Greetings again from the darkness. Much of what I write here contradicts my long maintained stance that a strong story/script is the basis for any movie worth it's proverbial weight. This neighborhood crime drama does not spin a twisty plot. Nor does it flash fascinating and colorful mobsters. Instead, it's the acting that elevates this to the point of neo-noir must see.
This is James Gandolfini's final movie. He passed away while director Michael Roskam (Bullhead) was in editing mode. Gandolfini plays Cousin Marv, a would-be wise-guy who never-really-was and is now bitter and desperate, in a beaten down kind of way. As a farewell, Gandolfini leaves us a final reminder of what a powerful screen presence he was, and what a terrific feel for character and scene he possessed.
The real attraction and the main reason to see the film is the outstanding and mesmerizing performance of Tom Hardy. In many ways, his bartender Bob is the polar opposite of his infamous Bane from The Dark Knight Rises. Quasi-effeminate in his vocal deliverings, and moving with a slow, stilted shuffle, Bob is one of the least imposing guys you would likely look right through. At least that's the first impression. Hardy is so nuanced, we aren't even certain when his character evolves and exposes his true make-up. When he does, it's the highlight of the film.
Noomi Rapace, in yet another intriguing turn, plays local waitress Nadia, who befriends Bob after he rescues an abused puppy. Since the movie is based on Dennis Lehane's short story "Animal Rescue", it's no surprise that the main characters each share a need to be rescued. Nadia's ex-boyfriend is played to full creepy effect by Matthias Schoenaerts (so great in Rust and Bone, 2012). The scenes between Schoenaerts and Hardy show the movie at its tension-filled best.
As with most neighborhood crime dramas, there are many secrets, local legends, and allegiances in doubt. The players are weary and dream of either better times or ending the misery. Mr. Lehane wrote the novels that led to some other fine films: Mystic River, Gone Baby Gone, and Shutter Island. He has a feel for realistic characters, and his material depends on extraordinary acting for fulfillment. This slow boil benefits from some of the best acting we could ask for.
This is James Gandolfini's final movie. He passed away while director Michael Roskam (Bullhead) was in editing mode. Gandolfini plays Cousin Marv, a would-be wise-guy who never-really-was and is now bitter and desperate, in a beaten down kind of way. As a farewell, Gandolfini leaves us a final reminder of what a powerful screen presence he was, and what a terrific feel for character and scene he possessed.
The real attraction and the main reason to see the film is the outstanding and mesmerizing performance of Tom Hardy. In many ways, his bartender Bob is the polar opposite of his infamous Bane from The Dark Knight Rises. Quasi-effeminate in his vocal deliverings, and moving with a slow, stilted shuffle, Bob is one of the least imposing guys you would likely look right through. At least that's the first impression. Hardy is so nuanced, we aren't even certain when his character evolves and exposes his true make-up. When he does, it's the highlight of the film.
Noomi Rapace, in yet another intriguing turn, plays local waitress Nadia, who befriends Bob after he rescues an abused puppy. Since the movie is based on Dennis Lehane's short story "Animal Rescue", it's no surprise that the main characters each share a need to be rescued. Nadia's ex-boyfriend is played to full creepy effect by Matthias Schoenaerts (so great in Rust and Bone, 2012). The scenes between Schoenaerts and Hardy show the movie at its tension-filled best.
As with most neighborhood crime dramas, there are many secrets, local legends, and allegiances in doubt. The players are weary and dream of either better times or ending the misery. Mr. Lehane wrote the novels that led to some other fine films: Mystic River, Gone Baby Gone, and Shutter Island. He has a feel for realistic characters, and his material depends on extraordinary acting for fulfillment. This slow boil benefits from some of the best acting we could ask for.