it has everything you would want from a Neo Noir film. 

Drifter Harry Madox takes a somewhat dead-end job as a car salesman in a small town in Texas. He gets involved with two very different women, the naïve young accountant, Gloria, and the scheming flirtatious Dolly, who’s husband owns the car dealership. After Harry decides to rob the local bank, he becomes embroiled in a hot a mess of lust, blackmail and arson with murder looking like the only way out.

Full review over at Filmhounds HERE.

Confess, Fletch - Interview with John Slattery

 

Just like the previous iterations, Fletch finds himself in the middle of a mystery, art theft and a murder, with him as prime suspect. Supporting Hamm in this crime comedy is host of weird and wonderfully characters played by an equally brilliant cast. All embracing their comedic side and they obviously had a lot of fun doing so. Playing Fletch’s long suffering boss who happens to hate everyone, is Frank, played by John Slattery. Known mostly for playing Roger Sterling in Mad Men and Howard Stark in the Marvel films franchise, Slattery has also taken various comedic roles, adding Frank to the list. We got to steal a few moments of Slattery’s time to talk Fletch, directing and whether comedy is harder than crying.

Full interview in the latest issue of Filmhounds HERE.

The Card Counter

 

Entering the world of gambling means you leave your morals at the door. If it’s not a heist film, the hijinks and light comedy are left far behind making room for a character study and possible desperate high stakes. Paul Schrader is no stranger to the deep, dark brooding of the character piece where a man has to make some difficult choices. 

William Tell lives a solitary life since his release from military prison after completing 8 years of his sentence. Having learnt to count cards in prison, he spends his days in casinos, betting small, winning modestly so as to not attract attention and continue living under the radar. But when he meets Cirk, the son of a fellow soldier who was also convicted at the same time as Tell, he changes his routine. Wanting to help the troubled Cirk and deter him from his own path of revenge, he decides to take part in a circuit of national poker competitions, which comes with its own strings attached.

Full review over at Filmhounds HERE.

Death on the Nile

 

SPOILERS ALERT

Despite the fact that the Kenneth Branagh is not the best Poirot, his first Agatha Christie adaptation of the famous Orient Express murder, was actually very entertaining. This was thanks to the intriguing casting and great suspect characters, Branagh himself was just there to orchestrate the whole thing. It came as no surprise that another story featuring his version of Poirot would be made, along with another set of interesting characters and a star-studded cast. Death on the Nile also seemed like a likely choice, with an exotic setting, this time in the sun and desert as well as cross overs with suspects. But, unlike the first film which was over dramatic in places and strayed from the point only but a few times, Death on the Nile is a convoluted, over dramatized, over reaching, entertaining but very flawed film. 

While on holiday in Egypt, Poirot becomes part of a wedding party for the recently married heiress Linnet Ridgeway to Simon Doyle. The small an intimate party is made up of friends and close family of Linnet’s and famous jazz singer Salome Otterbourne providing entertainment. But there is an air of scandal as Simon was actually engaged to Linnet’s school friend Jacqueline before she ‘stole’ him away. Jacqueline now stalks the happy couple in hopes of ruining their honeymoon. When the wedding party moves to the river, boarding a steamer, the Karnak, the tension heightens, especially when Jacqueline also appears on board. But the real shock is when Linnet is found murdered in her bed, everyone is a suspect.

For those who don’t know the original story, it’s a shame as it was fine the way it played out. The other adaptations follow the original plot and still create a thrilling and exciting story. The audience coming in and watching this film with fresh might still be able to see the issues that don’t flow properly. But my guess is that if you don’t know what Branagh has ruined, you might not care as much. But again, it’s a shame as the original was better and could easily have been brought to the screen. The fault doesn’t just lie with Branagh by with screenwriter Michael Green also, who wrote both adaptations.

The only commendable part of the many changes that Branagh made was the casting, which is excellent all round. The Armie Hammer’s controversy aside of course, as the film was shot before that broke, there was nothing they could do about it. But the casting alone is the only improvement.

With adaptations, there is always room for change, but it’s about how much change and whether is it justified is the question. Branagh and Green’s changes include, changing all but three characters stories, some motives, some background stories and even moulding two characters into one. The other major changes to the film which greatly impact the story was adding in a brand-new side plot that about his friend, Bouc (made up character) and his relationship with Rosalie Otterbourne. Bouc is the third person murdered which is obviously not in the book. It is there to try and create an emotional punch and connection to Poirot, unnecessary. Another big change is the opening which sees a younger Poirot on the front lines of World War I in the trenches and gives us a reason as to why he has such a huge moustache. He also gives Poirot a lover, another huge hint that Branagh and Green are taking liberties with Christie’s character. All these changes don’t make the film better. Luckily the core characters and the murderers remain the same with the same plot which works perfectly.

