Tag: crime thriller

THE GOOD NURSE – Review

So for Halloween weekend, what’s an excellent setting for some creepy cinema chills? Sure, big creaky dark mansions are usually the “go-to” locale, and if they’re next to, or even attached to, a crumbling cemetery, well they fit the bill…in many flicks. But what about a public place, not the museums (as in the NIGHT series), or a shopping mall (as in the original classic DAWN OF THE DEAD)? In this fright film, the main action occurs in a hospital. And unlike the second in the series, HALLOWEEN II, the shocks are more than doubled because this new one is a true story (or the “inspired by true events” genre). Oh, but this location is dedicated to healing and helping, right? And that’s the really frightening aspect. But the whole thing is not overly exploitive thanks to the Oscar-winning duo who portray a pair of healthcare workers. Needless to say, some of those patients aren’t fortunate to be treated by the one that’s THE GOOD NURSE.

The opening “prologue’ does involve a nurse, Charlie Cullen (Eddie Redmayne), who calls for backup when one of his charges takes a turn for the worst. From there the story changes its setting location and its focus to another nurse, Amy Loughren (Jessica Chastain) who is working the long night shift, seemingly alone. Lifting and moving her patients truly exhausts her, as she almost collapses in an empty supply closet. But she makes it till dawn and returns home to relieve her sitter and see her two pre-teen daughters off to school (their daddy is out of the mix). With the girls gone, Amy heads over for a heart check-up. Her doc insists that she make time for a valve repair, but Amy is months away from getting on the hospital health plan, so she’s got to “plow through” and keep her own health issues a secret. Luckily she gets a new co-worker for the late shift, as Charlie joins the staff. The two quickly bound over their failed marriages and custody conflicts. But then several patients unexpectantly expire. A grieving spouse contacts the local police where the investigation heads to two “plainclothesmen”, Braun (Noah Emmerich) and (Nnamdi Asomugha), who had come across a similar incident previously (then they were too late for a needed autopsy). Unfortunately, the duo is hampered by the hospital’s board of directors and their public relations exec Ms. Garran (Kim Dickens). But as the death toll rises, the PDs finally get to interview the workers and get some cooperation from the puzzled Amy. But will her friendship with Charlie silence the inner voice that warns her of a most deadly conspiracy? And will she put her career and family in jeopardy to learn the truth?


The title character (not giving anything away here) is superbly portrayed by Ms. Chastain in her first dramatic role (I’m not counting the excruciating action-thriller THE 355) since taking the Oscar gold for THE EYES OF TAMMY FAYE. Like that former role, she brings a great deal of empathy and emotional and physical (just charging up a flight of stairs is harrowing) vulnerability as the working-class hero. Her pressures are towering both at work and at home, as she worries about being the “bad Mom” as her eldest constantly ‘tests her”. Her Amy needs a supportive shoulder which make her “awakening” and shift into “truth-seeker mode” more powerful and another triumph for Chastain. Though not a the forefront of the narrative, Redmayne as the mysterious Charlie, underplays in order to make the “gurney-pusher” non-threatening which aids his quest to almost merge in to the hospital’s shadowy corridors. He too, zeros in on a “work buddy” to share in his struggles, through his passive-aggressive demeanor and soft-spoken asides. It’s thanks to Redmayne’s skills that Charlie has some sympathy even as he destroys families while “glomming” onto Amy’s broken home (if he’s not the father figure, at least he’s the cool uncle). Speaking of “working stiffs”, the police pair (with Amy and Charlie as the medical duo) are played with steely determination by, starting with the senior lead PD, Emmerich as Braun who projects an affable persona, but is a keen observor whose gaze can seemingly “burn” into someone’s brain. At his side is Asomugha’s fiery Baldwin, who’s not doing the “good cop/bad cop” cliche with Braun, but rather he’s the more passionate. This helps when he’s doing the research, but can backfire in a memorable scene where he loses his cool with one of the “higher-ups”, though he had shown remarkable restraint. Testing that is Dickens, a superb character actress, whose Garran wants to be seen as an aloof, unflappable businesswoman, but conspires and manipulates with an icy cold hand.

In his English-language feature film directing debut, Tobias Lindholm imbues this story with a sense of dark dread. Really, the hospital proves to be a foreboding shadow space, especially at night. I’m aware that it’s not as well lit after “visiting hours”, but it’s a wonder that the staff doesn’t carry around some pocket flashlights. Of course, this amplifies the hidden evil there and the old adage that “light is the best disinfectant” since those in charge need to keep us, the public, “in the dark”. Aside from the visuals Linfholm keeps us “off-kilter” with an undercurrent of suppressed tension at the core of nearly every scene. This even goes for the detective subplot as the partners try to “run around” and “leap over” the near-constant obstacles in their way. The soundtrack by Biosphere is equally muted, like the cinematography, and doesn’t build up to the usual thriller tropes. The many fans of streaming true crime stories will eagerly consume this but may find themselves hungry for a resolution. There are no clear-cut reasons given for the crimes, much like Simon Oakland provided in the final moments of PSYCHO. Perhaps this is to drive home the fact that horrible real-life incidents can’t be “tied up cleanly with a bright shiny bow”. It’s awful and messy, but sometimes ordinary folks can put a stop to it. But the misery goes down a touch easier thanks to the terrific acting duo who make THE GOOD NURSE very good indeed.

3 Out of 4

THE GOOD NURSE is now playing in select theatres and is streaming exclusively on Netflix

THE OUTFIT – Review

Zoey Deutch (left) stars as “Mable” and Mark Rylance (right) stars as “Leonard” in director Graham Moore’s THE OUTFIT, a Focus Features release. Courtesy of Nick Wall / Focus Features

The stylish, entertaining, a bit bloody gangster thriller THE OUTFIT is tailor-made for it star, the gifted Mark Rylance, and showcase Rylance does, with a clever script and strong direction from Graham Moore, who won an Oscar for his script of THE IMITATION GAME. With a score by Alexandre Desplat, Graham Moore’s directorial debut is a modest little indie gem but one that delivers big, with a tense, twisty story and fine supporting cast, including London-trained, Nigerian-born Nikki Amuka-Bird as a rival gangster, and a thrilling performance by Mark Rylance.

