Filmmaker Matthew Cooke’s documentary How to Make Money Selling Drugs is a dispassionate critique of the Drug War. Using the How To format as an attention grabber, Cooke presents the job opportunities in illegal drug commerce as rational economic decisions How much money can you make as a street dealer? As a drug smuggler or kingpin? What is the risk that you will need to defend your product inventory from a violent robbery? What are the risks that you will be incarcerated? How do those risks change if you are African-American?
The talking heads are former industry insiders, ranging from former street dealer 50 Cent to big league smuggler Brian O’Dea and notorious LA druglord Freeway Rick.
How to Make Money Selling Drugs is effective because Cooke generally strips away the value judgements and lets the audience draw its own conclusions, balancing out the risks and rewards. The final risk presented, that of addiction, is particularly sobering. (How to Make Money strays from this approach just once, with a Woody Harrelson diatribe.) I expect that most viewers will conclude that 1) drug dealing is not a great long-term career path; and 2) the Drug War has not been effective in reducing drug abuse or illegal commerce.
How to Make Money Selling Drugs is available streaming from Amazon, iTunes and Vudu.
The skeleton of the story inAin’t Them Bodies Saints is simple – a Texas prison escapee goes looking for his wife and kid. But that capsule understates the totality of Ain’t Them Bodies Saints, an atmospheric romantic drama that is superbly written, directed, acted and scored.
Every filmmaker should watch the first ten minutes of Ain’t Them Bodies Saints for its extremely economic story-telling, which lets the audience piece together the setting and the cores of the characters without obvious exposition. Bob and Ruth are young lovers, and Ruth is pregnant. They are involved in a crime, for which Bob goes to prison before their child is born. When the daughter is four, he escapes from prison and everyone – Ruth, Bob’s old crime partners, the community and the cops – know that he’s headed back to Ruth. Both the cops and the criminals are awaiting – the story follows the path to the inevitable conflict.
The characters are unforgettable. Bob, played with ferocity by Casey Affleck (Gone Baby Gone and The Assassination of Jesse James blah blah), has an obsession to reunite with Ruth and the daughter he has never seen. He has framed this quest as his moral obligation to take care of his family – but, of course, they would be better off without him and the trouble he will bring. He’s not really capable of nobility, but he doesn’t know that.
Ruth has a profound passion for Bob, and she owes him for taking the fall for her. But, despite her loyalty, she is entirely realistic about the consequences of his return. We see Ruth’s steely determination and wilfulness in yet another searing performance by Rooney Mara (The Social Network, The Girl with the Dragon Tattoo).
The complexity of the secondary characters contribute to the compelling story. With an unsettling mixture of decency and creepiness, the local cop (Ben Foster, equally good in The Messenger and Rampart) becomes very attentive to Ruth and her daughter. He had been wounded at Bob and Ruth’s capture, seems to be genuinely interested in the welfare of the little daughter and also clearly has a thing for Ruth.
Ruth has also been helped by a fatherly gentleman storekeeper (Keith Carradine), whom we later learn is the local crime lord. His actions seem rooted in all the right values, but, given his criminality, how benevolent can he really be? As a leading man, Carradine had an impressive run in the 70s where he starred in Robert Altman’s Nashville, Ridley Scott’s The Duellists and Louis Malle’s Pretty Baby, all within three years. Now with 128 screen credits, Carradine’s performance here perfectly strikes every note.
Ain’t Them Bodies Saints looks beautiful – much like a Terence Malick film without all the confusion and boring parts. I also liked Daniel Hart’s atmospheric but unobtrusive music.
Ain’t Them Bodies Saints is completely absorbing – and that doesn’t happen by accident. This is writer-director David Lowery’s first feature with a theatrical release. Who is this guy? Lowery edited two recent indies that I criticized for other reasons, Upstream Color and Sun Don’t Shine, but in which his editing was remarkable. It’s clear from Ain’t Them Bodies Saints that Lowery is a major talent.
