There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Steven Soderbergh's crime-drama "The Limey" and Alexander Payne's high school satire "Election" led the pack of (relatively) low-budget, high-expectation projects as nominations were announced Wednesday for the 15th Annual Independent Spirit Awards, honoring, yes, indie film.
"The Limey" and "Election" received a field-best five nominations each. Hollywood blockbusters such as "Toy Story 2" and "The Green Mile" received zippo. (They're not indies.)
With the studio heavyweights excluded, a variety of films that failed to garner tremendous box office during the 1999 film season found redemption as the Spirit nominations were handed down. David Lynch's "The Straight Story", a simple yet powerful film about an aging man's trek across country on his lawn mower, earned four nominations. Kimberly Peirce's controversial "Boys Don't Cry" also received four nods -- including ones for best lead actress (Hilary Swank) and best supporting female (Chloe Sevigny).
The five films slated to do battle in the main best-picture event are: Payne's "Election," Soderbergh's "The Limey," Lynch's "The Straight Story," Allison Anders and Kurt Voss' "Sugar Town", and Robert Altman's "Cookie's Fortune".
Awards will be handed out in Santa Monica on March 25 -- the day before the Oscars. The Spirits are sponsored by the Independent Feature Project/West.
The following is the complete list of nominations for the 15th annual IFP/West Independent Spirit Awards:
BEST FEATURE "Election" "The Straight Story" "The Limey" "Cookie's Fortune" "Sugar Town"
BEST FEMALE LEAD Diane Lane, "Walk on the Moon" Janet McTeer, "Tumbleweeds" Hilary Swank, "Boys Don't Cry" Susan Traylor, "Valerie Flake" Reese Witherspoon, "Election"
BEST MALE LEAD John Cusack, "Being John Malkovich" Richard Farnsworth, "The Straight Story" Terence Stamp, "The Limey" David Strathairn, "Limbo" Noble Willingham, "The Corndog Man"
BEST SUPPORTING FEMALE Barbara Barrie, "Judy Berlin" Vanessa Martinez, "Limbo" Sarah Polley, "Go" Chloe Sevigny, "Boys Don't Cry" Jean Smart, "Guinevere"
BEST SUPPORTING MALE Charles S. Dutton, "Cookie's Fortune" Luis Guzman, "The Limey" Terrence Howard, "The Best Man" Clark Gregg, "The Adventures of Sebastian Cole" Steve Zahn, "Happy, Texas"
BEST DIRECTOR Alexander Payne, "Election" Harmony Korine, "julien donkey-boy" Steven Soderbergh, "The Limey" David Lynch, "The Straight Story" Doug Liman, "Go"
BEST SCREENPLAY Kevin Smith, "Dogma" Alexander Payne and Jim Taylor, "Election" Audrey Wells, "Guinevere" Lem Dobbs, "The Limey" James Merendino, "SLC Punk!"
BEST FIRST FEATURE ($500,000-plus budget) "Being John Malkovich" "Three Seasons" "Boys Don't Cry" "Twin Falls Idaho" "Xiu Xiu the Sent Down Girl"
BEST FIRST FEATURE (less than $500,000 budget) "The Blair Witch Project" "La Ciudad" "Compensation" "Judy Berlin" "Treasure Island"
BEST DEBUT PERFORMANCE Kimberly J. Brown, "Tumbleweeds" Jessica Campbell, "Election" Jade Gordon, "Sugar Town" Toby Smith, "Drylongso" Chris Stafford, "Edge of Seventeen"
BEST FIRST SCREENPLAY Tod Williams, "The Adventures of Sebastian Cole" Charlie Kaufman, "Being John Malkovich" Kimberly Peirce and Andy Bienen, "Boys Don't Cry" Anne Rapp, "Cookie's Fortune" John Roach and Mary Sweeney, "The Straight Story"
BEST CINEMATOGRAPHER M. David Mullen, "Twin Falls Idaho" Lisa Rinzler, "Three Seasons" Anthony Dod Mantle, "julien donkey-boy" Jeffrey Seckendorf, "Judy Berlin" Harlan Bosmajian, "La Ciudad"
BEST FOREIGN FILM "All About My Mother" (Spain) "Run Lola Run" (Germany) "My Son the Fanatic" (England) "Topsy-Turvy" (England) "Rosetta" (Belgium-France)
DLJ DIRECT TRUER THAN FICTION AWARD (for documentaries) Owsley Brown, "Night Waltz: The Music of Paul Bowles" Nanette Burstein and Brett Morgan, "On the Ropes" Michael Camerini and Shari Robertson, "Well Founded Fear" Rory Kennedy, "American Hollow"
MOVADO SOMEONE TO WATCH AWARD (for new directors) Dan Clark, "The Item" Julian Goldberger, "Trans" Lisanne Skyler, "Getting to Know You" Cauleen Smith, "Drylongso"
MOTOROLA PRODUCERS AWARD Pam Koffler, "I'm Losing You" and "Office Killer" Eva Kolodner, "Boys Don't Cry" and "Hide and Seek" Paul Mezey, "La Ciudad" Christine Walker, "Backroads" and "Homo Heights"