Getting past the parts that really don’t work, the film is once again, like the first, entertaining and the scenery is breath taking. The parts that are real anyway. The fun period drama thriller does indulge in excellent costume and décor, it’s a feast for the eyes. But the intricate details are lacking and Branagh’s Poirot just becomes very difficult to watch. Thankfully the cast of suspects are dynamic enough to makes the film bearable. But you can’t help but think there was so many missed opportunities.

There is still hope that with the impending next film in the franchise that Branagh will tone down the Poirot over dramatics and focus more on the keeping to and being faithful to a plot. There was speculation about the next title. In the film Poirot mentions retirement and The Death of Roger Ackroyd sprang to mind, but it had been announced that the next film will take place in post-war Venice and be adapted from a lesser-known novel. So this screams not faithful adaptation to be honest.

The Batman

I ended up writing a 1000 word essay about Joker and although The Batman is not meant to be in the same story, I can’t help but mention the former film. I also can't promise that I won't write another 1000 words. It caused drastic discord not only amongst waring critics but with the greater audience as well. But seeing the latest form of the Dark Knight himself has taken very dark turns and creating a whole new version for fans and newcomers alike, Joker needs to be mentioned.

When Joker came out, there was promise that this was going be a darker take on the character. Christopher Nolan’s trilogy also had this promise attached. But now, we have an even darker take. The thing is, Batman has always been dark, that is the character’s nature. With the film plunged into complete darkness, night, for 90% of the film, there is no way to escape this darkness. No matter what film about Batman is released, it will always be dark. 

For those are who are familiar with DC Comics nocturnal vigilante, Batman, aka Bruce Wayne, the character needs no introduction. For those who don’t, he is a millionaire, sometimes playing the rich playboy persona as a cover for his crime fighting antics at night. Orphaned at a young age when his parents were murdered in front of him, he still relives that trauma. He lives with his confidant, his father figure and butler, Alfred Pennyworth and sometimes romances various women with varying ridiculous names. He has many arch nemesis, but The Joker is his ultimate. You could go as far to say that their relationship is one of the most famous in superhero-villain history. 

Unlike Batman Begins, Matt Reeves’ film does not take us to the beginnings, thankfully, as I think we’ve seen enough origin stories to last us a few decades. Instead, we see Bruce Wayne already in full swing of his Batman alter ego. He already has an established and rather trusting relationship with Detective Jim Gordon as the famed signal in the sky is up and running, warning criminals in the eternal crime ridden city of Gotham that the Batman is watching. However, unlike any other version of Batman we’ve seen, Bruce Wayne isn’t the sometime playboy or an active member of Wayne Enterprises, here he is a recluse. He barely steps into daylight and only ever speaks to Alfred and housekeeper, Dory, unless he’s wearing his mask, his social circle opens up. This is one way Reeves’ vision is true to the film’s darker nature. 

 

Usually, the golden rule is not to overload your superhero film with too many villains. But in the case of the famed rogue’s gallery and the intertwining characters that inhabit Gotham, there is no way around this multiple villain issue. With the TV series proving that the more villains you have, the better, having a few of them show up is good idea. Also, as proved by Christopher Nolan’s trilogy, you don’t have to play The Joker card immediately, you can wait. Having The Penguin, Catwoman and The Riddler all show up in the film was actually a brilliant idea. Firstly, The Penguin is in his gangster persona which makes him a far more intriguing character, also, he’s not centre stage which means he can appear later. Catwoman, aka Selina Kyle, isn’t even called by her villain’s name, mainly because she never she was a true villain. She is part accomplice and has her own storyline that doesn’t overcrowd the main one. Choosing The Riddler as the starting point villain, again, was a superb idea. With his violence and bloody murders and his mind games and his threat to reveal secrets that would destroy everything is perfect for the dark tone of this version. All three famous villains are perfectly cast, some unrecognisable, all play important parts and none over shadow each other. Everything is in line. The mafia man himself Carmine Falcone, who is treated like the real mayor of the city, doesn’t really wear a mask but a metaphorical one and he comes across as more menacing than any of the other, well, maybe not The Riddler as he is terrifying on social media. John Turturro plays Falcone with such glee and menace, he is a definite high point in the film and again, excellent casting. 