So there you have it – a gripping story with brilliant performances by Rooney, Affleck, Carradine and Ben Foster in the debut of a promising filmmaker.
What does the title mean? I have no idea. And I hope that Lowery lets someone else name his next exceptional movie.
In A Word… is the year’s best comedy so far – it’s a Hollywood satire, an insider’s glimpse into the voice-over industry, a family dramedy and a romantic comedy all in one.
The jaw-dropping documentary The Act of Killing, an exploration of Indonesian genocide from the perpetrators’ point of view, is the most uniquely original film of the year.
Woody Allen’s very funny Blue Jasmine centers on an Oscar-worthy performance by Cate Blanchett.
Check out my new feature VOD Roundup, where you can find my comments on over twenty current movies available on Video on Demand. There are some good ones, some bad ones and some really, really good ones (including Letters from the Big Man).
On September 10, Turner Classic Movies is broadcasting the great French heist movie Rififi. And on September 12, TCM will air one of the greatest examples of film noir,Out of the Past with Robert Mitchum, Jane Greer and Kirk Douglas.
Sparked by my pick of Shadow Dancer as this week’s DVD/Stream of the Week, I’ve posted a new movie list: Best Movies About The Troubles (Northern Ireland). The Troubles was the conflict in Northern Ireland between nationalists and unionists that lasted from the late 1960s until the 1998 Good Friday Accord.
2002’s Bloody Sunday tells the story of one of the most significant moments of The Troubles, the 1972 shootings in Derry, from the perspective of a key participant – Ivan Cooper, the leader of a movement to achieve a united Ireland through non-violent means. Northern Irish actor James Nesbitt is brilliant as Cooper, a man who is trying to do the impossible – lead a mass demonstration into a tinderbox and keep it peaceful. It’s possible that either or both the unionist paramilitaries and the IRA may provoke violence to further their own aims. The British are supposed to protect the marchers from the unionists, but they’re on edge and trigger-happy. Cooper is forced to play a desperate game of Whack-a-Mole to prevent violence.
Besides Shadow Dancer and Bloody Sunday, I discuss a number of other outstanding movies about The Troubles. One film contains one of the greatest surprise plot twists in movie history. You can see the list at Best Movies About The Troubles (Northern Ireland), find out how to watch them on DVD or stream them.
The riveting thriller Shadow Dancer takes place during The Troubles in 1990s Belfast. Thirtyish single mom Collette (Andrea Riseborough) is captured by British security while planting an IRA bomb in London. Faced with the alternative of a long imprisonment with her young son snatched off to foster care, Collette reluctantly agrees to return to Belfast and inform on her IRA unit. This would make for a tense ride in any case, but Collette belongs to a crew run by her two adult brothers, and all three live with their mother.
Everyone in the cell, including the three siblings, is paranoid out of necessity. And paranoid is only a starting point in describing the IRA’s internal security chief, who soon figures out that there’s a mole in the unit, and begins a mercilessly ruthless investigation; before every interrogation, his assistant rolls out plastic sheeting on the floor – just in case an immediate execution is warranted. To make matters even more nerve-wracking, Collette’s British handler Max (Clive Owen) suspects that his superiors are making Collette expendable to protect another intelligence asset. And so we go along on Shadow Dancer’s wild ride, all the way to its noirish ending.
The heart of the film is Andrea Riseborough’s fine performance as Collette. Surrounded by suspicious friends and foes alike, she must be contained and ever watchful. She cannot reveal that the tension is ripping her apart on the inside.
All of the performances are excellent, especially Brid Brennan as Collette’s severe mother, always putting on the kettle for one of her terrorist offspring. David Wilmot is convincing as the IRA’s mole hunter, dead serious here after his comic turn in The Guard as the goon who couldn’t remember whether he was a psychopath or a sociopath.
Director James Marsh won an Oscar for his documentary Man on Wire. Marsh also directed Project Nim (one of my Best Movies of 2011) and the based-on-fact British crime drama Red Riding: In the Year of Our Lord 1980.
