Weekend Recap (Part 2): The Second Trip To The Movies – “Clouds of Sils Maria” + A New-To-DVD Release – “The Seven Five” (6.7)

Clouds of Sils Maria - Poster

Today marked my fourth movie of the weekend, and the second I ventured out to the theater to see. Olivier Assayas’ “Clouds of Sils Maria” had been on my radar since it was picked as the opening night debut film at last year’s Cannes Film Festival and was up for competition as a Palme d’Or nominee. Not only that, but I had seen many of the French director’s previous works: films like “Irma Vep” (1996), “Demonlover” (2002), “Boarding Gate” (2007), and 2010’s epic masterpiece “Carlos” – which was presented in 2 forms: as a cable TV-Miniseries or a shortened 2-part film. Assayas is another in the long list of French directors (Gasper Noe, the Dardennes, and Jacques Audiard) (to name a few) that I anticipate their releases with much enthusiasm as I become more and more familiar with their body of work.

“Clouds of Sils Maria” boasts an incredible female cast with Juliette Binoche (probably the most famous French actress of our time), Kristen Stewart (whose career trajectory post the “Twilight” franchise is showing some serious promise), and Chloe Grace Moretz (of “Let Me In” and the “Kick Ass” movies). It revolves around a famous movie and stage actress (played by Binoche) who is given the opportunity to play a lead part of an older woman in a play that brought her international success when she played the other lead part in the same play of a much younger woman 20 years prior. The playwright unexpectedly dies as she’s in route to give an acceptance speech in his honor. This devastates Binoche’s character as this was a man who she essentially put her on the map and of whom she owes her career to. The playwright’s wife, not being able to stand being in her deceased husband’s house, allows Binoche and her assistant (played by Stewart) to stay at in their beautiful home in the Swiss Alps while she prepares for her upcoming role in the play which she hesitantly agrees to sign onto. Throughout the preparation process for her role she discovers a lot about who she is, finding a number of truths about both herself and the part in which she’s agreed to play.

If my bare bones synopsis of the film doesn’t sound appealing, that don’t be fooled. This was a remarkable film with incredible performances by Binoche (whose performance could earn her a spot on next year’s red carpet if this movie winds up being considered a 2015 release), Kristen Stewart (who has never been better here and is a shoo-in for Best Supporting Actress at next year’s Academy, having already won the Cesar award for the same category at this year’s French Oscars), as well as Chloe Grace Moretz who does her best Lindsay Lohan impression as a young starlet whose private life is tumultuous and widely documented over the internet. Assayas depicts some of the most breathtaking cinematography that I’ve seen in almost any film this year. Further proving why he’s one of the best directors to have come out of France in the past 20 years. As for the story and script, it’s spot on, and both Binoche and Stewart create some great on-screen chemistry as the aging actress and her assistant. Stewart puts in a career best performance here that is equally impressive seeing as how she has to act off of an actress as talented as Binoche. This is a film that has gotten praise from most critics, and deservedly so, that I was glad that I caught in the theater as I found myself both intellectually and emotionally invested in throughout. This should please fans of both more commercial and art house audiences alike. [B+]

Second up was the new-to-VOD crime documentary “The Seven Five”, about the dirtiest cop in NYC history, Michael Dowd. These kinds of documentaries, particularly as of late, having just watched HBO Documentary films like “The Jinx: The Life and Deaths of Robert Durst” (2015) and “Tales of the Grim Sleeper” (2014) both of which I found utterly fascinating in their depictions of ruthless criminals. A part of me was a bit reluctant going into this one, because to be honest, I’ve seen the dirty cop formula done in a plethora of different feature films like Abel Ferrera (1992) and Werner Herzog’s (2009) “Bad Lieutenant” films. But what got me sold on this one was simply the poster’s tagline – “In 1980’s Brooklyn The Most Notorious Gangsters Were New York City Cops”.

The documentary instantly grabs you from the beginning, when in 1992, New York City police officer Michael Dowd testimony is shown in archival footage as he faces indictment on charges for both racketeering and drug trafficking. The judge asks him a serious of questions of just about every crime that an individual could possibly commit, never mind a police officer, which Dowd says yes and pleads guilty to just about every single one. Flashback 10 years earlier, and we are shown how the young Dowd, not being satisfied with his measly $600 a week paycheck, was allured into getting himself involved in just about every single criminal act of corruption that a police officer could get themselves involved with. He stole money, burglarized homes, held up places where he knew large amounts of money were, etc…to support a lifestyle where he could do just about anything he wanted, bringing in and involving other officers, particularly one by the name of Ken Eurell, who would become his both his police partner and partner in crime as he commits the countless acts of corruption over the ten-year period (1982-1992).