Having the story play out like a crime thriller is exciting and sickening at the same time. For those who have missed the gritty blood-soaked thrillers that use be released in cinemas, this will satisfy your desire. Solving puzzles, riddles and codes, The Batman takes us back the sleuthing days of Batman and not just about stopping a massive attack. These clues and deadly crimes are intricate and well thought out, its entertaining and are far more interesting than watching Bruce brood over a woman or his dead parents. Robert Pattinson is a decent Batman or should I say, Vengeance. He is quiet and calculating and has a strange impact on the screen. I know there some are other who still think of him as that guy from Twilight, despite him playing many other interesting characters over the years. He is not a full-fledged bat yet which means, there is always room for growth which is how he plays it, making sure that we know, he’s not done yet. 

The only downsides to this whole film is the running time, it doesn’t need to be 3 hours long. With the many slow motion takes, this could have been cut down. But other that, the cliches of it constantly raining in this city and that that there is only a couple of scenes in daylight, the rest of the film is in darkness, always at night. This just plays into the fact the film is really hammering home that this is a darker version than previously seen. 

 With the promise of a sequel and the mention of possible villains such as Hush, Mr Freeze and the Court of Owls appearing gives hope that this won’t be like the current superhero films we have out now. This is a strange breath of fresh air amongst the rest, much like how Joker was or at least meant to be.

Home

There are so many cliché sayings about home and what it means for all of us. For Marvin, his return home is not of the triumphant hero or the weary traveller, he is simply returning home because he has nowhere else to go. This is a mix of the prodigal son and a journey of redemption and forgiveness, but mostly a story about someone who knows nothing more than where home is. 

Released from prison after many years for murder, Marvin (Jake McLaughlin) returns to his home town and his sick mother, Bernadette (Kathy Bates). While trying to adjust to life on the outside, he continues to wrestle with his demons, believing he hasn’t atoned enough for his crime. When the family of the elderly woman he murdered find out about his return, they too want further justice. Despite all this, he strikes up a tentative friendship with Delta (Aisling Francoisi), a young single mother, just trying to survive by selling drugs. 

Full review over at Filmhounds HERE.

Le Samouraï

 

The elusive hitman story is one that we have seen many times portrayed on the big screen over the years from around the world but Jean-Pierre Melville’s Le Samouraï is a story that has influenced other filmmakers and films across the crime, neo-noir genres. It’s the silhouette we know so well, the coat and hat we usually associate with a detective that now is synonymous with the hitman too.

Full review over at Filmhounds HERE.

Titane - BFI London Film Festival

 

One the films that is guaranteed to shock you at more than one moment, this is the film that dares to go the whole nine yards without breaking a sweat. Made up of several parts, horror, thriller even fantasy if you can call sex with a car fantastical, the film and its creator Julia Ducournau knows no bounds. 

 

Full review over at Filmhounds HERE.

Flatland

 

Despite having doubts Natalie goes ahead with her wedding to Bakkies, but after an unexpected violent incident, Natalie seeks refuge with her beloved horse only to end up accidently shooting someone. Panicked, she seeks help from her best friend Poppie, now heavily pregnant and also eager to escape their small town. Meanwhile police officer Captain Beauty Cuba who awaited the arrival of her fiancé who is being released from prison after 15 years, only to find out he’s be accused of murder again. Beauty soon pieces together what has happened and is hot the girls heals has they ride for Johannesburg and freedom.

 

Full review is over at Filmhounds HERE.

God'd Waiting Room - Tribeca Film Festival

 

Young love, first love, last loves are played with and the hope that maybe things can change. Adjacent to this type of story is the one of hopelessness and redemption from someone who returns home because they have no choice. These two frequently seen stories are sliced together into ‘God’s Waiting Room’. The title describes so well the atmosphere throughout this film, to points where you wonder if the wait will ever be over for these characters.

 

 

Full review can be read over at Filmhounds HERE.

Crisis

 

A DEA Agent, currently undercover as a drug trafficker, tries to bring down a multi-cartel Fentanyl smuggling operation while also trying to look out for his junkie sister. An architect and single mother recovering from oxycodone addiction turns detective after her son is brutally and suddenly killed. A university professor and scientist debates what he should do when disturbing truths come to light that the pharmaceutical company he works for want to release new "non-addictive" painkiller to market despite what testing has shown. 

 

Full review is over at Filmhounds HERE.