Set in 1956 Chicago, the whole thing mostly takes place inside a modest shop, owned by Englishman Leonard Burling (Mark Rylance), a soft-spoken Saville Row-trained bespoke tailor, who runs the place with help from his shop assistant Mable (Zoey Deutch).

It quickly becomes clear that Leonard is allowing his shop to be used by a mob, led by boss Roy Boyle (Simon Russell Beale). as a drop spot for the gang. From time to time, Boyle gang members leave envelopes in a box at the back of the shop and once in awhile, they retrieve them. Some of the communications come from a shadowy higher-level organization known as the Outfit.

As the gangsters come and go, Leonard works at his craft, creating his suits for his clients. As he works, the film is narrated by the tailor, who talks about his craft as we watch him at work. Leonard tells us he is not just a tailor but a cutter, a higher level of skill in his profession. When anyone asks why such a skilled craftsman left Saville Row, Leonard quips “blue jeans.”

Rylance’s tailor is a quiet fellow, so reserved and deferential that he almost fades into the background, while the gangsters come and go. But this quiet routine is shattered one evening when a pair of Boyle gang members burst in. One of them has been shot, and the film takes a new turn.

The wounded man turns out to be Richie Boyle (Dylan O’Brien), the hot-headed young son of the mob’s boss Roy Boyle. With him is Francis (Johnny Flynn), a trusted associate that Roy had assigned to keep an eye on his son Richie. Fortunately, Richie isn’t seriously hurt but Francis is upset, not just that Richie got shot during a run-in with the rival LaFontaine gang. Francis is worried about evidence that a “rat” within the Boyle gang is working with the FBI. An audio tape has emerged as evidence, and Francis is frantic to find the traitor.

Usually Leonard steers clear of the gang’s business but Francis demands that the tailor stitch up young Richie’s wound, threatening him if he refuses. Leonard has no choice, but as the tailor recognizes the danger he is now in, Rylance’s character emerge from the shadows, and the actor takes the spotlight with bold energy.

Despite its closed-in setting, there is plenty of crime thriller tension, plot twists and a surprising amount of violence in THE OUTFIT. The story all takes place during one night, where various gangsters come and go, secrets are revealed and twists are everywhere. At first, Rylance’s Leonard is so timid that he nearly fades into the background, but once Francis threatens him, Rylance takes center stage, looking for a way to get out of his precarious situation.

Eventually the big boss turns up, along with his menacing bodyguard Monk (Alan Mehdizadeh). The rival gang’s leader Violet LaFontaine shows up in the third act, and Nikki Amuka-Bird briefly steals the show in that role. But Rylance quickly regains center stage and then holds it firmly as the story races to its conclusion.

There are twists and surprises enough to satisfy any crime tale fan, and a ticking clock urgency in this Hitchcockian thriller. There is an unexpected amount of violence and blood for a tale that plays out in a few rooms. That those rooms are small and cramped, gives the film an extra claustrophobic pressure-cooker vibe that works well for this potboiler. Although THE OUTFIT is set in Chicago, this British production was actually shot at a London theater, but stylish noir photography by Dick Pope creates the perfect framing.

Rylance did in-depth research for the role, which has the tailor using his particular skills in the course of staying alive. Rylance even wears a suit he made himself in the film.

THE OUTFIT is great fun, and a made-to-order showcase for the formidable talents of Mark Rylance. Not everything that happens makes complete sense but it is such great crime story fun that it doesn’t matter or detract from the thrills. THE OUTFIT fits the bill for crime tale entertainment, like one of British tailor’s suits.

THE OUTFIT opens Friday, March 18, at Landmark’s Plaza Frontenac Cinema.

RATING: 3.5 out of 4 stars

NO EXIT (2022) – Review

If you’re thinking, “I’m so so sick of Winter with all the wind, snow, and icy blasts of frigid air! I need a sunny beach!”, then this flick may not be the cinematic escape. Perhaps the dessert backdrop of DEATH ON THE NILE may be “just the ticket”. But if you’re in the mood for another “whodunit”, then perhaps this new flick may test your “Poirot aspirations. Ah, but as I mentioned earlier it’s a “chiller” in more ways than one. And a “thriller”. Though it also places us in the main character’s quandry and “moral panic”. This story’s heroine must make a choice whether to risk her life (and put aside a family crisis) to intervene when the uncaring tundra-like landscape offers NO EXIT.

The tale’s unlikely (and sometimes unlikable) heroine is Darby (Havana Rose Liu) who we first see enduring another “group session” at a “court-ordered” detox facility. She’s fed up with this “halfway house’ with its condescending counselors and its “fulla’ BS” residents. But the monotony is broken when a nurse tells her that she’s got an important call, a big emergency (otherwise “no contact” with the outside). It’s from a family friend with dire news: her mother’s at “death’s door” in a Salt Lake City” Hospital. Darby implores the staff to release her, but they can’t unless her doctor gives the okay. But it’s Friday afternoon and he’s unreachable till Monday. Later that night, after her pleads are ignored, Darby gets a hidden phone from another “patient/inmate”, grabs some tools, charges through the front doors, and hotwires a nurse’s car. Things are looking rough on the highway as a fierce blizzard begins. Darby’s quick nap on the shoulder of a side road is interrupted by a state trooper. Is her trip over? Does he know that she stole the car? Luckily he’s only concerned for her safety since all the roads are shut down. The trooper insists that she head over to the nearby rest stop that he’s opened up. There Darby meets a quartet of stranded travelers: long-time couple Sandi (Dale Dickey) and gambling buff Ed (Dennis Haysbert), twitchy awkward Lars (David Rhysdahl), and affable hunk Ash (Danny Ramirez). Before they all “hunker down” for the night (and for the roads to be cleared) Darby heads back outside in search of “bars” for her phone. She hears a noise in the parking lot and peers into one of the vehicles. The horrific sight forces the recovering drug addict into the role of sleuth/rescuer. But does she have the courage to do what must be done?

