Red State

Kevin Smith is no stranger to controversy. In fact, most of his career has been bathed in hordes of media attention over some of his more notorious features - from Clerks' potty mouth to Zack and Miri Make  A Porno's banned original posters. Say what you will about the man's talent but make no mistake, Kevin Smith is not marketing movies, he is marketing himself. Right now, I'm struggling to think of another director that receives the same obsessive fanbase as Mr. Smith. Through various means on online outlets, he regularly updates them with everything going on in his private life. Through regular live tour dates across America and Europe fans can even literally reach out and touch him with their fingertips. Why he has inspired such an intense and loyal following is beyond me; he has, like most directors a fairly mixed filmography. A few hits, a few duds and outside Clerks absolutely no great movies. I feel that the reason he commands such a fanbase is down to relatability. Kevin Smith wants you to think he is one of you. Some regular small town dude done good. He talks movies, makes dick jokes and openly expresses his views just like anyone of your mates. This comraderie however can only extend so far. When he first came on the scene all those years ago, I found he had a fresh compelling and unique voice in cinema. Recent years have seen him grow stale, almost as if he is running out of ideas. Even his direction shows no signs of improving. He openly admits to being a writers director, not a directors writer. As a result he has never been able to mature as a film maker or even explore different avenues in the art. Or rather unwilling to do so. This inability to ever grow has flummoxed me over the years. There will always be those who love the man, but the 90's was a long time ago now, and his oeuvre shows signs of waning. Anyways, in what seems to me like a desperate ploy to garner media attention at this years Sundance, he held an auction for this film in question. Somewhat surprisingly however it was he himself who purchased the rights to sell and distribute Red State for a mere $20 and offered to take it on a screening road trip of sorts. Talk about enterprising. Many observed that the man was finally imploding, that his rallying of fans to come out and support the film smelled of desperation. Especially after many of the reviews were less than glowing. Well, in a rather surprising turn around of my initial preconceptions, I actually rather liked Red State.


The film is a heavy handed and not too subtle attack on the fundamentalist Phelps family, ie, America's most hated family and just how religion can drive people to do some of the most heinous things in life. When talking the film up at the script stage, Smith spoke of how it was a horror movie. This is not really true of the final product; it may start as darkly tense genre picture that flirts with torture porn, but then it swiftly morphs 180 degrees into a full on 'Waco' style siege film. We begin with three horn dog teens looking to pop their cherry. Looking online they see an older lady willing to oblige them not very far from where they live. Somewhat excitedly they arrive at her door only to be drugged and kidnapped. Their captors are religious zealots, hell bent on violently ridding the world of homosexuals and other such 'blasphemers' that don't fit in with their view on what the Bible says about the world. So far, we are in standard horror movie territory, except we don't actually care about the three guys. In fact, the film doesn't really have any character you can cheer for; something I'm sure Smith fully intended. So as word swiftly gets out at what  these evangelical terrorists are up to, the FBI intervene in a hail of gunfire and brimstone as the film suddenly switches gears. It's clear we're in a Kevin Smith film (the dialogue is frequently Smith-esque) but one very different to any we have seen before. The man must be applauded for trying something completely different to anything he has ever done before and for the first time fighting the urge for non stop fart gags and to allow himself to develop as a filmmaker. The film is very nicely shot throughout and has a pleasing gritty and grimy handheld aesthetic which chimes nicely with the various themes the film discusses. It must be said that Smith doesn't aspire to subtlety and lays out his views for all to see like a hammer to the head. All those years ago he explored religion in Dogma; here he full on attacks it. It is just a shame that the film doesn't more acutely handle this, as a better grasping could have yielded very impressive results. This seems like Smith chickened out ever so slightly and doesn't ever fully commit to the themes he puts forward by the climax. Sure, the typically charismatic Michael Parks delivers a lengthy sermon (thankfully cut down from the reported 20 minutes from the original Sundance cut) but a little more care and precision would have hammered home just what Smith - the writer wants to say. There are many that won't appreciate it. As stated earlier, it isn't the most tenuous experience you may have all year, but it is memorable. It has an almost Grindhousey feel to proceedings and have plenty of gore soaked action in between all the firefights. With this Smith surprised me. After Cop-Out I suspected the man had lost the passion. His View Askew-niverse had lost charm long ago and he seemed a man desperately searching for a voice he had lost. With this, it seems he has found it again. Hopefully by his next project (his mooted swansong Hit Somebody) he can continue to grow and confidently expand upon what he has done here. Basically, he needs to get out from the cushion of all his fans and show everyone he still knows how to make a film without relying on himself to sell it. As a proud independant filmmaker he will discover their are plenty more ways do so, than exhausting his celebrity.

