Broken City


Wahlberg turns away from the corruption of the Broken City.

Wahlberg turns away from the corruption of the Broken City.

(2013) Thriller (20th Century Fox) Mark Wahlberg, Russell Crowe, Catherine Zeta-Jones, Jeffrey Wright, Barry Pepper, Alona Tal, Natalie Martinez, Michael Beach, Kyle Chandler, James Ransone, Griffin Dunne, Odessa Sykes, Britney Theriot, Luis Tolentino, Tony Bentley, Andrea Frankle, William Ragsdale, Dana Gourrier, Teri Wyble. Directed by Allen Hughes

Honesty and politics don’t mix in modern America. The rule is that most politicians will do just about anything to win, stopping short of murder. Some don’t even stop there.

Billy Taggart (Wahlberg) is a New York City cop but one with anger issues. When a lowlife who raped and murdered a teen is released on a technicality, he snaps and murders the scumbag in cold blood. Police commissioner Carl Fairbanks (Wright) wants to throw his detective to the woods but then New York City Mayor Hostetler (Crowe) buries the evidence and tells Taggart he’s a hero. However, while Billy won’t be going to jail even the Mayor can’t protect his job under those circumstances.

Seven years later, Billy is working as a private investigator but his business is failing. While his loyal assistant Katy Bradshaw (Tal) hangs in there, Billy knows he can’t survive much longer. However apparently coming to his rescue, Mayor Hostetler comes to Billy with an assignment; to follow Hizzonor’s wife Cathleen (Zeta-Jones) and find out if she’s having an affair or not. The Mayor is in the middle of a vicious campaign for re-election and he can’t afford the hint of a scandal to get out; it’s something his opponent Jack Valliant (Pepper) and his canny manager Paul Andrews (Chandler) would make a great deal of hay from.

Billy is more than happy and grateful to take a paying job, even when it leads to Cathleen’s lover – none other than Paul Andrews himself. But when Andrews turns up dead, Billy realizes he’s in way over his head and that someone in this equation is hiding something, something they’re willing to kill to keep hidden. Not knowing who to trust and fighting his own demons – alcohol and jealousy of his girlfriend (Martinez), an aspiring actress – it’s going to be no easy thing to fix this broken city.

This originally saw the light of day on the Black List of unproduced scripts. Hughes snapped it up and sent it out to some Hollywood A-listers and both Wahlberg and Crowe jumped at the chance to work on the project. The first clue though that things didn’t turn out so well was when the studio scheduled the film to premiere in January 2013. January is the graveyard for movies; few films of any quality surface during the first month of the year when Oscar contenders and Holiday blockbusters take up most of the screens at the multiplex.

But seeing this made me wonder how the script could have wound up on the Black List considering just how poorly written the movie is. Plot points are explored and then abandoned. Holes in logic abound. Dialogue that doesn’t sound like real people talking. And lest we forget, a ludicrous ending.

Fortunately the movie has some pretty good actors who are playing this (mostly) with straight faces. Wahlberg can play this kind of part without working up much of a sweat and yet he gives it his earnest best. Billy is far from lovable but at his core he has a sense of justice – not always an accurate one – that just can’t be denied. For example, when he sees a sex scene his girlfriend filmed for an indie film at the premiere, he is horrified. He simply can’t get past seeing her do those things where everyone can see them. He’s a rumpled knight in dented, rusting armor but he’s also the sort you’d want at your side if you were fighting for a hopeless but just cause.

Crowe also gives the Mayor easy charm and smile on the surface with a crocodile’s teeth just under the facade. It’s a mesmerizing performance and would ordinarily overwhelm someone as blue collar as Wahlberg but the two make a good point/counterpoint sort of chemistry for themselves. Zeta-Jones remains one of the most beautiful women in Hollywood, but she didn’t win that Oscar in a Cracker Jack box; the lady’s got chops and she shows them here in a character study that’s as complex as any in the movie. However, the Israeli actress Tal seems to be having more fun than anyone else in the movie and she is a delight with a future in Hollywood if she keeps getting these sorts of roles.

The action scenes are for the most part forgettable although there are a couple of nifty little set pieces here. This is the kind of mindless fluff that is forgotten as soon as the popcorn is gone but there’s nothing wrong with that sort of movie. I just get the sense that isn’t what the filmmakers had in mind when they undertook this project to begin with.

WHY RENT THIS: Solid performances from terrific cast. Some gritty action sequences.
WHY RENT SOMETHING ELSE: Plot holes and dangling plot points a-plenty. Falls flat overall.
FAMILY VALUES: Plenty of bad language, violent content and a bit of sexuality.
TRIVIAL PURSUIT: This is the first time Hughes directed a film solo; normally he works with his twin brother Albert.
NOTABLE HOME VIDEO EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $19.7M on a $35M production budget.
SITES TO SEE: Netflix (DVD rental only), Amazon (buy/rent), Vudu (purchase only),  iTunes (buy/rent), Flixster (buy/rent), Target Ticket (Purchase only)
COMPARISON SHOPPING: Clear and Present Danger
FINAL RATING: 5/10
NEXT: Forgetting Sarah Marshall

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HappyThankYouMorePlease


HappyThankYouMorePlease

Malin Akerman demonstrates the proper “crazy eyes” technique.