The impact of the story’s many twists and turns hinges on the character of Darby, expertly portrayed by the talented Liu who many of us first saw on screen last year as Bea in the offbeat MAYDAY. Here’s she’s more than up to the challenge of Darby, who we first meet as an angry abrasive twentysomething, resentful of those around her, but really furious at herself, perhaps thinking herself weak for nearly drowning in addiction. Through her eyes and more confident manner, we see that the “urgent call” is more of a “wake-up call” to her, snapping Darby out of her emotional lethargy. Her new inner light burns its brightest after her “discovery’ at the rest stop, with Liu frantically trying to piece together a clue to the culprit and a way to become the hero that was dormant inside her. The biggest “name” actor in the cast is probably Haysbert, who appears to enjoy playing against his usual somber, stoic “commander’ roles as the engaging, but also dealing with addiction (gambling’s pretty destructive too), veteran Ed. His “grounding support’ is the concerned and caring Laurie played subtly by Dickie, who ably handles the character’s major “turnabouts” and whims. Rhysdahl as Lars gives the often cliche “quiet loner” an interesting spin as the “wild card’ that may or may not be the “red herring’ of the mystery. On the “flip-side” Ramirez as Ash ably essays the “aid-back sensitive self-effacing boyfriend-material” (his first lin after waking from a nap:”Was I snoring? I bet I was!”) who is much more than he appears. Kudos also to a very gifted young actress Mila Harris as Jay, who helps kick the plot into “high gear”.

Giving this tight, taut modern noir a lot of energy and crisp pacing is director Damien Power, indeed displaying lots of power in his second feature film. In the opening minutes, we think we’re getting a character study, a struggle with sobriety, but then Power takes a sharp turn into crime thriller territory, almost giving us a bit of whiplash as the story veers into even darker subject matter. Much of these moods shifts must be credited to screenwriters Andrew Barrer and Gabriel Ferrari (ANT-MAN AND THE WASP…really) who adapted the Taylor Adams novel. Though much of the action occurs within the shack-like rest area, the right amount of claustrophobia is established. The characters can still leave, but it never seems to be as though the makers want to “open it up” (like a certain train Poirot flick a few years ago). “Going out” may appear to be an “escape route”, but the constant arctic wind (you may shiver by suggestion) proves a most “unsafe space”, along with the snow that provides footprint clues to your locale making everybody a prisoner of the elements. Another gripping touch are the sudden bursts of brutal violence that really ‘stay’ with those “inflicted”, which often makes us wince in empathy. Coupled with the evolving mystery that slowly unfolds makes this tale of redemption and recovery a true “nail-biter”.It’s certainly well worth taking a turn and getting off the main multiplex highway for NO EXIT, a true no “frills” chiller (brrrr) thriller.

3 out of 4

NO EXIT is now streaming exclusively on Hulu

HOUSE OF GUCCI – Review

Lady Gaga stars as Patrizia Reggiani in Ridley Scott’s HOUSE OF GUCCI A Metro Goldwyn Mayer Pictures film. Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

HOUSE OF GUCCI is based on a true story, one filled with wealth, power, ambition, family, tradition, high fashion, and murder, a story that plays like Italian opera, equal parts tragedy and farce. Ridley Scott directs, and the lush production stars Adam Driver, Lady Gaga, Al Pacino, Jeremy Irons and Jared Leto.

Filled with gorgeous period clothes and cars, lovely sets and locations, mostly in Milan, and fine photography, HOUSE OF GUCCI delivers visual delights and jet-set style in this story that runs from the ’70s to the ’90s. The raw story material of a grand operatic epic is there too, but somehow HOUSE OF GUCCI never achieves epic levels, although it does make for a pretty good true crime thriller, set in a posh world of wealth and Italian fashion, with a satiric bent. HOUSE OF GUCCI was adapted from Sara Gay Forden’s non-fiction bestseller by writers Becky Johnston and Roberto Bentivegna. It is one of those story that would leave audiences skeptical if it weren’t true.

Patrizia Reggiani (Lady Gaga), the pretty young daughter of the owner of small trucking company, meets Maurizio Gucci (Adam Driver) at a party, when she mistakes him for the bartender. As soon as she hears his name, she is taken with the shy scion of the famous fashion house. Maurizio is similarly dazzled, calling her Elizabeth Taylor rather than her name. Although he is too shy to ask her out, the resourceful Patrizia finds a way through Maurizio’s armor. Although Patrizia is definitely working-class, little educated and working as a secretary for her father, while Maurizio is a scholarly law student who is not much interested in his family’s fashion business, she adds a spark of fun his life lacks. It’s love, and soon he is willing to defy his coldly aristocratic father Rodolfo Gucci (Jeremy Irons), who thinks Patricia is both low-class and a gold-digger. Dad’s not entirely wrong but his son marries her anyway, despite threats of being cut off.

Patrizia’s father (Vincent Riotta) gives the now-homeless student a job, and the pair find happiness in a little apartment. For a while the film unfolds along this path, a sexy romantic comedy, with the couple enjoying an idyll in a small apartment, Maurizio ironing his own shirts and horse-playing with co-workers.

Patrizia does her best to charm her way into the Gucci family, by building bridges. Making little headway with her chilly father-in-law, she finds a pathway with Maurizio’s uncle Aldo Gucci (Al Pacino), who shares running the family firm with his brother Rodolfo. While Rodolfo is aristocratically aloof, Aldo is warm and charming, inviting the couple to visit him in New York, and treating Patrizia to a shopping spree in the family store. He seems as much to want to befriend his niece-in-law as much she wants to be accepted as part of the Gucci family, although Aldo has his reasons for that.

Aldo invites the couple to family gathering where Patrizia meets the extended Gucci family, a sequence that is a delight of over-the-top characters and comic misadventures. Chief among those characters is Uncle Aldo’s son Paolo Gucci (an unrecognizable Jared Leto with facial prosthetics), a chubby, balding, loudly-dressed klutz who fancies himself a fashion designer. As his father puts it, more than once, “Paolo’s an idiot but he’s my idiot.”

Then this fun, romantic comedy romp gives way to something darker, a twisty crime thriller with family intrigue, drama, back-stabbing and finally murder. When Patrizia marries in, the Gucci business is very much a family business handed down through generations, a well-oiled machine with its own internal rules. Patrizia becomes the wrench in those works, sparking events that never would have happened otherwise, with consequences no one could foresee.

HOUSE OF GUCCI is certainly an entertaining film, particularly fun in the more comic earlier part. But as the film becomes darker, it stumbles a bit with that turn, with the various parts sometimes failing to mesh. At a running time of over two hours, all those moving parts need to work together for it to step up from good film to the great film it could have been.

