Killshot


Killshot

Diane Lane wonders why she doesn't get more roles in romantic comedies, while Thomas Jane ponders why their names both rhyme.

(Weinstein) Diane Lane, Mickey Rourke, Thomas Jane, Joseph Gordon-Levitt, Rosario Dawson, Hal Holbrook, Don McManus, Aldred Wesley Montoya. Directed by John Madden

One of the most notable writers of “hard-boiled” fiction in the history of the genre is Elmore Leonard. He’s right up there with guys like Dash Hammett, Raymond Chandler and Mickey Spillane. Among the novels written by Leonard that have been adapted for the screen are Get Shorty and Out of Sight. He’s also written a number of westerns, as well as screenplays of his own. He’s considered one of the better writers of the latter half of the 20th century to come out of the United States, and even today, well into his 80s, continues to write at a respectable clip.

For awhile, it was fashionable to option his material by the various studios and one of those snatched up by them was this novel, which at one time had names like John Travolta, Sandra Bullock and Viggo Mortensen attached to the property. However, as Leonard’s work which is full of colorful characters, vicious violence and complex plots, many studios found it was very difficult and sometimes impossible to translate his work to the screen.

After nearly a decade in development hell and more than four years after filming wrapped on the project, the movie has finally seen the light of day. Usually that’s a pretty sure sign that the movie is nigh on unwatchable. So is that the case here?

Blackbird (Rourke) is a Native American hitman for the Toronto mob who apparently couldn’t find any Native Canadians. He has survived due to his coolness in chaotic situations, and because he never ever leaves a witness who can identify him. During a routine hit on a rival Mafiosi, he is forced to cap the girlfriend of the victim because she has seen his face. This doesn’t sit well with his employers and Blackbird is forced on the lam, returning to his native Michigan to perhaps get out of the game for good (since his erstwhile employers know nothing about who Blackbird really is).

There, he falls in with a small-time crook named Johnny Nix (Gordon-Levitt), a brash and arrogant sort with a real anger management problem, coupled with an impulse control issue which makes life around him rather interesting. Johnny also has a sexually frustrated girlfriend named Donna (Dawson) who, while suspicious of Blackbird, also takes a bit of a liking to him. Nix plans to blackmail a wealthy real estate agent Nelson Davies (McManus) and takes Blackbird along as intimidation.

Working for Davies is Carmen Colson (Lane), whose marriage to her husband Wayne (Jane) is disintegrating. Wayne is actually dropping some paperwork off for Carmen at her office when Nix and Blackbird come to pay Davies a visit; Davies, aware of what’s happening, has arranged to be far away and neglected to tell Carmen to do the same. The somewhat dim Nix mistakes Wayne for a wealthy real-estate agent, but Wayne doesn’t take kindly to being threatened and tosses Nix out of a plate glass window. Carmen manages to alert the authorities, but not before catching a full glimpse of Blackbird’s face through the window, which Blackbird is fully aware of.

Now things are really in a mess. Nix wants nothing more than to make Wayne pay for all his humiliation and suffering, but Blackbird has bigger fish to fry. Not only can Carmen identify him, she can also bring the Toronto mob right to his doorstep. They will need to eliminate the couple, but on their first attempt they botch the job, which captures the FBI’s attention. The two are promptly put in a witness relocation program and flee to Missouri and, with only each other to rely on, actually begin to make progress in repairing their marriage. However, Blackbird cleverly fakes his own death, bringing the two of them back home where he and Nix plan to finish what they started.

As I mentioned earlier on, the movie has had a checkered past of shelf time, pushed-back release dates and much re-cutting and re-shooting. Director Madden, who previously helmed Shakespeare in Love and Captain Corelli’s Mandolin hasn’t had a lot of experience with this kind of pulp novel background (although he’s done some TV mysteries in his native England) and it shows here. The violence needed to be notched up a level or two; it would have suited the material better.