This was another fascinating story of police corruption told through a series of candid interviews mostly focusing on the recently released Dowd (who served 12 years in prison) and his ex-partner Eurell. It’s not only a great examination of police corruption at its highest level but also says a lot about the cop “ethos”, which is to never rat someone out no matter what level of corruption they’re involved in. Cops live by a sort of “moral code” to protect one another and it is talked about and depicted here and brazenly truthful honesty that makes it one of the first documentaries I’ve seen to really delve into and explore this to such an extent. The trajectory and pacing of the film is well done as we’re almost sold on Dowd’s reasons for abusing his power, seeing his climb to greatness, only to see the downfall of his decline. For fans of the crime documentary this is one worth recommending, even if its presentation of the material seems a bit scattered it’s one that’s both compelling and riveting to warrant a recommendation. [B]

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Review: “The Drop” 2.15.15

“The Drop” is the first English language film by Belgian director Michael R. Roskam of the Oscar nominated film “Bullhead” (2011) which garnered a Best Foreign Language Film nomination at the 2012 Academy Awards. “Bullhead” was a great character study that featured a phenomenal breakthrough performance by Matthias Shoenaerts. The type of actor who after watching that film I just knew it was just going to be a matter of time before the call of Hollywood came coming. Which is interesting because that’s almost the exact same way I felt after I was first introduced to the main actor in this film, Tom Hardy, a relative unknown until he was introduced to the film world in 2009 in Danish director Nicolas Winding Refn’s “Bronson”. Both are foreign (Hardy’s from the UK, Shoenaerts from Belgium) who have recently started to show up in a lot of American films (though Hardy being introduced to us here stateside much earlier in 2010 in Christopher Nolan’s “Inception”). When I first heard of this film I heard while it was in development that it teamed Tom Hardy with another foreign actor who has gained quite a bit of notoriety in the United States this past couple of years and who I happen to like – Swedish born Noomi Rapace (who first played Lizbeth Salander in the Swedish trilogy of “The Girl with the Dragon Tattoo” and in other high-profile films like “Prometheus” (2012). Then I found out that it was slated to be directed by none other than Roskam himself, in his English language debut. What sealed the deal for me was that it also reteamed him with “Bullhead” star Shoenaerts, and was based on a screenplay from novelist Dennis Lehane, most notable for his book to screen translations like “Mystic River” (2003), “Gone Baby Gone” (2007), and “Shutter Island” (2010). So with a pedigree of this kind I figured I would be in for something special.

The film introduces us to Bobby (played by Hardy) who in an opening montage explains to us how this “drop” concept works in that basically all of the local bars in Brooklyn are run by the Chechen Mob, who scheduled certain deposits of money at any given bar on any given night. Bobby tends bar at his cousin Marv’s (in the great James Gandolfini’s last performance) who used to own the place until the Mob took over. It becomes clear early on that the Chechen Mob and its messenger, Chovka, pretty much run the entire territory. Especially when on one unsuspecting night 2 men visit the bar in hoods and masks and rob Bobby and Marv of $5,000. Except since the bar really isn’t “owned” by Cousin Marv anymore the money needs to be paid back. It seems like a mere coincidence that Bobby should happen to stumble upon a whimpering puppy in a garbage can shortly after, and is introduced to the woman who owns the home Nadia (played by Rapace), who he forms a sort of bond with after the both discover the pup and both decide to take care of it. That’s until the ex-con, recently released out of prison, mentally ill nutcase Eric comes into the picture (played ruthlessly by Shoenaerts) and claims the dog to be his demanding 10 grand from Bobby or else he will report it being stolen. It is through these many relationships and interpersonal dynamics that as each character is revealed, we are shown a much different side to them as well as their real motivations with one another, than we’re lead to believe up to that point.

While this was another solid entry into the crime-drama genre, it felt a little bit all too familiar to other films of its kind that have come out of the genre (David Cronenberg’s “Eastern Promises” (2007) comes to mind). The story itself is involving enough, as we’re presented with a decent enough story and an above average script. With all the actors involved doing serviceable enough jobs but nobody really sticking out with the exception of maybe Hardy’s character, who’s restrained, solemn, quiet character who we first are led to think might be a little naive, only to change faces about two-thirds of the way into the film in where we’re finally (after much waiting around) able to see his true self. Second to that would be Shoenaerts, who is always a pleasure to see pop up on-screen, and who plays both ruthless and menacing pretty well here. Gandolfini plays well, Gandolfini, who following his work on the hit TV show “The Sopranos” I always felt like it was unfortunate as being typecast into these kinds of roles (similar to how I feel about someone like Ray Liotta post-Martin Scorcese’s “Goodfellas” (1990)). Rapace does a good enough job in the barely fleshed out character she’s written as. As for the story, I felt like it did a fairly decent enough job juggling a number of different characters in the story and for the most part did a clever enough job keeping the audience second guessing, which had my attention until it came to the last half hour or so, at which time I started to get the feeling like it was going to have a predictable outcome to the story. And it did, at least for me anyway. There are character’s involvements into the shady going-ons in the story that are supposed to come as a surprise that really weren’t all that surprising to me. Except for when Hardy’s character Bobby reveals himself to show his true colors. But at that point it all came at just a bit too little too late. This was a fairly good, though as mentioned predictable entry to the genre that I would recommend to fans of it, but I think a lot of other people might be turned off by its familiar storyline and script. Certainly worth a rental but not something that you’re going to want to write home about once its through.

[B-]