Verdict: 6/10
A sometimes too bluntly delivered tone threatens to overtake proceedings and if Smith had shown just a bit more faith in his script then this could have been a glorious comeback. As it stands it is a successful change of direction and one in which for the most part is an interesting oddity. Not as bad as initial reviews might have pegged it, but not anything truly remarkable either.

"Red State" Trailer

The Fighter

Mark Wahlberg could be forgiven for being more than a little hurt by the academys ignoring of his performance in "The Fighter". Wahlberg has spent the better part of ten years trying to bring the project to life. The film as it exists today, and that it is as good as it is, is down mainly to Wahlbergs persistence. After going through a multitude of different directors and actors, and non stop grueling boxing training sessions, it looked like the film would never see the light of day on more than a few occasions. But his dedication paid off. In Wahlbergs career so far, "The Fighter" is his towering achievement. Sure, his performance has been unfairly overlooked elsewhere, but as producer the man can safely take credit for the films success. Make no mistake, this is a Mark Wahlberg film. Of course the hiring of personal friend David O. Russell to direct was a masterstroke. At one point Darren Aronofsky (among plenty of others) was tapped to direct, but his indecision at stepping back into the ring so soon after "The Wrestler" led to O. Russell taking over. He retains his executive producer credit here and looking closely it was probably for the best; would Aronofskys naturally dark and glum style have lent itself to an uplifting underdog sports drama? Russell and Wahlberg of course have worked together two times previously. "Boogie Nights" and "The Departed" aside, O. Russell has been the only director to consistantly have been able to get a performance out of Wahlberg. As frustratingly hit and miss as he is, it is easier still to dismiss his films. For every "Three Kings" there was a "Max Payne". Wahlberg is a better actor and more savvy than a lot of people give him credit for. A lot of his films certainly are lacking in areas, but it seems he knows fully what he is doing. His more recent attempts at blockbuster status could be seen as paving the way for "The Fighter". Without those, he could have not have made or funded it. The truth is that the fact that Wahlberg initially seems like an afterthought to this film, shows he has done his job as far as his role was concerned. The real life Micky Ward does always struggle to get a word in edgeways when surrounded by his Brother and Mother. If Wahlberg takes a step back and lets his co-actors take the glory, then it could be argued that thats only because that is what the real life Micky Ward has done. And by that measurement, Wahlberg gives quite possibly, the very best performance of his career so far.

What are all great boxing films really about. Certainly not boxing. Sure, the sport features, but it is not what the film is ever truly about. As a non boxing fan it seems odd that my possible favourite film of all time is "Raging Bull". I never watch boxing on television. This is because the idea of two grown men beating each other up holds very little interest to me. Not without knowing the background of these people. The psychology is incredibly engaging; why do these men willingly choose to spend their life taking a beating? Of course in the best sports films, the metaphor of the sport always serves as something else. "The Fighter" is not about boxing. It is about family. Managed by his all-domineering mother (a great Melissa Leo) and trained by his crack addicted brother Dicky(Christian Bale), Micky's commitment to his family was (again, like Wahlbergs commitment to his story) unwavering and seemingly at the detriment to his own career. They might all have noble intentions but they are dragging Micky down with them. At thirty something years old, Micky took his very last shot at becoming a success and went on to fight for the welter weight title. As the trouble making attention seeking older brother Dicky, Christian Bale is a revelation. Charasmatic but selfish; likeable but dishonerable, Bale nails the very conflicting mindsets. Bale has been much quieter in his roles in the past few years, so it's great to see he still has what it takes to be a method powerhouse when it comes to his parts. His dedication to Dicky is incredible and he completely immerses himself in his part. Much has been made of his repeated weight losses for his films, but here it only ever adds to the character. Of course looking at Dicky, it is obvious what he is, but Bale is pitch perfect in getting into the mindframe of the real life version. As strong as his competition will be on oscar night, he deserves to take home the gold statue. Speaking of which, it is safe to say he will be joined by Melissa Leo as the mother and manager of Micky, and the family. She reigns supreme and strictly governs and protects her family life as she does Micky. With her sprayed hair and venomous tongue, she cuts a very intimidating figure indeed for Mickys new love interest Charlene (AmyAdams). Not to mention Mickys seven sisters all holding a grudge against her and it takes a very special lady to stand up to them to protect Micky, but that is what Charlene does. Breaking type, Adams is fantastic; sassy, tough, but also nurturing and tender. The problem is that each member of the family has noble intentions for Micky. If only they can each let their egos from overtaking the spotlight, Micky could be the great success he has it in him to be. One of the treats of the film is rendering the family at all times loveable, in some warped way despite all the nefarious things they do and how they act. They all love each other and to them family is the most important thing in the world.