 

 

Watch List: January

 

Femme Fatale

Femme Fatale, released in 2002 was not received well, despite a few high-profile critics giving it a great review. Starting out with a exciting heist and double cross, the story takes a weird turn towards doppelgangers and stolen identities. Our femme fatale and self-proclaimed 'bad girl' of the title was full of intrigue. If the film had continued towards an actual conclusion and not the cliche dream switch at the end, this could have been a hit. 2/5

 

The Broken Hearts Gallery

As Rom-Coms go, this wasn't too bad. It was something different in the sense it was about a woman who wanted to open her own gallery and the main guy was trying to open a boutique hotel (whatever that is), both creative, both entrepreneurs. Also the love interest angle could be seen a mile off but wasn't fully addressed until their relationship had reached the 'greats friends' milestone. The main reason to watch this is for Geraldine Viswanathan who is a delight, despite her character being very annoying and pathetic to begin with. 3/5

 

Extremely Wicked, Shockingly Evil and Vile

After watching a few documentaries on Netflix about serial killers I naturally gravitated towards this film. Thankfully this wasn't a gruesome play by play of Ted Bundy's crimes. Being based on
Elizabeth Kloepfer's memories this was a very different look at the lead up to Bundy's arrest and trial. Zac Efron is superb as the killer, he got the charismatic unsettling psycho just right. Its insane to think how long the trial took and that he was allowed to represent himself, but there it is, in the real footage at the end. 3/5

 

Promising Young Woman

 Full throughts on the film HERE. Zine to follow soon. 4/5

 

Anything for Jackson

 Full review HERE. 3/5

 

Rams

 Full review is over at Filmhounds and can be read HERE. 3/5

 

The Capote Tapes

Full review is over at Filmhounds and can be read HERE. 4/5

 

Neo Noir: Blood Simple

 

Quoted as having a voice that is ‘undeniably and violently original’ the Coen Brothers have been letting us into their world of numbskulls, vivid dreams and eccentrics with names to match since 1984. Following a trend throughout their filmography, which usually involves a crime that goes horribly wrong, whether is it dark comedy as with Burn After Reading (2008) or of a more serious nature, such as No Country for Old Men (2007), the common thread that links their films together, along with the various uses of violence, are the genre twisted stories that the Coens create.

 

The Coens’ first feature film, Blood Simple, is tale of lust, revenge and miscommunication. Almost a B Movie with its simmering tale set in the heart of Texas. Painted as a treacherous place from the start, in the opening quote from the Private Investigator, the location already makes creates a sense of unease, readying for something ‘big’ to happen. Abby is having an affair with Ray, a bartender who works for her husband, Marty. Already suspicious of their affair, he hires Visser, a private detective, to follow them. Once the affair is confirmed with photographs, he hires Visser to kill both Ray and Abby.

Blood Simple illustrates the difficulty and dirty dealings of murder, proving that it is anything but simple. Even the genres in which the film would usually fall (thriller/crime drama) don’t apply as easily as just slapping a label on the cover. Part film noir, part horror and, also in part, black comedy, the Coens play with the identity of the film without losing sight of plot or falling into genric parody. Instead, they balance the hybrid modes to create a story that’s simple and yet complex. Playing with story elements, borrowing from film noir, such as Double Indemnity and The Postman Always Rings Twice, Blood Simple twists these typical stories through the characters and the decisions they are driven to make, going ‘blood simple’.

The Coens’ use genre to create a story that is both familiar and unexpected at the same time. They said that they ‘didn’t want to make a Venetian blind kind of [detective] movie’ yet they are obviously influenced by film noir, which features this type of lighting. There is of course a detective, tracking down the lovers, solving a case, the cuckolded, suspicious rich husband and a thick atmosphere of doubt and lust in the air. The lighting, setting and tone of the story all to ‘typical detective story’, yet the players don’t fall into place. The detective, usually the ‘good guy’ wearing a white hat, isn’t what he seems. He follows the generic rules until he double crosses Marty over something petty: money. He’s killer, but only after he makes a mistake. The responsibility of ‘good guy’ falls squarely on Ray’s shoulders but, in theory, he isn’t one either: he has an affair with his boss’ wife, asks for money, then buries a man alive, but does so only after thinking Abby has killed Marty, which is his mistake. There is no femme fatale role in the story, either – Abby is just too clueless to take the initiative. Still, there is the question of her loyalty when Marty puts doubt in Ray’s mind, but Abby is oblivious, right up until the end when she says, “I’m not afraid of you, Marty,” and Visser answers back, “Well, ma’am, if I see him, I’ll sure give him the message.” It could be argued that Abby is the femme fatale of the piece, but only by default, as her own flaw is in being unable to communicate – all the men around her can but tend to die. The Coens’ favourite devices – a crime gone wrong, miscommunication and the age-old lust for violence – determine the fates of everyone in the story. This is because, at the start of the story, no one wants to kill but, by the end, they have all either killed someone or intended to.

