Small Crimes


I was just starting to look up to Nicolaj Coster-Waldau.

(2017) Crime Drama (Netflix) Nikolaj Coster-Waldau, Robert Forster, Jacki Weaver, Molly Parker, Gary Cole, Macon Blair, Michael Kinney, Daniela Sandiford, Shawn Lawrence, Pat Healy, Eddie Holland, Jasson Finney, Anatoly Zinoviev, Glen Bowser, Larry Fessenden, Tara Yelland, Derek Barnes, Tyrone Benskin, Frank Schorpion, Alex Stines, Stéphane Julien, Julia Dawi. Directed by E.L. Katz

 

There are those who say they make their own luck and I suppose there is some truth to that. Some people absolutely refuse to let themselves get down; they do whatever it takes to succeed. Conversely there are also people who always seem to be on the losing end of life; they self-sabotage through bad decision making. They truly seem born to lose.

Joe Denton (Coster-Waldau) is one such sort. Recently released from prison after a six year stint, he was once a police officer in a rural Midwestern town who was convicted of conspiracy of trying to murder the district attorney Phil Coakley (Kinney). Corrupt and a raging alcoholic as a law enforcement officer, he has found sobriety in the joint and emerges hoping to turn his life around.

He moves back in with his parents Joe Sr. (Forster) and Irma (Weaver). Ma Denton in particular is suspicious of her son; she doesn’t really believe he’s truly capable of change. Joe is looking to reconnect with his ex-wife and resume being a father again but a single telephone call is sufficient for Joe to back off after a half-hearted attempt.

His ex-partner Lt. Pleasant (Cole) has some worries of his own; not so much about Joe who kept quiet about his involvement even in the face of a prison sentence, but against local crime boss Manny Vassey (Lawrence) who is dying of cancer and has found Jesus; Pleasant is concerned that Vassey might decide to unburden his soul before departing this green earth and in the process incriminate Pleasant.

Joe makes a bee line for the nearest bar and before you know it has fallen off the wagon. He begins to sink into old habits, alarming his mother and a botched attempt to kill Manny brings Joe under the watchful psychotic eye of the mobster’s son Junior (Healy). The lone bright spot in Joe’s life is his budding romance with hospice nurse Charlotte Boyd (Parker) who has baggage of her own, but even this potential game-changer may not be what it appears to be; Charlotte’s only client is Manny Vassey. And so things are beginning to spiral down towards a confrontation as Joe struggles to figure out how to get out of this rapidly deteriorating situation. Knowing Joe, things won’t end well for anybody.

This film had a solid debut at South by Southwest last year followed up with a fairly inconspicuous release on Netflix. The streaming giant has been a big player on the film festival circuit, snagging some prestige properties for their service while showing off some of their own original content. This one, while purchased at SXSW falls more in the mold of filler.

Coster-Waldau is best known as Jamie Lannister on the HBO hit series Game of Thrones and has enormous upside. He plays both hero and villain well which makes sense as Jamie is a little bit of both. He’s had a few high-profile roles but none have really put him over that cinematic hump yet. Here the best moments belong to Forster who is absolutely marvelous. Joe Sr. hopes against hope that his son will turn the corner but the guarded look in his eyes tells us that he doesn’t really expect him to.

I was heartened to find out this was written by Macon Blair, who directed the marvelous Blue Ruin and has written a number of highly regarded gritty indie films. Based on a David Zeltserman novel of the same name, the movie is unrelentingly downbeat. Blair has almost no exposition in the movie whatsoever other than some desultory pillow talk late in the movie; mysterious events are referred to and characters pop in and out of the movie that Joe apparently has some sort of previous relationship with but we are never informed about the nature of those events or the relationships with these people.

Blair is outstanding when it comes to writing male-oriented tough guy material but there is a little too much testosterone flowing for my own personal tastes, a little bit too much macho preening. At the end of the day this is a fairly typical “ex-con struggles to get his life back together despite enormous obstacles and a past that won’t let him go” type of film and although there are a few interesting twists and turns here, eventually when all is said and done Small Crimes adds nothing to the genre. The characters across the board are all unlikable and despite Coster-Waldau’s native charm, he isn’t able to make the character rise above his own flaws and be relatable. By the end of the movie most viewers will pretty much have written off Joe much as his parents have, much as everyone else around him has. Some people, this movie seems to opine, are genetically pre-disposed to fail and that’s such a bleak outlook on people that I find it hard to support a movie that believes that.

REASONS TO GO: Coster-Waldau is always engaging and the rest of the cast does exemplary work. The filmmakers pull no punches.
REASONS TO STAY: There’s a little too much testosterone flowing for my own taste. The film is very much a downer.
FAMILY VALUES: There is plenty of profanity, violence, drug use and some sexuality.
TRIVIAL PURSUIT: In the novel that the film is based on, Phil Coakley and his daughter are both white; in the film, they’re African-Americans.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 1/17/18: Rotten Tomatoes: 62% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: I Don’t Feel at Home in This World Anymore
FINAL RATING: 5.5/10
NEXT:
The Justice League

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The Innkeepers


The Innkeepers

Too much Visene can be a bad thing.

