It's of no surprise that Seven Psychopaths Oscar nominee Martin McDonagh's madcap crime comedy won the People's Choice Midnight Madness Award at this year's Toronto International Film Festival. The film is a weird crowd-pleaser that's as much a blood-soaked macabre midnight movie as it is a self-aware satire on the very place that spawns all this madness: Hollywood.
The movie follows Marty (Colin Farrell playing the straight man this time around) a functioning alcoholic and Los Angeles screenwriter struggling to complete his screenplay Seven Psychopaths. Un/lucky for Marty his wildly off-balance best friend Billy (a scene and movie-stealing Sam Rockwell) is an out-of-work actor who dognaps for reward money and provides the writer with a wealth of material.
Billy works side-by-side in the dog thievery business with Hans (a particularly poignant and wonderfully weird Christopher Walken) a deeply religious man with a haunted violent past who uses the money to provide for his ailing wife (Linda Bright Clay). After the men kidnap the wrong person's Shih Tzu — owned by a bona fide lunatic and gangster by the name of Charlie (Woody Harrelson continuing his 2012 hot streak) — and Billy puts an ad in LA Weekly searching for the city's best psychopaths Marty finds inspiration for his screenplay. It quite literally arrives at his doorstep putting his life — and the lives of everyone around him — in danger.
McDonagh's unpredictable utterly deranged multi-layered noir homage is a testament to the Oscar-nominated McDonagh's scope sensibilities and talents as a writer and director (it has been earning comparisons to the work of Quentin Tarantino and understandably so). The film is not only reminiscent of Tarantino in style execution and use of an eclectic ensemble but in storytelling techniques too.
The film features a series of darkly hilarious vignettes including a pair of bumbling hitmen (played by Boardwalk Empire costars Michael Pitt and Michael Stuhlbarg) and a series of revenge fantasies featuring distraught mourning parents like a Viet Cong soldier (Long Nguyen) and a Quaker (Harry Dean Stanton); and serial killer killers (Amanda Warren and a bunny-toting Tom Waits) that all hearken back to Pulp Fiction both Kill Bills and Inglorious Basterds respectively.
But don't call Seven Psychopaths a Tarantino ripoff. McDonagh somehow manages to conjure up all the best things about the fellow auteur's aesthetics (he like Tarantino also relies his muse again with Farrell) and remain in a league all his own. It's rare to find a writer who is able to effortlessly inject his own running internal monologue into their characters without it seeming self-indulgent but McDonagh pulls it off.
McDonagh/Billy grapples with making a movie that sports over-the-top violent gun-toting guys and expendable female characters (something it gives a wink and a nod to throughout but doesn't quite solve that costars Abbie Cornish Olga Kurylenko and Gabourey Sidibe play up in their ultimately disposable roles) or one that is ultimately about love and friendship. He somehow manages to make it both.
While Seven Psychopaths doesn't pull off that delicate balance quite the same way the far superior In Bruges did running a bit too long with a fantasy
sequence that's far more satisfying than the film's actual conclusion but it arguably packs heartier laughs than its predecessor (thanks largely in part to Rockwell's Billy's buffoonery and a deliriously funny rant about Gandhi). McDonagh's latest is the craziest thing to come out of Hollywood this year — in the best way possible.
There are two ways to watch a film like Just Go With It. The first is to look at the characters and situations as if they existed in the real world. Through this lens as with most Hollywood productions the story is far-fetched and trite the characters too stereotypical to stomach. However even if you leave practicality at home and well just go with it it’s hard to find anything to enjoy in Adam Sandler’s new movie about a playboy plastic surgeon that convinces his assistant to pose as his ex-wife in an attempt to woo a new lady friend.
Danny Maccabee is afraid of having his heart broken like it was when he was in medical school so he uses his would-be wedding ring from a disastrous engagement as a chick magnet because you know all single ladies love married men. However when he finally meets and beds the girl of his dreams the tactic backfires as she thinks she’s just wrecked a home. Enter Katherine (Jennifer Aniston) Danny’s ordinary (well ordinary when compared to bombshell Brooklyn Decker) office mule who is lured into an ever-expanding web of lies so that he can win his Ms. Right.
The film’s weakest link is its script from writers Timothy Dowling (Role Models) and Allan Loeb (The Switch). Their simple story relies heavily on Sandler’s tried-and-true formula of physical gags and broad family humor offering the audience nothing they haven’t seen before and virtually no organic comedy. While the premise and principle players are very predictable the supporting cast injects some life into the picture most notably young starlet-in-training Bailee Madison whose cutesiness is the only thing I didn’t get sick of throughout the film. Honorable mentions also go to Nick Swardson as Sandler’s crazy cousin and Nicole Kidman who ought to try her hand at comedy more often.
Unfortunately their charm doesn’t compensate for the film’s uneven pacing. I was incredibly bored throughout the second act which is hampered by scenes that play longer than they should but biggest conundrum is Sandler himself: the main draw in Just Go With It as well as its most unlikable element. His character’s arc not to mention his performance is about as artificial as the breasts he gives his clients. Not only is Maccabee a self-centered liar; his deceptions go unpunished as he coasts through the film’s climax into happily-ever-after territory. Some will accept even embrace the Hollywood ending but the conclusion is a loss for Aniston’s character who is otherwise pleasant to watch. A dignified single mother she’s at first reluctant to help Danny due to the immoral nature of his plan but falls for him because he eventually develops a relationship with the kids. I guess she didn’t see him throw them in the mud earlier in the movie.
Generally speaking the greatest strength a contemporary romantic comedy has is its funny factor but director Dennis Dugan unexpectedly creates a comfortable quixotic vibe in Just Go With It which is surprising considering his past endeavors with Sandler (among them I Now Pronounce You Chuck and Larry and Grown Ups). It doesn’t make up for the lack of natural laughs but will sate the target audiences’ appetite for a harmless and forgettable Valentine’s Day snack.