Here, Marsh demonstrates an excellent sense of pace. Pay attention to the scenes at the beginning with Collette’s little brother and with the London Underground. In contrast to many quick-cutting filmmakers, Marsh takes his time so dread settles in and the tension builds. It results in a top-notch thriller.
In A Word… is the years best comedy so far – it’s a Hollywood satire, an insider’s glimpse into the voice-over industry, a family dramedy and a romantic comedy all in one.
The jaw-dropping documentary The Act of Killing, an exploration of Indonesian genocide from the perpetrators’ point of view, is the most uniquely original film of the year.
Woody Allen’s very funny Blue Jasmine centers on an Oscar-worthy performance by Cate Blanchett.
Another rock doc, A Band Called Death with the story of three African-American brothers in Detroit inventing punk rock before The Ramones and The Sex Pistols – and then dropping out of sight for decades.
The Irish horror comedyGrabbers, which fails to deliver on a great premise.
The astonishingly bad shocker The Rambler, with its 58 second vomit scene.
I haven’t yet seen the indie criminal-on-the-run story Ain’t Them Bodies Saints, which opens today. You can read descriptions and view trailers of it and other upcoming films atMovies I’m Looking Forward To.
My DVD/Stream of the Week is the New Zealand cop miniseries Top of the Lake, starring Mad Men’s Elisabeth Moss. You can catch Top of the Lake episodes on the Sundance Channel or watch all seven episodes on DVD or streaming from Netflix, and it’s perfect for a Labor Day Weekend marathon.
In the British farce The World’s End, five guys return to their sleepy hometown for a fabled pub crawl through all twelve local establishments – and find their old neighbors infiltrated by robot monsters from outer space (a la Invasion of the Body Snatchers). The central joke is that four of them have matured into forty-year-olds with families and careers, and they have been manipulated into this escapade by the fifth who is still stuck at age eighteen. That guy, well-played by Simon Pegg, still dresses and acts as he did in high school (and still drives the same car) – and he doesn’t see why that is not OK. The clash between this man-boy and the four regular guys is funny, and then the filmmakers add a send-up of the alien monster genre.
It’s a stellar crew – besides, Pegg, our heroes include Nick Frost (Pegg’s partner in Shaun of the Dead and Hot Fuzz, Martin Freeman (those movies plus The Office), Paddy Considine (In America, Red Riding) and Eddie Marsan (Vera Drake, Happy-Go-Lucky, Ray Donovan). The usually upper crusty Rosamund Pike is a good sport, too.
I wish it were as funny as Shaun of the Dead and Hot Fuzz, but Pegg’s earnestly immature bozo and the silliness of the alien robots can only take The World’s End so far. It’s mildly entertaining with some LOL moments, but not a Must See.
Here’s proof that it’s possible for a movie to be too dark and violent even for The Movie Gourmet.
Pieta is about a 30-year-old Korean loan shark so heartless that he cripples his unpaying clients and steals their disability payoffs. Out of nowhere, a woman finds him and claims to be the mother that abandoned him as an infant. To test whether she is really his mother, he brutalizes and defiles her (in ways that I wish I had not witnessed). Nevertheless she clings to him, and a heaping portion of maternal guilt causes him to rethink his ways.
Now my taste in film runs to the violent. I revel in Killer Joe and Django Unchained and have just praised the exploitation films Outrage and Outrage Beyond. Very violent movies like End of Watch, The Girl with the Dragon Tattoo, Sin Nombre and Gomorrah have all recently made it on to my Best of the Year lists. I particularly like the often grim and twisted offerings of contemporary Korean cinema (Memories of Murder, Mother, Oldboy, The Housemaid).
But I don’t like torture porn (which Pieta approaches) or slasher cinema. And some stories – like Pieta’s – just don’t have a payoff that makes it worthwhile to sit through the most uncomfortable screen violence. Call me a sissy.