(2011) Supernatural Horror (Magnet) Sara Paxton, Pat Healy, Kelly McGillis, Alison Bartlett, Jake Ryan, George Riddle, Lena Dunham, Brenda Cooney, John Speredakos, Sean Reid, Kurt Venghaus, Thomas Maloney, Michael Martin, Michael P. Castelli. Directed by Ti West

 

All good things come to an end and so it was with the Yankee Pedlar Hotel. A more than 100-year-ld inn in bucolic New England,  it is down to once last weekend. Two staff members are left to oversee the grand dame who has  a reputation of being haunted. Claire (Paxton) and Luke (Healy) are there to take care of the few guests that are left.

The third floor has already been stripped, closed to guests as the work to gut the hotel to make room for a parking lot is preparing to get under way. Luke mostly watches Internet porn, when he isn’t working on a ghost website, regaling the impressionable Claire with stories about the hotel’s checkered past and his own supernatural encounters and ignoring the guests’ demands for towels.

Claire befriends one of the guests, a former television actress turned psychic healer Leanne Rease-Jones (McGillis) who at first seems somewhat, for lack of a better term, bitchy. However as she begins to find the supremely naive but extremely likable Claire to be harmless, Leanne decides to delve into the Yankee Pedlar, only to find something very sinister that has Claire firmly in its sights – involving a bride who committed suicide years before and a cover-up by the innkeepers of the day that would only serve to make the bride’s ghost very, very angry – and you sure don’t want to be in the sights of an angry bride now do you?

West has developed a good reputation in the independent horror community with films like House of the Devil and The Roost to his credit. He has a reputation of movies that develop slowly, chock full of quirky but realistic (read: non-cookie cutter) characters who are brought out of their comfort zone and face to face with something terrible.

He follows much the same formula here too. There is the first half of the movie which belongs mostly to Paxton and Healy, who work very well together. Although theirs is a non-romantic relationship (no sex in this movie guys – move along if that’s what you’re looking for) there is chemistry nonetheless between them. They banter like co-workers who have a bit of a forced friendship due to the circumstances i.e. pending unemployment. There is a certain gallows camaraderie between them.

McGillis also figures into the first half significantly. The star of such films as The Witness and The Accused has been long absent from multiplex screens and it is a welcome return indeed. Even though she gets what I affectionately call “the Zelda Rubinstein part” (so-named for the diminutive actress who played the psychic in Poltergeist) she carries it off with grace and professionalism.

West is good at delivering the goods in the scare department and he does so here. The last fifteen minutes of the movie are a real wild ride, with some legitimate spooky scares. It’s just the getting there that may put some people off. Those who love a shock-o-rama from start to finish are going to get antsy sitting through the first portion of this movie.

I had a different reaction. I liked the first part of the movie, a lot. Horror movies that take the time to develop characters who are not clichés are increasingly rare these days as mostly the actors exist to be launched into a meat grinder. Taking the time to develop characters we can actually care about is almost unheard of, so many kudos to West for that.

The writers also take the time to develop a nice mythology which is crucial in any kind of supernatural horror. The background of the tale is at least as important as the scares and the writers pay close attention to that.

The trouble here is that the first part and the last part of the movie are so night and day. Some may find it jolting to go from a kind of almost sitcom-y feel into a balls-to-the-wall frightfest.  I actually thought the two parts reconciled well but admit it was a little bumpy in places. There really isn’t much of a transition.

This is a strong independent horror movie, something that I’m happy to say we’re starting to see more of and that’s a trend I strongly hope is going to continue. There is some inventiveness to it but not a lot and that’s okay – it just takes a little. In other words, this isn’t a game changer for the genre but it is a strong example of how good a well done ghost story can be.

REASONS TO GO: Paxton and Healy work well together. Well-written with a nice mythology behind it.

REASONS TO STAY: Real scares come late and when the horror aspect gets going is almost schizophrenic, at odds with the lighter tone earlier in the film.  

FAMILY VALUES: There are some terrifying images and a few bad words.

TRIVIAL PURSUIT: Paxton is distantly related to actor Bill Paxton; she mulled over a career in music (she has sung on several soundtracks to her movies) although that appears to be on hold at the moment.

CRITICAL MASS: As of 2/6/12: Rotten Tomatoes: 76% positive reviews. Metacritic: 64/100. The reviews are pretty good.

COMPARISON SHOPPING: Ghostbusters

NEW ENGLAND INN LOVERS: The filmmakers shot this primarily at the actual Yankee Pedlar Inn in Torrington, CT. which is supposedly haunted. The lobby is gorgeous filled with antique furniture. I wouldn’t mind staying a night or two here – if Madeline permits.

FINAL RATING: 7.5/10

TOMORROW: Holy Rollers