Ridley Scott gives us actors speaking English with Italian-ish accents, set in a glorious Milan straight out of old movies. This rather tongue-in-cheek approach will amuse some audiences and irritate (or maybe even offend) others. There is a strong farcical element to the first portion, so the shift to crime thriller and tragedy almost feels like you are watching a different movie, although the satiric undercurrent is still there. Audiences might also be divided on Lady Gaga’s performance, feeling she is the best thing in the film, or the weakest link in the more problematic second part, although she is perfect in the first.

The cast is stellar, if the casting is a bit puzzling at times. Adam Driver nicely plays the awkward, shy Maurizio with a firm reserve. By contrast, Lady Gaga is splendid to start as Patrizia, a broadly-drawn character more out of “Good Fellas” than anything else, whose grammar is not great and whose cultural knowledge is seriously lacking. But she is certainly fun, as she tells Maurizio when they first meet. Plus, Gaga and Driver have an unexpected mismatch chemistry together.

Jeremy Irons is at his chilly best as Rodolfo Gucci, a cold fish who can barely manage any affection for the son he claims to adore, while living in the past with memories of his late wife and long-ago movie career. In contrast, Al Pacino as his brother is the complete opposite personality, all affection and family warmth, using charm to get what he wants. The brothers are on opposite ends of the business spectrum as well, with the New York-based Aldo eager to embrace branding and coffee mugs with the logo, while Rodolfo is about tradition and dignity for the Gucci brand.

Rodolfo relies on lawyer and advisor Domencio De Sole (Jack Huston, who has his own interesting pedigree with grandfather John Huston), who is almost family although not a Gucci. At some point, Patrizia picks up her own trusted advisor, a fortune teller, Pina Auriemma, played by Salma Hayek, although the advice is mostly ego-stroking, a fateful choice.

Where the trouble for the movie, as well as for the Gucci family, comes in is when the film takes it’s darker turn, from fun and farce to thriller and tragedy. What happens blends ambition, greed and murder, in a stranger-than-fiction true story. If you don’t know the history, it is better to just wait and watch it unfold on screen. However, whether the script that is at fault or something else, Patricia’s character seems to undergo changes that do not fit well with what went before, which seems to muddy the film as it makes this shift.

All the over-the-top events of this story, both tragic and absurd, are matched with some over-the-top performances, particularly Jared Leto. All that suggests Ridley Scott intended this film as satire. It partly succeeds as in that, as a grand, operatic one at that, although the second, tragic part feels less focused.

HOUSE OF GUCCI is an entertaining, engrossing film that mixes crime thriller with farce. While it is a good film, an enjoyable film, one can’t help but feel it could have been more. All the elements were there for a great film, starting with the true story. It just didn’t get there, although it is still worth the ticket price. HOUSE OF GUCCI opens Wednesday, Nov. 24, in theaters.

RATING: 3 out of 4 stars

VENGEANCE IS MINE – Review

A scene from VENGEANCE IS MINE. Photo credit: Dubin (Submersive Media). Courtesy of Vertical Entertainment

I wonder what percentage of action movies rely on our innate human desire to avenge a wrong? That premise serves many genres – Westerns, martial arts, period and contemporary crime, etc. They range from low-key Everyman protagonists to hardcore splatterfests. This quiet little offering is a fine example of the former.

VENGEANCE IS MINE opens with an armed robbery and escape by four masked thugs in an SUV. Cut to Harry (Con O’Neill), a severely depressed man living on a cot in a church basement, in exchange for menial services. He considers suicide. We gradually learn that his state is the result of helplessly witnessing his wife and daughter being killed by those thugs’ vehicle during their escape. Harry has spent years waiting for a hired detective to discover who they were, since he’d only briefly glimpsed their faces and they were never caught. The real story kicks in when he finally gets a lead from his investigator.

Harry was obviously never a man of action. He’d surely never even seen a Charles Bronson movie, since he commits so many rookie mistakes that result in various unpleasant consequences. O’Neill makes it work with a splendid performance, showing us Harry’s overwhelming grief and his inner conflicts when the opportunity for payback finally arises. Despite his years of searching and suffering, that opening doesn’t turn him into a Billy Jack (you were expecting me to cite Rambo, weren’t you?). His pain continues even in moments of gratification. That makes him more relatable than many such leads who already have, or train hard to acquire, the kill skills for their missions. Writer/director Hadi Hajaig tells the tale efficiently in only 79 minutes, which is still enough time for showing all the character traits, moods and story arc needed for a satisfying package. The gritty London locations support the realistic, human-scale action while presumably minimizing the budget.

Finally, here’s a nod to stunt coordinator Peter Pedrero. In 30 years, he’s amassed 335 stunt credits while only getting a score of roles to call his own. He looks and acts the part of a low-level thug like one who’s done a lot more on camera than take some other guy’s punches and falls.

That path reminds me of Red West, who spent much of his career in stunts, often playing unnamed henchmen, before landing some featured roles later in his career, including a lead in another fine indie film, GOODBYE SOLO. It’s nice to see hard work in the trenches rewarded.

VENGEANCE IS MINE opens Oct. 8 in select theaters and on demand.

RATING: 2.5 out of 4 stars

SPIRAL (2021) – Review

If there’s anyone that truly believes in the expression, “Everything old is new again”, they probably live in Hollywood. And they are probably a movie studio exec. That’s because there seems to be a reboot, remake, or (the marketers coined this new phrase) a “re-imagining” of a familiar story or concept. Now, this week, the “old” part of that adage is really being put to the test…or stretched thin. After all, the last one hit theatres less than four years ago, And as for the original 2004 entry, it was followed up by six sequels every year, reminding us of the “B” movie franchises of the 30s and 40s, in which you could count on a yearly visit from Andy Hardy’s family, Tarzan, and Boston Blackie. I’m referring to the SAW series. This weekend we’ll see a new spin (sorry) on them via a new thriller whose original subtitle included “From the Book of Saw”, but will now appear on theatre marquees and box office listings as simply SPIRAL. And around it goes…

