Showing posts with label billy bob thornton. Show all posts
Showing posts with label billy bob thornton. Show all posts

Monday, 5 November 2018

The Judge (2014)

I really wanted to see The Judge when it came out because of its cast, but I missed it when it was in theatres and then I kept putting it off because of its running time. Eventually, I even forgot what the film was about so I kept putting it off, mainly because I was afraid it'd be a long, boring courtroom drama, which is crazy since I love courtroom dramas. 

The film follows Hank Palmer (Robert Downey Jr.), a successful and unethical defence attorney in Chicago. When his brother Glen (Vincent D'Onofrio) calls to let him know that their mother has passed away, Hank returns to his hometown in Indiana and soon ends up being the lawyer to his estranged father (Robert Duvall), the town's judge, who is suspected of murder. 

It's a very simple story that should not take 2 hours to be told and yet it does as there are way too many subplots —Hank Palmer's divorce, Hank Palmer's high school girlfriend who has a college-age daughter who could be his daughter, and the courtoom drama. Not to mention the subplot going on with Glen's two sons— that go nowhere and fail to be interesting. Despite this, The Judge manages to be a very compelling and engaging drama as it mainly centres on the father-and-son relationship, which makes you reflect on how hard it is to grow up not without your father's approval, but with his disapproval, and the complex relationship between siblings. 

The characters needed more work too as they all are a bit stereotyped, lack development —especially when it comes to supporting characters—, their characterization isn't always consistent, and some —the prosecuting attorney, to mention one— are given a backstory for no reason at all, which kind of ends up creating another subplot. 

The performances, on the other hand, are great. Robert Downey Jr. gives one of the, if not the best performance of his career as Hank Palmer. He nails the dramatic scenes and brings to be screen his typical magnetism, which will make you like him/his character even though he is a horrible man —he displays too much cockiness at the beginning of the film though. Robert Duvall is, however, the Robert who absolutely steals the show here. He's fearless in portraying an ageing man who is losing it, and proves that an actor doesn't need a great script to give a great, Award-worthy performance. Vincent D'Onofrio, who unfortunately has way less screen time than he deserves, is terrific as Glen as he brings depth to a character who had none on paper. The cast also features Jeremy Strong who does good in the role of Hank's mentally challenged younger brother, Dale, Billy Bob Thornton and Vera Farmiga, both talented and both wasted with characters they can't do anything with. 

Warner Bros. Pictures
David Dobkin's direction is also pretty solid. Although he relies a little too much on clichés and because of the tone, the film at times feels like a sappy melodrama, he manages to make a heavy, serious film with some humour and playfulness in it, rather than the opposite, which is exactly what I was expecting from him. Also, I found the slow pacing to fit the story very well —the long running time did not bother me at all. Actually, time flew by as I was watching this flawed and yet touching, emotional and absorbing film.

Sunday, 7 September 2014

New in September: It's All About Pacing

This month's new offerings are a bit deceptive. On the one hand, most of the titles showing up in the first few days of September don't inspire a lot of excitement. There was the return of a number of on-again, off-again classics (welcome back, Ms. Hepburn and Messrs. Cooper and Wayne), a bunch of 1980s and '90s comedies and sci-fi/horror, and a handful of returning kid flicks. So far, so predictable. But once we look forward, things start to get interesting, with the debuts of a number of recent films that are undeniably top tier, as well as new seasons of quite a few notable TV shows.

Robin Williams down but not out

Flubber
But let's take a moment to break out the older and returning titles. First off, last month's loss of two Robin Williams movies, Popeye and The Fisher King, was certainly bad timing given the actor's own untimely departure. But Netflix seems to be making up for that with the joint arrival of Barry Levinson's beloved wartime comedy, Good Morning, Vietnam (1987), and 1997's Flubber, a serviceable remake of Jerry Lewis' Disney's The Absent-Minded Professor (1961). Which means the late Mr. Williams hasn't been totally left out in the cold, even if his incoming titles are arguably a downgrade from the outgoing. Perhaps the Michael Keaton comedy two-fer of Mr. Mom (1983) and Multiplicity (1996) will help balance the scales?

Hello, kiddies

It's also more or less a wash as far as family films go, with last month's expirations being offset by a number of (mostly returning) titles. Among those are the above mentioned Flubber, Barry Sonnenfeld's witty remake of TV's The Addams Family (1991), Disney's Fox's animated Anastasia (1997) and live-action Swiss Family Robinson (1960), Mel Brooks' Star Wars spoof, Spaceballs (1987), Pee-Wee Herman's second big-screen appearance, in Big Top Pee-Wee (1988), and the welcome return of Martin Scorsese's sumptuous ode to cinema, Hugo (2011). Also making its way to streaming is that rite-of-passage film for generations past, Old Yeller (1957), which may be a bit musty but should still leave a tot or two bawling by the end credits.

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Thursday, 15 August 2013

Slippery When Wet: THE ICE HARVEST

"Just act normal for a few hours and we're home free."

This advice, dispensed to Charlie Arglist (John Cusack) by partner-in-crime Vic Cavanaugh (Billy Bob Thornton), is, of course, the crumbling bedrock on which many a crime film is built. And yet Cusack's weak-willed mob lawyer, who along with shady businessman Vic has just ripped off Charlie's boss to the tune of $2 million, truly believes in the perfect crime. As he explains in The Ice Harvest's opening narration, pulling one off is "only a matter of character."

But character is in short supply where Charlie is concerned. Waiting for the city's icy roads to clear before he and Vic can hightail it out of Wichita, Charlie spends one of history's most depressing Christmas Eves laying low at a favorite strip club, acting anything but normal. It's not long before he's dragging behind him a trail of interested parties, including mob enforcer Roy Gelles, strip club owner Renata Crest, an ass-kissing cop, a favor-seeking politician, and Charlie's drunken buddy Pete (Oliver Platt), who happens to be married to his ex-wife. Meanwhile, Vic is no longer giving Charlie the warm fuzzies about their shared plan, adding to his growing paranoia.

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