(2010) Romantic Comedy (Anchor Bay) Josh Radnor, Malin Akerman, Kate Mara, Richard Jenkins, Zoe Kazan, Tony Hale, Pablo Schreiber, Michael Algieri, Bram Barouh, Mary Elena Ramirez, Peter Scanavino, Fay Wolf, Dana Barron, Sunah Bilsted. Directed by Josh Radnor

 

There comes a point in all of our lives when we turn from twenty-somethings to thirty-somethings. It’s a bit of a milestone and in many ways it’s not that easy. For most of us, it’s a milestone from which we graduate from being “young people” to being “adults.”

For Sam (Radnor) and his friends, that change isn’t coming easily. Most of Sam’s circle are aspiring artists; none have really accomplished much in the arts to be honest. Sam has written a novel but not gotten it published although, with a title like The Other Great Thing About Vinyl there’s perhaps a clue why not. Sam is in fact on his way to see a publisher when he spies a kid hanging around the subway.

Sam senses there’s something wrong and tries to help. It turns out the kid, Rasheen (Algieri) was left there. Sam tries to deliver him to the authorities but when that doesn’t work out, he decides that Rasheen can stay with him until Sam can figure something out. Sam is apparently not the sharpest blade in the shed.

He has plenty of competition for that though. Mary Catherine (Kazan), who is Sam’s cousin,  is also a painter in the village – no, she doesn’t paint houses – who loves New York, even though for what she makes she can barely afford it. In fact, she probably wouldn’t be able to were it not for her filmmaker boyfriend Charlie (Schreiber) who has at least been working regularly; now he has received a job offer in Los Angeles, a lucrative one. He wants to go; she wants to stay, showing the kind of L.A. Hate-on only a New Yorker could generate, as well as that insular feeling that the Apple is the only city in the world that those Manhattan dwellers sometimes get. Their relationship has reached a crossroads and could go down either road – separately or together.

Annie (Akerman) has Alopecia, a disease that causes hair loss – in Annie’s case, complete hair loss. She wears an African head scarf to disguise this. She wonders if she can ever be truly loved – but then her taste in men is disastrous. Most of the men she chooses are borderline abusive and are only interested in one part of her body (and it isn’t her hair or lack thereof). A lawyer in her office whom she refers to as Sam #2 (Hale) is sweet on her, but his attempts at courtship are awkward and occasionally creepy. Still, he seems to be a nice enough guy but he’s simply not cool enough for her.

In the meantime, Sam #1 has become fixated on a waitress/barmaid named Mississippi (Mara) who is also a singer and is working hard to break into the music business but until then is waiting tables. She brings much stability into his life, although when she finds out the truth about Rasheen (whom she assumed was Sam’s biological progeny) becomes rightfully concerned as to whether Sam is the right guy for her.

Radnor also wrote and directed this, his first feature film. He is best known for playing Ted on the CBS sitcom “How I Met Your Mother.” In some ways, the characters here are sitcom-like, more caricature than character. Think of it as a hipster sitcom.

Although this is essentially an ensemble film, these are not interweaving stories but part of the same one. Akerman is a fine actress who sometimes gets parts that showcase her abilities; this isn’t one of them. Nevertheless, she elevates it, turning the role of Annie who has elements of self-pity woven into her personality into less of a whiner and more into a compelling character you want to know better. That’s a testament to her talents, and her performance is far and away the best thing going for the film.

Elsewhere, the performances range from marginally okay to satisfactory. Nobody disgraces themselves here but other than Akerman nobody else rises above either. For the most part this is pleasant but unmemorable. The title refers to something an Indian cabbie tells Annie – I’m paraphrasing, but essentially that it is necessary to go about life being grateful for the things that make you happy, and to ask the universe for more of those things. It gives the film a kind of optimism that is not that unusual in indie films these days (you want pessimism, see a 70s film).

However, also the norm in indie films is a focus on a hip New York lifestyle that as depicted the people involved couldn’t possibly afford to live. Sam, for example, has no apparent income and yet lives in a nice apartment in the Village. While not science fiction per se, it does enter that fantasyland of indie films that we have just learned to accept as part of the reality of movies – like the characters always get a parking spot in front of the place they want to go, for example. Just accept and move on.

The movie is charming enough to be palatable while you’re watching it, but won’t stick around in your memory much more than it takes to find something else to do. The film’s message on finding the things that truly make you happy isn’t a particularly revolutionary one nor is it told in a particularly revolutionary manner. It’s just a decent first feature for someone who shows enough promise that I look forward to seeing where he goes from here as a filmmaker and actor.

WHY RENT THIS: Akerman elevates her material. Some moments of insight here and there.

WHY RENT SOMETHING ELSE: A little heavy on the indie cliché. A bit unfocused in places.

FAMILY VALUES: There is a good deal of bad language here.

TRIVIAL PURSUIT: Radnor wrote the film while working on the first and second seasons of “How I Met Your Mother.” He then spent the next two years acquiring financing, writing revisions and casting actors in their roles before shooting in July 2009, just three months (including six weeks of pre-production) after getting the financial backing.

NOTABLE HOME VIDEO EXTRAS: There’s a featurette on music composer Jaymay.

BOX OFFICE PERFORMANCE: $216,110 on an unreported production budget; the film broke even at best (but probably didn’t).

COMPARISON SHOPPING: Garden State

FINAL RATING: 4/10

NEXT: Men in Black III