…until it lands in the middle of a crowded celebration (with the fireworks, it must be July Fourth). In the packed carnival midway, a woman screams that her purse was snatched. A “plainclothes” cop pursues the thief to a “porta-potty”. But the “perp” has vanished…or so it would seem. The er, “seat” has an opening that leads to a ladder that empties into a subway tunnel. It’s then that the cop becomes the prey of a “pig-mask” wearing fiend with a distorted voice and a knack for gruesome torture devices. The next morning we meet another cop who’s having a bad day (though less deadly). The drug bust that Det. Zeke Banks (Chris Rock) worked solo goes sideways. Which leads to a “dressing down” by his boss, Chief Garza (Marisol Nichols). Zeke tells her that he has to work alone since many of the other cops have branded him a “rat” for helping to take down a “dirty” officer. Even though he’s the son of the precinct’s former captain, Zeke will be assigned a partner, a “green” rookie right out of the academy, Will Schenk (Max Minghella). The two are sent out to work a weird subway death of a homeless guy. But later that day, Zeke gets a special delivery package that ID’s the “vic”. Next to a grisly appendage is the badge of Zeke’s only “work buddy”, Boz. Oh, and there’s a flash drive with an image of a red spiral sprayed on the courthouse door along with an audio message from that same distorted voice claiming that Boz has paid the price for his sins. Everyone in the squad room believes it’s the return of “jigsaw”, or a “copy-cat’. That night Zeke goes over the case with his dad Marcus (Samuel L Jackson), who is also his landlord as Zeke’s marriage is crumbling. The news springs Banks Senior into action, though he shares little with his son. As the investigation continues, the packages and bodies pile up. But why do the deliveries always go straight to Banks? Could there be a connection? Or could he be the killer’s ultimate final goal?

Carrying the dramatic weight of this thriller is the always entertaining Rock, who builds upon his recent much-lauded character work in the FX “Fargo” series. The years have given the celebrated stand-up comic a real sense of gravitas making us believe in his Zeke, a man who strives to be just but is frustrated at nearly every turn, by fate and his surly co-workers. Yet, somehow his humor shines through the somber situations as Zeke spouts endless cynical observations and even tosses off an “inside joke” over a very early Rock screen role (30 years already). His work really elevates the often flimsy material. Much the same can be said of Jackson, who makes a most compelling “tough love” pop for Rock’s Zeke. He shows us that retirement hasn’t worked for Marcus, as a return to “the life” actually puts a “spring in his step”. Unfortunately, after an early scene with Rock, which just crackles with energy, the two are apart for most of the flick, making us hope for another pairing as prickly partners. As Zeke’s actual partner, Minghella is quite believable as the “straight arrow’ who can be a “sounding board’ for Rock’s rants, but can also stand up to some of the questionable tactics while getting the job done “by the book”. He gives us hope for the soured system, while we root for him and his ideals to survive the constant chaos.

Series vet Darren Lynn Bousman strives to bring a gritty sense of reality to the often far-fetched fantasy set-pieces. He sets his sights on the classic police/serial killer flicks like SILENCE OF THE LAMBS and especially SE7EN, but is tossed off course by the formula structure of the SAW legacy. The “boiling point” feel is pushed to the limit early as we are told of the city’s “heatwave” and frequent “brown-outs” which layers everyone with a sheen of sweat along with “pit stains” and slowly rotating fans left over from BODY HEAT. But the atmosphere can’t mask some of the script’s extreme “suspensions of disbelief”. We’ve got to accept that the killer can somehow sneak into places (one, in particular, is pretty darn public) and set up and monitor these Rube Golberg-inspired torture contraptions. One somehow meshed broken bottles with what seems to be a sort-of jet engine. The marriage of machine, grime and sticky gore soon becomes tedious as the victims are told via that wonky voice that they have a way out, which never seems to work. It doesn’t help that the mystery elements are so sloppy. There’s a squad room full of suspects, so when the “splatter ” set-ups are disrupted, it’s easy to zero in on the killer’s true identity. An early injection of Tarantino snark, when Zeke does a comic riff on an iconic Tom Hanks role, it doesn’t come close to QT’s pop culture bits (from Madonna to “Green Acres”). All the entrails in “blue boxes” lead up to a climax that’s like a balloon sputtering out it’s last bit of air before its limp plunge to the ground (I was reminded of the last moments of the recent Oscars telecast). Rock is always compelling but the tired gore formula and familiat serial killer tropes just cause SPIRAL to keep spinning its bloody wheel to little effect or real interest. Time to put that worn ole’ saw back in the cinema tool shed.

1.5 Out of 4

SPIRAL opens in select theatres on Friday May 14, 2021

THE VIRTUOSO – Review

So, here’s another example of a film that sports a somewhat misleading, or maybe a tad confusing title. The word in question is one usually attached to musicians like concert pianists or classical violinists. But no, this concerns another profession entirely. Although…they do share quite a bit in common. There’s the study, solitary dedication, practice, and planning. A huge part of the latter is timing, namely hitting the beats, and releasing those notes at the exact, precise moment for the proper impact. Now this film’s holder of this title doesn’t deal with notes. More often than not, it’s bullets. He’s a highly-paid hitman, one that strikes from the shadows, liquidating swiftly than disappearing into the ether. leaving no trace of his presence. His services are so lauded and coveted that he’s only known as THE VIRTUOSO.


The film opens at the conclusion of the latest “hire’ of the “services” of Mr. V (Anson Mount). In order to appreciate his talents, he provides a narration taking us through the job’s completion. Soon he’s out of the city and back in the wilderness, living by himself in a spartan wood cabinet deep in the woods and well off the grid. His only contacts are a big stray dog lumbering onto his front porch for food and a “burner” cell phone report to V’s agent/supervisor AKA “The Mentor” (Anthony Hopkins) confirming the end of his “gig”. The only way to contact the Virtuoso is by mail sent to a non-government “postal box”. After a few days, a letter arrives. The mentor explains that it’s a “rush job”, only 48 hours, which concerns V. but the fee more than makes up for the haste. But things go sideways and horrific collateral damage occurs. When a shaken V doesn’t answer his phone, Mr. M tracks him to his father’s grave. After relating a story about his time with V’s father in Vietnam, Mentor advises him to push thru the pain and “answer your damn phone”. And soon the next job comes. The envelope contains the cryptic message (maybe a name)”White Rivers” and the map coordinates that lead to Rosie’s Diner outside a cold tiny town in the mountains of the US northeast. In the eatery, V strikes up a conversation with a friendly waitress Dixie (Abbie Cornish) as he tries to figure out his “target’ . Is it the chatty couple at a table? The burly Loner at the counter (Eddie Marsan), who appears to be “packing”? Or it might even be the stoic Deputy (David Morse), who seems to be at every corner of the town? As the snow begins to drift down, the Virtuoso keeps track of all the patrons as he continues to ponder the mystery of the Mentor’s message.

