Charles Bronson may have passed away but the spirit of his Death Wish films lives on -- albeit in an absurdly twisted fashion -- in F. Gary Gray’s (The Italian Job Be Cool) gleefully over-the-top revenge thriller Law Abiding Citizen.
Taking a welcome break from his recent run of lame chick flicks Gerard Butler (300 RocknRolla) stars as Clyde Shelton a loving husband and father whose placid suburban existence is upended when a couple of mangy meth monsters burst into his home. Not content to merely burglarize the place they proceed to butcher Clyde’s wife and daughter as he lies in a heap on the floor periodically losing consciousness after being stabbed several times.
The killers are soon apprehended and a grieving Clyde who somehow managed to survive the whole ordeal eagerly awaits swift retribution from the justice system. Hoping for the grim solace that only the death penalty can provide he places his faith in Nick Rice (Oscar winner Jamie Foxx) the hotshot district attorney charged with prosecuting the case to do the right thing and see to it that the two killers fry.
Nick however has other plans. Seeing the case as anything but open-and-shut and fearful that a not-guilty verdict in such a high-profile trial could derail his ambitious career plans (he sees himself as a Giuliani in the making) he opts to strike a plea deal: One man gets a death sentence while the other gets a mere 10 years in return for testifying against his cohort.
Chastened by the unseemly bargain Clyde takes matters into his own hands delivering his own uniquely painful brand of vigilante justice to the sinister men who destroyed his family. But he doesn’t stop there not by a longshot. His grudge extends much much further -- to the very heart of the justice system itself -- and he intends to bring the entire corrupt apparatus down even if he has to do it while locked up inside a jail cell. Which is where he ends up after police nab him for personally imposing the death penalty on the convicted killers.
Indeed Clyde proves to be something of a savant when it comes to killing people in creative cinematic ways employing exploding cell phones remote-control machine guns and other methods to take out the various judges attorneys and politicians on his hit list. Most amazingly he orchestrates all of this mayhem from behind bars. Seriously this guy’s flair for novelty violence makes the Joker’s antics in The Dark Knight seem amateurish by comparison.
The task of putting an end to all of Clyde’s mayhem naturally falls on Nick. And this is where Law Abiding Citizen’s fatal flaw emerges. Whereas Gray Butler and virtually everyone else seem to enthusiastically embrace the utter ridiculousness of it all Foxx plays it determinedly straight as if he’s the only one in the movie who isn’t in on the joke. Watching his performance it’s almost as if he’s making a different film than everyone else.
The right way for Law Abiding Citizen to end is for Foxx to administer an appropriately ironic death to Butler’s character utter something like “I rest my case ” and wink at the camera as he makes his exit. (Click here to read our exclusive interview with Foxx.)
I won’t give any spoilers away but suffice it to say this is NOT how the movie ends.
Capt. Gerd Wiesler (Ulrich Muhe) is the German Democratic Republic's ultimate company man. So good at conducting interrogations and spotting liars he teaches new State Security ("Stasi") recruits how to do both and dedicates his life to watching and exposing "comrades" who aren't quite as loyal as they should be. But when he starts conducting surveillance on dashing playwright Georg Dreyman (Sebastian Koch) and his actress girlfriend Christa-Marie Sieland (Martina Gedeck) Wiesler finds himself getting caught up in their real-life drama--particularly after he discovers the true reason Dreyman has come under suspicion. As the stakes rise Wiesler's dedication to the Socialist Unity Party battles his growing sense of what honor truly is. The Lives of Others is full of strong performances with Muhe's at the top of the list. Resembling a German Kevin Spacey he conveys most of Wiesler's changing outlook through his large expressive eyes. As Wiesler's exposure to the color and passion of Georg and Christa-Marie's life underlines the stark emptiness of his own Muhe signals through slight changes in his character's rigid discipline much more is going on beneath the surface. Koch and Gedeck are also excellent. Georg and Christa-Marie's need for self-expression is constantly stifled by the pressure to be good party members and both actors--particularly Gedeck--make it clear what the personal cost of that conflict can be. In the supporting cast Ulrich Tukur does a nice job as Wiesler's secret police colleague/supervisor Lt. Col. Anton Grubitz turning what could have been a one-note performance into a role with unexpected nuances. Director Florian Henckel von Donnersmarck--who grew up in West Germany but visited the East as a child with his parents--has said that he spent four years researching The Lives of Others and it shows. The stark impersonal nature of much of the socialists' daily lives has the stamp of authenticity as does the film's mood of constant fear and suspicion. By contrasting scenes set in Georg and Christa-Marie's eclectic lived-in apartment--a haven from the world of informants and efficiency--with shots of a solitary Wiesler eavesdropping via headphone von Donnersmarck shows how even a tenuous connection to the world of passion and art can transform a life. In the end it is the characters' most human instincts--be they good or bad--that determine their fate not the party's rules and regulations.
