Review

Review: 'Out of the Furnace' Is Burned by Weak Characters

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Dec 06, 2013 | 2:16pm EST

Out of the Furnace, Christian BaleRelativity Media

There's a wealth of material for filmmakers to pry out of the troubles that America has faced in the past decade. The depressed economy, the plight of the returning soldier, and the loss of American industry have all informed the plots of many of the best films written in the past couple years. In his second directorial effort, Out of the Furnace, filmmaker Scott Cooper attempts to turn the myriad of America’s most pressing issues into a story set in the backdrop of the country’s hard suffering Rust Belt, but he comes away with a merely competent dramatic thriller that clearly aspired to be something grander.

In the film, Christian Bale plays the hardworking and upstanding Russell Baze, an almost impossibly good-natured man who has worked in the local steel mill his entire life, and had planned, just like his ailing father, to do so until the day he died. But when the steel mill is scheduled to close, Baze's way of life as well as the town itself is crippled. Casey Affleck plays Russell's sensitive brother Rodney, whose tours in Iraq have left him emotionally eruptive and dissatisfied with his brother’s working man existence; Rodney would rather spend his time competing in underground fighting rings where he can still feel something. Rodney soon finds himself wrapped up in violent and reactionary crime ring that doesn't take kindly to strangers. It’s up to Russell to save his brother from the grips of the areas most terrifying criminals

Out of the Furnace is appealingly glum. Cooper finds beauty in the rolling hills and crumbling infrastructure of small town Pennsylvania, and the film fully embraces the derelict beauty of its settings, down to even the homes and the cars that the characters own. The film clearly prides itself on feeling authentic and it reaches its goals visually — at the very least.

The relationship between the brothers Baze also feels remarkably authentic. Both Bale and Affleck sell the relationship deftly, and have an almost tangible amount of on-screen chemistry that expresses their bond for each other in a way that no script could. This chemistry makes the scenes where Rodney has gone missing burn with terrific dramatic intensity.

There’s a quiet desperation in these people. Though they may be hopeful and happy in their set paths, there’s a feeling that they’re all walking along streets heading nowhere. America isn’t the land of opportunity anymore, not for the soldiers or the factory workers. The only thriving ones seem to be the criminals like Woody Harrelson’s Curtis Degroat, who is so overarchingly villainous that the only thing the character is missing is a dastardly moustache to twirl.

Out of the Furnace, Woody HarrelsonRelativity Media

And this is the big issue with Out of the Furnace. While Harrelson’s performance is at times chilling, the script often dovetails Degroat into an overdone cartoon bad guy, and this weak characterization flows through a lot of the characters and seriously undermines a lot of the authenticity that the film believes itself to be built upon. There's a particularly groan-inducing scene where Degroat decries the human race in the gruffest voice he can muster. Woody’s Degroat character, and most of the others in the film, aren’t so much developed characters, but act more like clichéd archetypes in Cooper’s parable about a broken America. Degroat is simply the bad guy, and not characterized beyond that one-dimensional role in this story. Affleck’s wounded war veteran feels overwrought as well, with many of his scenes laying down the melodrama in thick sheets, particularly when he’s discussing the terrors he’s faced in the war oversees. 

Out of the Furnace has a lot of things on its mind about the state of America’s small towns and working class heroes, but it doesn’t know the best way to express itself, and while some of it’s sentiments ring true others clank harshly like an off-note. The remarkable cast does its best to prop up a film that wants to tell a great American story, but it only manages to tell a fairly middling one.

2.5/5

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