The title role coulld be considered a feature film lead breakout for Mount, mostly known for supporting movie roles and a few TV leads (right now he’s “killing it” as Captain Pike, an early commander of the starship Enterprise on “Star Trek: Discovery”, streaming on Paramount Plus, which I’m told is a mountain of entertainment. The V isn’t a talkative chap, so Mount (aside from his narration) has to relay his state of mind via body language and his dark brooding eyes. And Mount shows us the painful socially awkward qualities of the hitman as he’ll pause during a mission to practice facial expressions in the car’s rearview mirror. He still draws us in, making us wonder about what’s going on in his head. Hopefully, this film will open the gates to more complex roles for him. Cornish makes Dixie a more accessible, friendlier person, though, with her piercing eyes, she remains more than a little enigmatic, as her off-the-cuff cynicism makes her an odd fit for this tiny town. As for newly awarded two-time Oscar-winner Hopkins, well, he’s the standard “man behind the desk”. Most of his time, aside from a rambling clunky ‘Nam monologue at a gravesite, he’s in his Mahogany-toned office, sitting in the dark or by fireplace light. It feels like a quick”grab the check” for a couple of days’ work to inject some star power gig that many veteran actors indulge. It appears that they cut in unimportant bits of business of him: cleaning his weapons, staring at his platoon of cell phones, and so on in order to make it seem that he has a bigger role in the film. And with his new accolades, I’m sure he’ll be featured more prominently in the marketing, but this will never make Tony’s tribute reels. Also, the same roles assigned to two of our best character actors, Marsan and Morse, are little more than beefed-up cameos with little to aid the mystery plot, other than fueling V’s heightened confusion.

Director Nick Stagliano crafts a fairly rote modern action “B” picture (thinking it’ll be a late-night premium cable TV staple very soon) from James C. Wolf’s meandering script. We’ve seen stories of working-class killers before (the two versions of THE MECHANIC spring to mind), but there’s little in the way of film style or offbeat dialogue to set this one apart. There’s a sluggish “spinning their wheels” feel to all the non-action sequences, which aren’t as engaging as needed. It’s especially the case with the endless bits at the diner, as V makes two tedious visits. It all leads up to a USUAL SUSPECTS-inspired flashback explanation which muddies up the mystery element even more and still confuses. The continuity gaffes (Dixie’s concerned up the big snowfall, but just moments later V is cruising on pristine clean streets) add to the general incoherence. Despite the “shouldn’t they know better” cast, THE VIRTUOSO is pretty much the opposite of that title. It’s more a novice, barely hitting his notes and missing the (action) beats.

1.5 Out of 4

THE VIRTUOSO opens in select theatres on Friday, April 30, 2021.

I CARE A LOT – Review

This recent worldwide health crisis has been more than a “bump in the road” for increased lifespans. But let’s be a bit more optimistic…for now. If the vaccines do their intended job, and we adjust our social behavior, for the time being, the human race could be “back on track” to stick around longer than any time in recorded history. As I recall, one of the national newsweekly magazines from 2015 ran a baby photo on its cover and stated that the lil’ cutie could live to 142 years. So, that’s a good..no great thing, right? Oh yes, but there’s the dark side, mainly the failing functions of the mind and body. And, unfortunately, there’s no end of human vultures looking to swoop in and scoop up, unlike the animals it’s cash rather than flesh. One such scavenger is at the heart of this new, somewhat satirical, comedy/thriller. Of course, she denies her villainy, insisting that it’s not about that loot, and declaring that I CARE A LOT.

The caring lady in question is Marla Grayson (Rosamund Pike) who runs a nice little for (big) profit business as a court-appointed guardian for several (her office wall has thirty or so 8 by 10 photos tacked up) senior citizens who have been deemed by their doctor (“bought off” by Marla) unable to care for themselves. In the opening moments of the story, she squashes the court challenge of a man who has been denied seeing his mother who’s in a “skilled care” facility (also in cahoots with guess who). Naturally, Marla has taken over this lady’s finances, emptying his bank accounts and selling her car, house, and everything inside it. There’s no time to celebrate after the court victory, though. She gets a call from the “home” telling her that one of her “wards” has passed, so there’s a plum vacancy open (but Marla has to give him 2 grand to “hold” it for her). Time to call her pal Dr. Amos (Alicia Witt), who just happens to have a seventy-something “cherry”: a widowed lady with no relatives and a paid-off house in a prized neighborhood. Just a note from her is enough for Judge Lomax (Isiah Whitlock Jr.) to assign Marla as her legal guardian. Before the ink is barely dry, she and her (very) personal assistant Fran (Eiza Gonzalez) are escorting a sad and confused Jennifer Peterson (Dianne Wiest) out of her cherished home and checking her into her room at the “care facility” (after taking her cell phone, for safety matters naturally). As Fran and her helpers are emptying out and painting the Peterson place a bewildered cab driver shows up looking for Jennifer. Fran informs him of her hasty relocation. Ah, but this isn’t your regular transport “hack”. He conveys this to a powerful man surrounded by armed “muscle’ in his plush high-rise office. That shady individual, Roman Lunyov (Peter Dinklage) is most unhappy that his visit with Jennifer has been canceled. After getting a bit more intel, he sends his legal “shark” Dean (Chris Messina) to visit Marla, toss off some casual threats, and offer a case of cash (150K). But Marla declines, sensing that someone with very deep pockets is “on the hook”. Thus begins an all-out war, as Jennifer becomes an addled pawn in a most dangerous game. But just which type of criminal mastermind will triumph? And what of the sweet quiet lady in the middle?

