You probably haven’t noticed Keanu Reeves’ absence from the big screen over the last few years because to say that you have noticed would imply that he’d actually made a movie worth your time in recent memory. That’s clearly not the case. He returns to theaters with his first starring role since 2008’s The Day The Earth Stood Still in Malcolm Venville’s Henry’s Crime an ensemble comedy about a bunch of bumbling Buffalo natives who plan to rob a bank despite the fact that their ringleader just got out of jail for “attempting” the same job a year earlier.
The film focuses more on the ensemble than the heist and Venville assembled a great cast (including James Caan Vera Farmiga Bill Duke and Fisher Stevens among others) to fill the various roles but he and screenwriters Sacha Gervasi and David White wasted all that talent on an uninspired script that’s frustratingly executed by the director. It’s as if they were writing a pair of separate films simultaneously and just sandwiched them together hoping that two kinds of vanilla would magically create a unique new flavor. It doesn’t especially when both the romantic and comedic aspects of the story are as bland as the dreary blue-collar setting.
But wait it gets worse. There’s virtually no tone to the film; it moves along at an excruciatingly boring pace as its comatose characters interact with one another. The pin-drop silence that runs through a large part of the picture has the same effect as an Ambien and will undoubtedly leave you snoring. You know you’re watching a bad movie when the only sign of life comes from the soulful soundtrack comprised of R&B tracks from the ‘60s and ‘70s.
Vera Farmiga bless her tries hard to make her fledgling actress and anti-romantic character interesting but she’s got nothing to work off of because her co-star the always wooden Reeves is so naïve innocent and awkward it’s sickening. James Caan is endearing as a make-shift father figure for Henry; I found myself wishing that the story was told from his semi-comical point of view. And though I’d pretty much watch Peter Stormare in anything (he’s funny as Farmiga’s foreign theater director) he’s hardly got enough screen time to save Henry’s Crime from the qualitative abyss.
Let me grab your attention with one thing that everyone always loves to hear: Christopher Walken is starring in a new movie.
Yes, that's right. The man who, like the rest of us, puts his pants on one leg at a time -- but when he does, makes gold records -- will be in the upcoming Todd Solondz indie-drama Dark Horse.
Walken joins with Mia Farrow and Selma Blair. The film will be produced by Solondz's Double Hope Films.
Dark Horse follows a thirtysomething man, played by Jordan Gelber, who lives with his parents (Walken and Farrow). Gelber's character is stuck in a world of his own, unwillingly working for his father while pursuing his real passion: collecting toys. After a bit, he realizes he needs to figure himself out, so he seeks out help from a woman (Blair) to rid himself of the "dark horse" status in the family and actually accomplish something in his life.
The Daily Show's Aasif Mandvi, who also starred in one of the worst films ever made (The Last Airbender), is also part of the cast, playing Blair's ex-boyfriend.
This is good news for Walken, an actor known to take nearly every role he's offered. Solondz, who's responsible for cult classics like Happiness and Storytelling, is very talented at directing thought-provoking satire of family life, and specifically, American suburbia. He could not have found anyone better for a father role than Walken, and hopefully, with the rest of the talented cast, they produce a quality film -- without needing more cowbell.
Source: The Hollywood Reporter
Sometimes the simplest of crimes are the ones that go the most awry—a fact Andy (Philip Seymour Hoffman) and his younger brother Hank (Ethan Hawke) find out the hard way. You see they both have money problems: Andy is an overextended payroll exec who has been embezzling from his company while Hank is a flighty ne’er-do-well who can’t pay child support. When Andy hatches a larcenous scheme to rob a suburban mom-and-pop jewelry store that appears to be the quintessential easy target Hank is in—until he finds out the store owners are Andy and Hank’s actual mom (Rosemary Harris) and pop (Albert Finney). “How can we do that?” Hank asks his cold-hearted brother but Andy assures Hank it’s a piece of cake and that no one will get hurt. Famous last words. Hank’s fears are realized when the job goes horribly wrong and tragedy reaches unprecedented heights. A top-notch cast like this only makes things better. Hoffman in particular gives yet another tour-de-force performance as the troubled Andy a man wounded by his father’s hard-headedness and lack of affection throughout the years. Hoffman alternates between calculating coldness and heart-wrenching desperation—all while keeping his outwardly appearance impeccable. Hawke’s Hank on the other hand is just a mess through and through a “puppy dog ” as so described by Andy who wears his heart on his sleeve and is his father’s favorite. Although Hawke whines and grates his way through the performance that is what the part requires and he is quite effective at it. Finney as the brothers’ old man is also conflicted devastated by the tragedy yet determined to get to the bottom of it--and when he realizes it’s his sons Finney plays the moment perfectly. Also good is Marisa Tomei as Andy’s stressed wife; she plays her like a caged bird looking for a way out. When things keep getting worse you cringe in anticipation of each character’s next move. Sidney Lumet is certainly an expert in train-wreck crime dramas having served up such classics as Dog Day Afternoon Serpico and Prince of the City as well as other stellar efforts such as 12 Angry Men Network and The Verdict. He’s also directed 17 different actors in their Oscar-winning performances--and still the man himself has yet to win the Academy Award for Best Director. Funny how it always works out that way. Over the last few years Lumet has stumbled a bit (2006’s Find Me Guilty didn’t help matters) but you shouldn’t underestimate his talent when he can really sink his teeth into something. Before the Devil is right up his alley and he spins it with all the experience and professionalism he has at his fingertips. Its nonstop pace is enhanced by some clever editing in which time jumps back and forth over the span of a week. And of course Lumet once again guides his actors into stellar performances. You get this dysfunctional family immediately without a word spoken. The director is surely looking at his sixth Oscar nomination and if he wins the Big One for what in essence is his body of work at least we can say he won for something truly worthy.