In detective stories and most film noir, characters don’t go through an uplifting story arc. Instead, they come to the realization of their circumstance, or conclusion. But, in Blood Simple, the characters keep making mistakes, which is what drives the plot and each other’s actions forwards. Each character wants something and their selfish need is their ultimate their downfall.

Marty, driven my jealousy and anger, wants revenge on his cheating wife, going so far as to hire someone to kill her and her lover. Not wanting blood on his hands, he can’t do it himself, suggesting he is not ‘man enough’. His mistake is in trusting his wife in the first place and, again, in trusting Visser. Abby breaks his finger while beating him up, later noted by someone who refers to it as his ‘pussy finger’, further emasculating him. Marty is the desperate man who resists being made to look a fool but, as the only character to be murdered twice, is the joke of the film.

Ray is not the hero in this story. He doesn’t even manage to defend the woman he supposedly wants to be with – it is Abby who beats up Marty and kills Visser. Ray’s mistake is in thinking that Abby killed Marty and he doesn’t even think to ask her. Ray’s judgment is in question throughout, especially as it’s not entirely clear whether he loves Abby. He says, ‘I told you. I liked you,’ but love isn’t mentioned unless someone is scared. He questions Abby after he buries Marty and doubt starts to seep in, when she repeats what Marty says she’d say. But, as neither Abby nor Ray factor in Visser, he ends up dead, showing how unassertive he is.

Visser is the established detective, complete with voiceover and late night surveillance but he isn’t stereotypical. He seems like he’s going to be the voice of reason, like Tommy Lee Jones’ Sherriff Ed Tom Bell in No Country for Old Men, at the film’s outset but, by the time his story ends, he’s cackling into a pool of his own blood. His mistake is minor, leaving the cigarette lighter behind, but it’s one that has repercussions: foiling his plans and, ultimately, causing his death.

The Coen Brothers’ first feature is an introduction to their universe of violence mixed with comedy, crime and unique character names. Their ability to twist genres round their talented little fingers is the cornerstone of what makes their films stand out. Taking their influences, honouring them whilst still claiming them as their own, is what makes Blood Simple a stand out film.

 

For more #noirvember & #NeoNoir follow @little_sister_filmnoir

 

Originally written for Cinema Rediscovered in 2017 – also made as a Zine

Neo Noir: Cape Fear

 

The 1991 version of the film was dramatic but felt dated, compared to the 1962 original, as if it were just an imitation. Danielle Bowden, the teenager is not doing well as school and is forced to take summer classes, which is how she meets Cady as he pretends to be her drama teacher and he manages to convince her to suck his finger in a seductive manner. Leigh Bowden, Sam’s wife, works from home, she is a ‘modern woman’. The two lead male roles felt strange to me. Nick Nolte played Sam Bowden, who I found extremely uncharismatic. Jessica Lange and Juliette Lewis are the ones that carry this film for the Bowden family. Robert De Niro as Max Cady was terrifying but it wasn’t the tattoos or the greasy hair or the way he spoke, it was his ability to flip from seemingly charming guy to raging maniac. He is repulsive, which is what the character is meant to be and De Niro really does throw himself into the role. Unfortunately, Nolte, beside De Niro just feels miscast.

 

Cape Fear, both films, boast an impressive cast and director yet it’s quite difficult to compare the two films as they are almost identical in how the story plays out. The differences are obviously the ending and the change of character of Lori Davis and Diane Taylor. The former was a colleague, who has a crush on Bowden and after being rejected by him, meets Cady in a bar. She is then violently raped and beaten and left too afraid to testify. The change from the 1962 film, where Diane is a woman, not connected to other characters Cady picks up at a bar. Cady threatens Bowden when he attacks his friend, showing this is what he’ll do to his wife and daughter. Both women are used as plot device to show what Cady is capable of and shaming these women for having sex with someone they hardly know. An age-old device.

 

 

For more #noirvember & #NeoNoir follow @little_sister_filmnoir