Russell Crowe has slammed his Cinderella Man co-star Craig Bierko for claiming
he deliberately blanked him on the Canadian set of the boxing movie.
Bierko, who plays German fighter Max Baer in the new film, recently voiced
his surprise that he hardly knows Crowe, despite working alongside him for a
He said, "I don't know him from Adam. There was literally not a single moment
where I felt like we were actually bonding, or having a conversation."
But Crowe blames the distance between them on the quality of Bierko's
acting. He says, "Craig Bierko has an imagination. His recollection of the experience
is significantly different from anyone else's.
"I spent my 40th birthday party on a satellite connection with my wife and
child in Australia. Sorry I didn't invite Craig. I didn't think it was
"The fact is, he hadn't done enough work and he had to be drilled and
drilled, and brought up to where we needed him to be - because if Max Baer
isn't frightening and isn't capable, then we don't have much of a movie.
"Craig has never been in this kind of situation before. It has never been
required of him to put this much work and this much of himself into a role.
"He didn't realize what he was getting into... He realized afterwards."
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How to Kill Your Neighbor's Dog is the story of acerbic curmudgeonly Peter McGowan's enlightenment a renowned critically acclaimed playwright fallen on hard times. Having knocked out a trio of Broadway blockbusters during the 1980s he is going through a dry spell though he is still considered the movie capital's most dynamic (and perhaps only) playwright. McGowan's beautiful wife exacerbates his problems putting real pressure on Peter to have children which he couldn't care less about. (He also has to deal with living with his rapidly declining mother-in-law.) And McGowan's attempts to fix up his latest production (directed by a maniacal young savant who favors old show tunes as a means of communication) are being jeopardized by his new neighbor's noisy dog which is keeping him awake at night. Ultimately Peter learns to like children thanks to the neighbor's mildly handicapped daughter fixes his play and the dog is dealt with--though not by Peter.
Kenneth Branagh playing a wordsmith is given too many words to say in the film. Most are funny some are not but Branagh is the film's comedic center and he performs that function more than adequately. Robin Wright Penn is fine as Branagh's wife/foil though she isn't given too much to do other than be happy or sad--there seems to be no in-between for her. Other actors shine brighter: David Krumholtz is hysterical as the loony director of Branagh's new play Jared Harris is too funny as Branagh's modern-day Falstaff and Suzi Hofrichter who plays the cerebral palsy-stricken Amy is a real find. (Unfortunately the laconic Peter Riegert and dumbfounded Jonathan Schaech are underused.) The highlight of the film however is Peri Gilpin's performance as the vapid TV talk show host-turned-Mike Wallace who gets her comeuppance from Branagh. Simply brilliant acting by both Gilpin and Branagh or....
...is it more wonderful writing and directing by writer/director Michael Kalesniko? That interview scene with Gilpin and Branagh is just one instance of the skillful stylized parody he uses to tell the story of a man's life in the theater in a highly theatrical style. During the course of blaming McGowan's slump on anyone but McGowan Kalesniko skewers the usual suspects: nagging wives troublesome in-laws TV news shows neurotic intellectuals lovable bums insane co-workers cynical doctors and of course the ubiquitous barking dog living next door. As Kalesniko allows McGowan to grow closer to his adorable troubled neighbor Amy the movie almost edges into predictability. Fortunately the mostly witty dialogue saves the film from too saccharine an ending rendering it a potent comedy. Ah if only Kalesniko had found someone to edit the film a little more to make it sharper and more biting.