It might have been easy for some directors to go heavy on grittiness of our characters and themes, but very wisely O. Russell simply lets the characters be. Sure they are sometimes ugly but they are never less than real. The dynamic is the most important ingredient and O. Russell handles it wonderfully. Of course this also leads to some fantastic scenes of humour; with a family like this, how could it not be? He brings out the best of his cast and story and manages to keep the possibly too bombastic story on track. Bale and Leo offer incredible performances, but that is only because the film is anchored in Wahlbergs self assured lead. The central relationship of Micky and Dicky is what drives the film. While the films many fantastic HBO style boxing scenes will bring all the fireworks, it is the love between two brothers that will be the long lasting impression left on you. At the end it is there for all to see: it's easy to take a few punches, in time those scars will heal. The deeper scars caused by those you love in trying to keep everyone together is what will always cut deeper. And it is all down to Mark Wahlberg.

Verdict: 83%

A fantastic sports flick and the best boxing film seen in quite some time. The film is funny, touching and moving, all bolstered by stunning turns from everyone involved. A possibly predictable story is shot through David O. Russell's assured eye and long after the glare of the fights scenes have faded, it is the touching dynamic of the family that will linger inside.

"The Fighter" Trailer

Conviction

Real life stories by their very nature, face an uphill struggle with just how invested audiences are going to be with the tale. Most of the time, we all know how these types of films are going to end up. Recent examples like "127 Hours" offered us existential questions not only about our protagonist, but also our own lives to side step this problem. "The King's Speech" offered a delectably told story about the friendship between two very different men under the heavy shadow of World War II. They also had endings that anyone with access to a library or computer could discover very easily. It was about how they told their stories rather than the outcome. Simply put, with films such as these, it's the journey that counts, not the destination. Shame then that "Conviction" falls into the narrative trap. If we all know how the film is going to turn out, then why should we spend two hours getting there? To be fair the true life story "Conviction" is based on is extraordinary in itself. It was simply begging to be turned into film material. If this is going to be the case then, it must offer the audience more substantial meat to chew on. Unfortunately for"Conviction" it very easily finds itself falling into 'TV movie-of-the-week' territory.

In 1983, smalltown trouble maker Kenny Waters (Sam Rockwell) was wrongfully convicted of the murder of elderly woman Katharina Brow. Kenny had no where to turn for help. With a corrupt officer out to get him, no money to defend himself in court and a history of volatile behaviour, he was sent to prison for life. His loving sister Betty Anne (Hilary Swank), seemingly the only one left fighting for his innocence then took it upon herself to defend her brother. Over the course of twenty or so years, Betty put herself through school and college to earn her GED, her bachelors, her masters and eventually her degree from law school. Her support and duty to her brother was stunning, but even after straining every relationship in her life to achieve this, she still had to find the evidence in order to prove her brothers innocence. As the siblings our two leads are unfaltering. Swank shows unreserved courage and dignity in her determination at setting her brother right, when everyone else has turned against him. Her vulnerability is touching at times, especially in a later scene asking her two sons would they do the same for each other. The real Betty Anne of course did something many of us would have to think long and hard before ever undertaking. With so much going against her, her almost entirely unwavering obligation to her brother is very inspiring and Swank conveys this very well. As Kenny the never less than reliable Rockwell delivers another nuanced performance, as is typical of him. His range knows no bounds, and with any role he finds himself perfectly at home there. I am an unashamed fan of his and would gladly watch any film featuring just him and him alone, as the classic in the making "Moon" ably demonstrated a few short years ago. The supporting cast also add nice touches to the film. Driver who I have not seen in anything for quite some time brings an understated and much needed dose of humour and spark to proceedings. Melissa Leo, carving out a very respectable career for herself as a reliable character actor, again delivers as the officer with a grudge to Rockwells character. However out of them all, it is surprisingly Juliette Lewis who impresses most as the woman who may or may not hold the key to Kennys innocence. In just two short scenes she leaves a lasting impression on proceedings and easily walks away with them.

Yet again, the main problem however falls mainly down to the director and script writer. Director Tony Goldwyn, who some might recognise as a very decent character actor in his own right, unfortunately does not grasp the material as immediately as he should. Events carry a flatness and never really shoulder the dramatic weight that they should. Worse still, the script only accentuates these problems. The real life story, being as strong as it is thankfully keeps proceedings on the rails, but it never seems willing to delve further into the darker implications a life wasted and a life given can have. Worse still, a very tragic and shocking accident that happened six months after the film ends is completely excised and not once mentioned in order to achieve a happy ending. Surely with the films many shifts in chronology such an important fact could have been worked into proceedings. I won't spoil what it is here, but the fact that it might render a 'what was that all for?' reaction in the audience might count as a reason but surely a better handling of the material could have found a way to make it work.

Verdict: 58%

Two leads impress as always and the real life story the film is based on is far too incredible and dramatic in its own right to ever render the film fully 'boring'. But the lack of focus on characters as opposed to plot ends up conveying the same reaction you could get from reading an article about Betty Anne and Kenny, and in far less time. Nice but insubstantial TV movie fodder.

"Conviction" Trailer