As you would expect with a movie that has been reshot and re-edited several times, the flow of the film doesn’t always work. At times the pacing is stodgy and slow, at other times it moves at breakneck speed. It’s like a sportscar whose transmission needs work; you expect something a little faster out of a sleek little number like this.

The casting is pretty marvelous, with Rourke doing a nice turn as the regretful and world-weary Blackbird, who is simultaneously cold and pragmatic. Rourke is ideally cast here; he excels with roles that are multi-faceted and thoughtful but with a hard edge on the outside. His work alone is worth the price of a rental here.

Surprisingly, Lane and Jane elevate the movie further. Jane, who has taken a lot of critical heat for his post-Punisher performances, plays Wayne as a man who has made a mess of his marriage and knows it, but still has deep feelings for his wife. He plays a man who is lost without his wife, but not paralyzed; when push comes to shove he is willing to fight not only for his life and that of his wife, but also for his marriage as well. Lane, who has settled into a series of roles of dissatisfied middle-aged wives, is always an interesting actress, even if her part here is somewhat cliché.  

Unfortunately, this property has been mismanaged and it shows in the final product. The studio never seemed to have much faith in it, which is surprising considering the level of talent both before and behind the camera. This is one of Leonard’s more simple plotlines which would have made it easier to adapt but for whatever reason it didn’t turn out the way it should have. Chalk it up as one more failed adaptation, but at least there is enough about it that’s compelling to make it worth a look if you want to watch something different.

WHY RENT THIS: Rourke does a terrific job as he has been lately. The chemistry between Jane and Lane is genuine and their difficulties with their marriage elevate this from the run-of-the-mill thriller.

WHY RENT SOMETHING ELSE: It’s been edited and re-edited several times and you can tell; the movie is a bit of a pastiche that at times doesn’t flow real well.

FAMILY VALUES: If “adapted from an Elmore Leonard novel” isn’t enough for you, try lots of violence, a great deal of foul language and a bit of nudity, all hallmarks of Elmore Leonard novels.

TRIVIAL PURSUIT: It took nearly four years from the completion of shooting until a meager five-screen release by the studio, which originally inherited the property as one of those that they received when the Weinsteins sold their interest in Miramax to Disney (1408 and Lucky Number Slevin were other movies that Weinstein also received). In the meantime, the role of a corrupt cop played by Johnny Knoxville was completely cut from the film.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $2.9M on an unreported production budget that I’d estimate to be about $10M; either way the movie is a flop.

FINAL RATING: 5/10

TOMORROW: Brothers at War

Did You Hear About the Morgans?


Did You Hear About the Morgans?

Sarah Jessica Parker takes aim at the screenwriter while Hugh Grant nervously checks for witnesses.

(Columbia) Hugh Grant, Sarah Jessica Parker, Sam Elliott, Mary Steenburgen, Elisabeth Moss, Jesse Liebman, Michael Kelly, Wilford Brimley, Gracie Bea Lawrence, Kim Shaw, David Call, Seth Gilliam, Sandor Tecsy, Steven Boyer, Sharon Wilkins. Directed by Marc Lawrence

A relationship depends on trust in order to work. However, once the trust is gone, can a relationship still exist or is it doomed to fail?

The relationship between Manhattan lawyer Paul Morgan (Grant) and his wife, successful boutique realtor Meryl Morgan (Parker) is in crisis. They have been trying to have a baby without any success and now Paul’s infidelity has caused the couple to separate. Paul really wants to get back together again with his wife, but she can’t get past her own feeling of betrayal. Hey, it speaks volumes that in order for the couple to even plan dinner together, they have to resort to having their personal assistants – overbearing Jackie (Moss) and cojones-challenged Adam (Liebman) rework their schedules just so they can align their schedules.

The dinner goes surprisingly well and Meryl allows Paul to walk her around the corner to a late showing for a new client. However, in a bit of a buzzkill, the new client is murdered before their eyes. As luck would happen, it turns out the client was co-operating with the FBI in a case against an international arms dealer who had hired a professional hitman to do the job. Now the assassin knows who the Morgans are, so U.S. Marshall Lasky (Gilliam) puts the quarreling couple in a witness relocation program.

