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.
Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
Nate Johnson (Cedric the Entertainer) an insurance agent thinks it would be a great idea to take his estranged wife and three children to his family reunion in Missouri by car from California. Nate's motives are sincere enough: He is separated from his wife Dorothy (Vanessa Williams) who has custody of teenagers Nikki (Solange Knowles) DJ (Bow Wow) and Destiny (Gabby Soleil) and hopes the road trip will help them bond as a family and with any luck re-ignite that loving feeling with the mother of his children. But everything that can go wrong does even before the trip begins. Nate brings his SUV into the shop to have an 8-track tape player installed in order to listen to his old Motown classics but what he gets is something straight out of MTV's Pimp My Ride although not even West Coast Customs would do something this gaudy. Off they go in their Burberry-outfitted low-rider Lincoln Navigator complete with four TVs and 26-inch Spinners. Vehicle with up-to-the-minute gadgetry notwithstanding the Johnsons encounter every clichéd road trip disaster including running out of gas and needing a pay phone. It's hard to figure out what's more trite--the journey to Missouri or what happens when they actually get there.
Cedric the Entertainer's trademark observational comedy which made him stand out as a cast member of The Steve Harvey Show simply isn't enough to carry an entire film. Cedric is truly the only funny thing Johnson Family Vacation has going for it and he has a few gags that are simply hilarious including a scene in which he bans CDs from artists who have been shot like Tupac Shakur and Notorious B.I.G. from being played in the car. Imagine his dismay when his wife points out that also includes Marvin Gaye "who was shot by his daddy--twice." But the comedian's arsenal of jokes--no matter how witty--do not a story make. Speaking of wasted talent the casting of stunning Williams as Nate's wife Dorothy is quite baffling. While Cedric the Entertainer could be married to someone this hot poor Nate probably couldn't. Nonetheless the quick-witted Williams holds her own next to one of the Original Kings of Comedy. Seventeen-year-old Bow Wow has worked hard to prove that he's not just a flash in the pan--and it's worked for the most part. He proved with Like Mike that he can act but the role of DJ here gets buried in this lousy film.
Christopher Erskin who makes his directorial debut here delivers a mess of a movie despite having squeezed out everything he could from his stars. Visually the sets resemble skits on a TV variety show rather than professional feature film sets the worst being the sequences where the family is in the SUV--almost half the entire film. To wit: you see them driving with the same scenery in the background--it's like in the The Flintstones when Fred would drive past the same palm tree next to the same rock house again and again. You can't help but picture the actors sitting in the Lincoln Navigator prop car in front of a large blue screen windows rolled down with a wind machine pointed at them. Matching the abysmal visuals are writers Todd R and Earl Richey Jones' ill-paced script. The film drags as the Johnson family encounters unoriginal setbacks and the end is not even a payoff; it's punishment. See the film doesn't end when family finally reaches Missouri: Moviegoers must the sit through the actual reunion and the Johnson family's Brady Bunch-style musical performance costumes and all. The only moment of brief relief is Steve Harvey's guest appearance as Nate's brother. But wait! It doesn't even end then--we have to follow the family back home to California.