Pieta has received some critical praise because it is well made and emotionally powerful. But that just isn’t enough to justify such sickening violence. Pieta is available on DVD from Netflix and streaming from some VOD outlets.
Actress Lake Bell wrote/directed/stars in In a World…, the story of an underachieving voice coach who still lives in the house of her dad, the king of movie trailer narration. She’s disheartened when he kicks her out to make room for his new and very young squeeze, but she lucks into a voiceover gig herself and is “discovered” as the hot new talent. In fact, she’s up for the most prestigious new payday when she finds out that her dad is not as supportive as one might expect…
Here’s why In a World… is so damn good – Bell has written a very funny comedy about a generational rivalry and woven it together with a Hollywood satire, an insider’s glimpse into the hitherto under-the-radar voiceover industry and a romantic comedy. The romantic comedy thread, in which our heroine is oblivious to the nice guy who really likes her, is better by itself than most romantic comedies. But we also get many LOL moments among the self-absorbed and back-stabbing Hollywood set. Plus there’s a very sweet story of the relationship between the protagonist’s sister and her hubby – that could stand alone and be better than a lot of indies as well..
Bell gets most of the laughs from the foibles of the characters and from really intelligently crafted dialogue. But she know how to pull off a physical gag, too. At one point, our heroine wants to be kissed by a handsome Hollywood bigshot, but when it happens, his technique is to put her entire nose into his mouth – and her surprise and discomfort is very funny.
Fortunately, Bell was able to cast Fred Melamed, a distinguished voiceover artist, as the father. Melamed has been the voice of CBS Sports, the Super Bowl, the Olympics and Mercedes-Benz. He’s also a brilliantly funny actor. I called Melamed’s performance as the hilariously pompous and blatantly manipulative Sy Ableman in A Serious Man “the funniest movie character of the decade”.
Bell’s previous roles have been secondary parts that have taken advantage of her unconventionally severe beauty. You may remember Bell as Alec Baldwin’s new trophy wife in It’s Complicated. Having written it herself, she finally has a role in which she can show her comic chops. I turns out that she’s a gifted comic actress, with screwball timing, a rich take and a knack for physical comedy.
The rest of the cast is uniformly good. I especially enjoyed Rob Corddry (Warm Bodies) as the long suffering husband of the sister.
In a World… is a complete and winning film. It’s already almost September, and so far, In a World… is the year’s best comedy.
If you’re looking for an episodic drama before you can get another taste of Treme, Breaking Bad, Mad Men, Justified or the like, you can do a lot worse than the Sundance Channel’s seven part series Top of the Lake, staring Mad Men’s Elisabeth Moss. It’s just right for a Labor Day Weekend marathon.
Moss plays a cop who returns to her rural New Zealand hometown only to get entangled in the case of a missing pregnant 12-year-old. Moss’ cop begins unraveling the community’s secrets, and it turns out that she has a past herself. It’s easy to find oddballs and seekers in a mountain community, along with the usual crop of redneck louts, and this New Zealand backwater has more than its share of both. There’s a dodgy police commander, a slimy real estate broker, a bunch of edgy teenagers – and the protagonist’s old prom date is now living in a tent.
But that’s nothing compared to one of the most twisted characters of recent years, the sadistic local drug lord played by Peter Mullan (the Red Riding series, Tyrannosaur, The Claim).
And then there’s a colony of women living in shipping containers while they heal from life’s traumas and seek enlightenment. Their sometimes catatonic and always harsh guru is played by Holly Hunter.
Throw all these characters together into a cleverly constructed plot, and you’ve got one highly entertaining series.
Peter Mullan in TOP OF THE LAKE
Top of the Lake was created by New Zealand’s own Oscar-winning director Jane Campion.
Each of the episodes is only 48-50 minutes long, so watching all seven episodes goes pretty briskly.
Holly Hunter in TOP OF THE LAKE
You can catch Top of the Lake episodes on the Sundance Channel or watch all seven episodes on DVD or streaming from Netflix.
