We pick at flaw after flaw in a film we sincerely enjoyed! Drew Goddard’s post-noir, post-Tarantino, post-Hitchcock thriller is an oddball, a delightfully playful collection of stories about secrets and regrets and temptations and damage. A fabulous ensemble cast is split up and paired off in all sorts of ways, histories are exposed, deception is currency, violence is brutal and shocking. And it all happens on one rainy night in a broken old motel in 1969.
We have few issues with Goddard’s screenplay, which, but for the exception of one or two characters who we reckon could have been given a little more flesh, is creative, clever, witty, and energetic. But as a director, we find him lacking – as José phrases it, he has no instinct for cinema. It’s a significant problem in a film that’s building upon and pastiching entire genres and movements of cinema.
We go back and forth on some of the performances, though they’re primarily good, and Jeff Bridges and Lewis Pullman in particular are just perfect. Mike appreciates that the film understands when to pull the rug out from under you and when not to. We agree that it’s destined to become a cult success, the type of film you want to know if your friends have seen. And we like trifle.
The podcast can be listened to in the players above or on iTunes.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
The second instalment of the ‘Eavesdropping on Mike and José after a movie’ podcast with Michael Glass of Writing About Film, where we hope to offer the experience of eavesdropping on friends chatting informally about a movie after just watching it. The focus this week is on The Dark Tower and topics under discussion this week include whether Idris Elba has it in him to be a film star, the excellence of Matthew McConaughey’s performance, the value of watching a film in 3-4DX, and whether Mike has better eyebrows than Carla Delevingne.
William Friedkin’s new film begins strikingly with the stark, harsh beams of truck-lights illuminating darkness, transporting us instantly into a world of noir and showing us Gina Gershon making one of the all-time great star entrances. As she demonstrated in the unforgettable Bound (Andy and Lena Wachowski, USA, 1996), Gershon makes space noir just by walking through it — a combination of sex, danger, maybe death, seems to vibrate from her; to lure and threaten. The film owes a lot to the Night of the Hunter (Charles Laughton, USA, 1955) – the stranger, the threat, the child, the sordidness wrapped up in quasi-religious feeling. Killer Joe is very disturbing and somewhat sordid and I think a lot of the creepiness is due to a real underlying misogyny. Regarding Mathew MacConaughey, I can see why people are praising him. The role is indeed a departure from his usual persona. But to me he still looks like a smug lump onscreen. He’s had excellent roles lately (Magic Mike and Mud in the last year alone) but he’s still better at choosing than performing in them. I would have preferred someone more uptight, more sinister in the role (Michael Shannon say). However, MacConaughey is indeed effective and so is the film. Killer Joe is the work of a real artist though not one you’d invite for brunch.
Zac Efron’s ripe and in heat. Nicole Kidman slouches around him like a depraved Barbie until she lazily consents to pluck him; but really she’s more interested in John Cusack: rough, ready and on death row for murder. Mathew McConaughey is Zac’s brother and is the kinkiest of the lot. Macy Gray’s does the noir voice-over in her thrilling Minnie Mouse speaking voice. The Paperboy is trashy, uneven and a bit long but its trawl through the underbelly of Florida’s swampland is great oversaturated fun.