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.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
Walt Disney animation’s first foray into 3D ‘toon making isn’t just a technical triumph it thankfully also tells the clever story of Bolt (John Travolta). He’s a superstar TV canine who believes the superpowers he displays weekly on his series are for real --especially when it comes to the protection of his master and co-star Penny (Miley Cyrus). One day however the dog is accidentally shipped from his Hollywood soundstage to New York City. Lost alone and confused on the streets of the Big Apple Bolt is still living the show vowing to get to Penny who he believes has been kidnapped by the “green-eyed man.” And so he embarks on a cross-country journey to L.A. to save Penny. Along the way he is joined by an abandoned wily housecat Mittens (Susie Essman) and a TV-loving hamster Rhino (Mark Walton) who believes everything he sees on the tube is ALSO real. Of course Bolt is in for rude awakening when he finds out he is just a regular dog but he still needs to get to Penny -- even if it means she might not be there for him when he returns. Disney is not a studio that generally depends on superstar voices for their animated films but in casting Travolta and tween queen Cyrus they have scored a bullseye. Travolta’s Bolt is a delightful cross between the self-assured superstar and a pooch in denial. The actor doesn’t phone it in but instead creates an original and loveable dog that stands proudly in Disney’s large canon of canine greats. The action scenes created for Bolt’s TV series are lots of fun and the interactions with his traveling companions are choice. As Penny Cyrus is sympathetic sincere and she even gets to sing a duet with Travolta “I Thought I Lost You ” which she co-wrote. The show is nearly stolen though by comedian Susie Essman (Curb Your Enthusiasm) as Mittens -- a smart determined and emotionally wounded pet cat abandoned by her owners and forced to wander the streets alone. And by Mark Walton as the hilarious Rhino the obsessive fanboy hamster who rolls around in his ball. Walton is actually an animator in real life who happened to be so good at voicing Rhino during tests they just gave him the job. Disney vets Chris Williams and Byron Howard capably usher the venerable Disney label into the brave new world of 3D animation and the results are promising -- putting the audience right in the center of Bolt’s universe. The TV series action set pieces are particularly effective in using the technology. It’s not even necessary to see the film in 3D because the whole CG process has come a long way in a few short years and Bolt is one of the best looking most accomplished animated films in memory -- glasses or no glasses. Williams and Howard expertly blend humor pathos and blockbuster-style action scenes effortlessly giving “Bolt” an appeal beyond just the target kid demo.
Set in late-‘60s/early-‘70s Harlem Frank Lucas (Denzel Washington) is a relative nobody an underling driver existing well beneath his gangster mentor Bumpy Johnson (Clarence Williams III). But when Bumpy dies that all changes. Likewise street cop Richie Roberts (Russell Crowe) is small-time best known for having turned over a boatload of found cash out of the goodness of his heart. But in a way his status also begins to ascend around the time of Bumpy’s death. And so Lucas and Roberts both quickly rising through the ranks of their respective law-breaking and abiding hierarchies are on a collision course—each without the knowledge the other even existed. Frank doesn’t waste any time asserting himself once Bumpy dies and he will go on to become the only kind of drug peddler with a shot at staying power: opportunistic ruthless and not one to consume his own product. Lucas’ get-rich-quick scheme of importing Vietnamese heroin via U.S. soldiers’ caskets eliminates the middleman and nets him millions. But as is always the case one lapse in vigilance puts him at risk and Roberts is there waiting. Behold moviegoers the mother lode of acting duos—only we saw Denzel Washington and Russell Crowe together on screen 12 years ago in Virtuosity. Oh well. Truth be told the short time in which they share scenes has nothing on its buildup thereof but these two are a marvel in their own separate arcs. Denzel is the gaudier of them relishing his Scarface-sized villain even more than he did Alonzo in Training Day. It’s a top-notch performance to add to a career full of them and there are a plethora of scenes from which to choose for his Oscar reel. Crowe meanwhile isn’t quite as riveting as he was a few months ago in 3:10 to Yuma but that's partly because cinematic good guys always finish second in terms of watchability. And when the climactic confrontation nears Crowe dials up the tension a few notches. The marquee names though are but the tip of the iceberg in this star-studded affair which also boasts the likes of Chiwetel Ejiofor (who recently co-starred with Denzel in Inside Man) Cuba Gooding Jr. Common Carla Gugino RZA John Hawkes Ted Levine and the legendary Ruby Dee. But Gangster’s (no longer hidden) gem is Josh Brolin currently enjoying a major resurgence. With apologies to Denzel Brolin’s deliciously hateful corrupt cop might be the best performance here. Ridley Scott--semi-legendary for his sci-fi (Alien Blade Runner) action (Gladiator) and feminism (Thelma and Louise)--is not the first director who would come to mind for a gritty talky urban period drama but he displays unforeseen versatility with Gangster. Nothing feels inauthentic here from the look of Vietnam-era New York City and its inhabitants to the documentary-style feel of the sparse action and it’s a surprisingly restrained effort from Scott that allows for such realism. Other filmmakers might’ve been tempted to deflect Gangster into shoot-‘em-up territory with say an action-centric take on the size of villainry possessed by Lucas but Scott does well in staying true to what this story is and is not about. And while there’s nothing especially groundbreaking or unforgettable about his effort Scott keeps the two and a half hours pretty compelling. Gangster’s unsung hero however is its real subject Lucas and his true story even more so than the one adapted by Steven Zaillian (Schindler's List) from Marc Jacobson’s New York Times article. It’s a fascinating tale of everything that makes for good movies—race class money drugs corruption—brought to the screen vividly by a director who could potentially be in line for his first Oscar.