Marla may be the most morally complex role that the gifted Ms. Pike has taken on since her breakthrough work as the “Amazing” Amy in 2014’s GONE GIRL. Early in the story’s ongoing narration, she states that “You’re either predator or prey.”, And though I’ve mentioned the feathered scavengers, Marla is most definitely a shark, an alpha one at that. She’s constantly moving, seeking out another tasty ‘ward” to gobble up. And in a couple of scenes, we see her strike back when the threatened males attempt to push her into a corner (she alludes to a brutal childhood). Somehow Pike makes her more compelling than repugnant with her confident body language and staccato line delivery. Luckily her passions are not all wrapped up in acquisitions, illustrated by her affection for Fran. Gonzalez makes her more than dangerous “eye candy”, though still exuding the same sultry siren call from her BABY DRIVER diva. Fran and Marla have a deep loving bond, perhaps united by their shared “hard knock” past and the thrill of being just inches (clients, really) away from the “sweet life”. The two make quite a dynamite duo. And they need that explosive energy when dealing with Dinklage’s sinister crime kingpin (from a one-sided phone call over “mules’ we know he’s just as exploitive and evil). Roman is a tight compact ball of fury whose can be “set off” with the most delicate announcement of bad news, really whatever blocks his path. And this raging monster is giving a heart due to his devotion to Wiest’s Linda. She grabs our sympathies immediately as she’s prodded and hustled with all manner of condescending attitude and physical interaction. With her furrowed brow and “welling up” gaze, Linda’s all of our dearest matriarchal figures, debased by the evils of the world. But then Wiest shows us her dark, dark side. Through the haze of the home’s forced medications, Linda spits venom at the startled Marla. Wiest shows us that the “cherry” is far from a helpless patsy. And though he’s only in a few scenes, Messina makes a strong impression as the smooth “mouth-piece” Dean Ericson, who’s quick to toss out a business card, while biding his time to formulate a subtle threat of violent retaliation. His perfectly coiffed exterior can’t quite disguise the tough street fighter who’ll slash you as you dart into an alley. He’s a formidable sparring partner for Pike’s Marla and their scenes in and out of the courtroom crackle with tension.

Writer/director J Blakeson has whipped up a most imaginative and unpredictable cautionary tale that’s a call to action and a rollercoaster thrill ride. In the first act, we’re nudged to feel outraged at the legal (in appearance) exploitation of the elderly by the “ice queen”-like Marla. But then she almost becomes an “anti-heroine” in the mode of WALL STREET’s Gordon Geeko using lives as commodities in a dark satire of modern avarice. Then the plot takes a near “U-turn” with the introduction of Roman (though the Russian mobsters are now a too easy “go-to” bad guy cliche), as we hope for Linda’s rescue and Marla’s comeuppance. But somehow Blakeson gets us rooting for Marla and Fran, as though they’re a modern, wealthier take on THELMA AND LOUISE. Then it’s apparent that the two opposing forces are united in their anger with society’s attitudes toward them (Marla and Fran for their gender, Roman for his size). It’s quite an impressive feat to completely steer audience allegiances so often over the story. Aside from the typical action flick Russian mob, Marla’s constant vaping (now film shorthand for “jerk”) almost veered the film into “parody-town” (guess it’s a modern take on the big macho Cuban cigars). Still when it works (the handling of Linda is blood-boiling fuel), you’re grateful for this inventive take on the crime/action “pot-boilers”. And though the “tacked-on” epilogue feels a bit like an ending that the 1930s Hayes Office (a film decency group) would have insisted on, I’m guessing that Blakeson, like his complex creation Marla, would tell all of us that, “I CARE A LOT”. And his passion shows.

3.5 Out of 4

I CARE A LOT streams exclusively on Netflix beginning Friday, February 19, 2021

I’M YOUR WOMAN – Review

So, are you a film fan that gets a bit of seasonal movie overload this time of year? You’re thinking, “Enough with the couples making ‘goo-goo’ eyes while whipping up a snowman!” or perhaps, with all that’s happening you can’t get your “jolly” on. In the mood for a gritty action thriller, set in those “down and dirty” 1970s, complete with pistol-packin’ polyester-wearing thugs? Well, Santa’s cinema elves have fashioned a stocking-stuffer just for you. So, is this a follow-up to the crime epic from last year’s holiday season, with more “digitally de-aged” Bobby D and Al P? Nope, it’s not needed this time around, because the lead is one of our newer rising stars, though she’s best known as the lead in a celebrated TV sitcom. Her? This gets a bit more interesting. What happens amidst the usual gangster mayhem when she steps forward to proclaim I’M YOUR WOMAN.

That woman is Jean (Rachel Brosnahan), a blonde pampered wife in her late 20s who’s living the plush 70s suburban life just outside Pittsburgh. One day her tranquil afternoon is disrupted by the unexpected early arrival of her hubby Eddie (Bill Heck), who has brought a surprise…a baby boy just a few months old. Eddie tells a stunned Jean that the lad, which she later names Harry, is theirs. She asks no questions since she knows that Eddie’s business is none of hers (she’s fine being kept out of the loop). Soon everything changes when one of his “shady” associates pounds on the front door in the dead of night. It seems that Eddie is on the run after “offending” some powerful people. Jean is introduced to Cal (Arinze Kene) who will be her driver and protector as she too goes into hiding with her baby. After several seedy motels, long days driving, and a few close calls, Cal brings her to a quiet neighborhood home to “lay low” and keep to herself, as he “takes care of some things”. When this quiet spot heats up, Cal then drops her and Harry off in a rustic cabin deep off the “beaten path”. But soon her solitude is ended by the arrival of a trio of former residents of the place: Teri (Marsha Stephanie Blake), Art (Frankie Faison), and pre-teen Paul (De’Mauri Parks). Can Jean trust them? What’s their connection to Cal and Eddie? And when will her life get back to some semblance of normalcy?