Meryl is aghast. Not only is she leaving behind her beloved New York and her booming business but they are being sent to Ray, Wyoming, a flyspeck of a town in the middle of the Rockies. They will be cared for by the town sheriff, Clay Wheeler (Elliott) and his gun-totin’ wife Emma (Steenburgen) who are also employed by the U.S. Marshall service for the purpose of witness relocation because their location is so remote.

Paul is a bit upset because he has a thing about bears, which virtually guarantees he is going to encounter one in a movie like this. Meryl is a bit upset because she has no cell phone, blackberry or internet, which means she is going to find a phone which will lead the killer right to them. Both are bemused by the big rodeo celebration complete with (and this we are told emphatically) bull riding, which means that the two of them will wind up in the ring with the bull. And, sure as shootin’, the two city slickers are going to be inspired by them kindly western sorts into getting back together. Ain’t love grand?

Director Marc Lawrence has written, directed and occasionally produced some nifty romantic comedies, such as Music and Lyrics but this won’t be remembered as one of his better movies. The script is a bit light on the laughs, which is not good news for a comedy. It is also incredibly predictable and you sit in the darkness of the theater, praying to whatever being you worship for some kind of swerve, anything. Sorry chum; your prayers won’t be answered.

I normally like Hugh Grant a lot, which is why I wanted to see this in the first place (Da Queen, who reacts to Sarah Jessica Parker much in the same way a dog reacts to a police siren, was much less eager). However, he has little to do but furrow his brow (which he does to the point you think his nose is going to pop right off his face), look dreadfully uncomfortable and generally apologize repeatedly to the point where you want Liz Hurley to walk onscreen and slam him over the head with a cast iron skillet and say with a smirk “apology accepted – now shut up!” Come to think of it, Hurley would have been a much better casting choice here.

The sad thing is that some great actors are wasted. Sam Elliott, the quintessence of the American western tough guy, is placed in the awkward position of acting as a marriage counselor to the Morgans. I really felt for the guy; he’s due a really good role right about now and quite frankly, he hasn’t gotten one. Steenburgen is one of my favorite actresses from the 80s and 90s and is still gorgeous to my eye; she’s also warm and charming. Here, she channels Sarah Palin quite nicely (as the script leadenly points out in a line that might have been funny if uttered at a better moment) and gamely gives her all in a poorly written role.

While this is a good looking movie (the rugged western vistas of the Wyoming mountain country and the star-filled night sky contrast with the lights and concrete canyons of Manhattan), I found little that grabbed my attention. At the public screening I attended, there was almost no laughing and little more than the occasional sounds of popcorn being munched and soda being slurped. I have rarely heard an audience so quiet in my entire career.

The filmmakers try to make this funny but they only succeed in making it awkward, with terrible silences filling the movie. The effect is similar to having invited guests get into a shouting match while staying over. I really wanted to like this movie but unfortunately for everyone involved, I simply cannot recommend it. If you’re in the mood for a romantic comedy, you’d do much better with It’s Complicated or having seen that, waiting for When in Rome, Leap Year and Valentine’s Day, all of which are coming down the pike in the next few months.

REASONS TO GO: Some pretty views of the Wyoming mountain country.

REASONS TO STAY: The script is decidedly unfunny, and so very predictable. The actors all look uncomfortable, confused and undirected. Adds nothing to contrived fish-out-of-water premise.

FAMILY VALUES: Some violence and sexual situations and a scene of smoking but otherwise harmless.

TRIVIAL PURSUIT: Gracie Bea Lawrence, who plays “American Idol”-wannabe Lucy, is director Marc Lawrence’s daughter.

HOME OR THEATER: You could be forgiven for waiting until it comes out on free cable, although some of the vistas in Big Sky country are worth seeing on the big screen.

FINAL RATING: 3/10

TOMORROW: It’s Complicated