Yes, Jean is played by the critical darling “diva” best known now as that “Marvelous Mrs. Maisel”, who abruptly “changes gears” to play the oblivious gangster’s “goil”, Jean. At the start of the film, much like Tony’s wife Carmela on “The Sopranos” or Kay in the GODFATHER trilogy, Jean pretty much knows that spouse Eddie is a bad guy doing bad stuff, but feels that not knowing the details exonerates her (like not wanting to know how the “sausage is made”). As long as he pays the bills and treats her well (c’mon, the guy chokes down her awful cooking), then ignorance is truly bliss. Until the “chickens come home to roost”. At first, Brosnahan plays a true vapid “hausfrau” who quickly becomes a frazzled, panicked mess, though she desperately tries to keep from giving in to despair in order to protect her Harry. Later we can feel her loneliness as she yearns to connect with someone, first with Cal, then a too-nosy neighbor. And though we can still see the terror in her eyes, she fights past it to push back against the evil and aid those who’ve saved her. Brosnahan truly sells Jean’s complex character “arc”. Happily, she’s got great support from Kene as the tough but somehow tender Cal who shows us that Jean and Harry are more than just an errand as he tries to relay the constant threats without breaking her spirit. Much the same can be said of Blake who easily slips into the role of Jean’s tough, no-nonsense “big sister”. And that goes for Faison as the warm, fatherly Art. There are also some terrific scenes with Marceline Hugot as the helpful (or is she) Evelyn and James McMenamin as the gregarious, but deadly mob boss White Mike.

Director Julia Hart, who co-wrote the script with Jordan Horowitz, has crafted an engaging homage to the bullet-riddled urban thrillers that played the “grindhouses” and drive-ins (and would pop-up as a needed second feature for years) in the sleazy 70s. The screen nearly crackles with the air of danger from start to finish. Hart keeps building on the suspense, from the midpoint late-night stand-off to the satisfying third act “throw-down” that begins with an attempted “hit” in a crowded disco and finishes off with a harrowing car chase (love those “big boat” era autos) down those mean, near-deserted Pittsburgh streets. And yes, the location work is superb as the city seems to morph into a dangerous mob-town from five decades ago. Oh, let’s give out some more kudos to the artists that recreated those garish fashions and questionable hairstyles (of both genders). Bryce Fortner’s cinematography gives the flick a greyish, gloomy scene to drive home the dark forces trying to destroy the good (mostly) guys and gals. It doesn’t have the epic scope of a Tarantino or Scorsese crime caper, but this skilled retro thriller focused on the fierce female characters makes I’M YOUR WOMAN a fun and funky cool ride. Dig it!

3 Out of 4

I’M YOUR WOMAN screens exclusively in the St. Louis area at the Hi-Pointe Theatre and Landmark’s Plaza Frontenac Cinemas along with select theatres everywhere, and can be streamed on Amazon Prime.

THE KITCHEN – Review

(L-R) ELISABETH MOSS as Claire, TIFFANY HADDISH as Ruby and MELISSA McCARTHY as Kathy in New Line Cinema’s mob drama “The Kitchen,” a Warner Bros. Pictures release. Photo Credit: Alison Cohen Rosa. © 2019 WARNER BROS. ENTERTAINMENT INC

You’ll want to stay out of THE KITCHEN, not due to the heat but because of the stink. THE KITCHEN had all the right ingredients for a good crime thriller: a cast including Melissa McCarthy, Tiffany Haddish, Elizabeth Moss, Domhnall Gleeson, Margo Martindale, and Common, a setting in the 1970s in New York’s gritty Hell’s Kitchen neighborhood, and a femme-centric crime thriller premise about the wives of criminals taking to crime themselves when their husbands are no longer there to provide financial support. Yet is takes all that and turns it into a true stinker.

THE KITCHEN is based on a DC comic but the premise sounds rather like the top-notch 2018 neo-noir WIDOWS, which was inspired by a hit British TV show. Still, a good script could make that work.

If only THE KITCHEN had a good script, which it does not. Nor much sense at all. THE KITCHEN throws in every possible crime thriller cliche as well as bits and pieces from other films. The result is a big stinky mess, like a days-old pile of dirty dishes left in the sink.

Of course, this is not the first film to waste a talented cast on a lousy script but it seems particularly egregious in this case, with a fine cast lead by gifted women. Andrea Berloff’s direction helps little but the heroic efforts of the actors are sometimes surprisingly effective in individual scenes. Still, those moments are not enough to rescue this film from its dreadfully nonsensical script. This film could have been so good, but sadly it’s not even close.

Kathy (Melissa McCarthy), Ruby (Tiffany Haddish) and Claire (Elizabeth Moss) are the passive wives of some low-level criminals who get caught during robbery, and are sentenced to prison. While their husbands are locked up, the Irish-American crime gang that Ruby’s husband Kevin (James Badge Dale) heads is supposed provide financial support, but that turns out to be meager. Maybe that is due to the low opinion Ruby’s crime boss mother-in-law Helen (Margo Martindale) holds of the three wives.

It’s the 1970s, so these women all start out as timid housewives. Melissa McCarthy’s character Kathy is a classic stay-at-home mom, who seems happy to just be supportive of her beloved husband Jimmy (Brian d’Arcy James). Her character has the best marriage in the trio, with Ruby under the thumb of her mother-in-law, who resents her for being African American instead of Irish-American. Elizabeth Moss’ Claire who is abused by her violent husband Rob (Jeremy Bobb). The cast is rounded out by Domhnall Gleeson as Gabriel, a one-time hit-man for the gang with a romantic thing for Claire, and Common as one of a team of FBI agents keeping tabs on the gang.

Not surprisingly, when these downtrodden women find themselves in dire financial straits, they decide to rebel against their expected roles – remember this is the ’70s – and take up crime themselves. They decide to take control of the gang, or at least take over the protection racket from the men in the gang.

This proves surprisingly easy to do, so much so that the audience might wonder if the film is going to go in a lighter, more comedic direction. Until the killing starts. Weirdly, these women who start out so timid in speaking up to men or challenging their male authority seem not at all squeamish about killing off anyone standing in their way, not just fellow criminals but ordinary citizens.

After they dismember a body in a bathtub, there is no going back to a lighter tone, yet THE KITCHEN seems to want to do just that, as if these women were just partners in a bakeshop or other legit business. McCarthy’s character even cites the “good they have done for the community” in one unsettling scene, as if all the killing escaped her attention. Besides the disconnect in tone – violent crime thriller alternating with romance and female buddy picture – the film is packed with crime movie cliches, idiotic dialog, nonsensical plot twists and inconsistent characters. The film just keeps digging the hole deeper, until it buries itself in derivative muck.

It is a shame to waste this wonderful cast on this mess of a movie. If only the filmmakers had decided to add a real script, they might have had something, instead of wasting the audience’s time and money.

RATING: 1 out of 4 stars