The Top 15 Movies I Reviewed in 2017!

List by Derrick Carter

Throughout the course of 2017, I posted 206 movie reviews on this blog. Though about a quarter of those were rewatches (covering the SAW and CHILD’S PLAY franchises before their latest installments, and also paying tribute to the passing of genre legend George A. Romero), I managed to catch plenty of fresh new films, forgotten flicks, and classics that I simply hadn’t gotten around to watching. As with last year, 2017’s “Best of” list will cover movies that I watched for the first time in my life. This means that old and new films are on the table, regardless of what year they came out. If a film was new to me and I loved it, then I’m including it with my favorite films that I watched in 2017!

Before I get into my 15 favorite films that I reviewed this year, there are some honorable mentions. I had previously seen THE EXORCIST, NO COUNTRY FOR OLD MEN, THE THING, NIGHT OF THE LIVING DEAD, and ALIENS before this year. Otherwise, they would be on this list. As far as first-time watches, I truly enjoyed the groundbreaking drama MOONLIGHT and adored the 80s throwback STRANGER THINGS. Concerning new horror films, THE EYES OF MY MOTHER seriously disturbed me, THE VOID was a phenomenal Lovecraftian nightmare, and THE GIRL WITH ALL THE GIFTS was one hell of a zombie film! WONDER WOMAN also wound up as my second-favorite superhero film of 2017. As for indie thrillers, WIND RIVER was a gripping ride and GOOD TIME was a neon-lit throwback to Martin Scorsese’s early work.

Now, without further ado, onto my top 15 favorite films that I reviewed during 2017…

15. MY FRIEND DAHMER: Most serial killer films focus on chilling murders of their subjects, but MY FRIEND DAHMER is not like most serial killer films. Based on the graphic novel of the same name, MY FRIEND DAHMER is a chilling drama that chronicles the pre-murderous life of Jeffrey Dahmer and examines him as a high school weirdo. By somewhat “humanizing” this psycho, the film doesn’t attempt to elicit sympathy towards its titular cannibal killer and instead shines a light on the fact that people we went to high school might very well turn into monsters seen in news headlines. Though there isn’t a single (human) murder to be found, MY FRIEND DAHMER joins the ranks among the best films about real-life serial killers (MONSTER, ZODIAC, HENRY: PORTRAIT OF A SERIAL KILLER, and THE SNOWTOWN MURDERS).

14. FOUR LIONS: The idea of tackling Islamic terrorism through a darkly comic lens might sound completely misguided on paper, but FOUR LIONS is the best comedy that I sat through all year! The film follows four idiotic would-be terrorists as they attempt to execute a devastating attack, but constantly fumble over their own stupidity and reveal themselves to be bumbling morons. In my opinion, painting Islamic terrorists in this ridiculous light strips some of the power away from them in a similar way to what Charlie Chaplin did to Hitler in THE GREAT DICTATOR or what Rogen/Franco did to Kim Jong-Un with THE INTERVIEW. If you’re down for dark comedy and don’t mind totally offensive punchlines, you should give FOUR LIONS a watch in the near future!

13. HARD BOILED: Last year, LADY SNOWBLOOD wound up being one of my favorite movie-going experiences as I saw it in a packed cinema pub screening. This year, that cinema pub moviegoing experience belongs to HARD BOILED. This shoot ’em up actioner is over-the-top to the point of being ridiculous. Ridiculously awesome! Each gun fight plays out like a carefully choreographed dance and the film features one of the most jaw-dropping single take sequences that I’ve ever laid my eyes upon. Though it relies on a few cop movie clichés, it utilizes these in a loving way that makes the familiar material seem fresh. If you’re into action films and you haven’t seen HARD BOILED, then you need to remedy that immediately!

12. T2 TRAINSPOTTING: In all honesty, I didn’t know what exactly to expect from a sequel to TRAINSPOTTING. I love that film and I know that novelist Irvine Welsh wrote a follow-up novel, but I didn’t know how that might translate into a cinematic sequel. Over two decades after its predecessor’s release, T2 TRAINSPOTTING serves as an amazing companion piece to the original. Using the same cast and experimental visual style (albeit through a much more polished lens), TRAINSPOTTING 2 delivers stellar performances and naturally follows the lives of the four ne’er do wells from the previous film. If you loved the first film, then you’ll probably love this one too. For a full experience, it’s best to watch both of them back-to-back in the space of a single night!

11. NORTH BY NORTHWEST: This may be blasphemy for a cinephile, but I actually haven’t seen many Alfred Hitchcock films. I love PSYCHO, THE BIRDS, and DIAL M FOR MURDER, but the rest of his filmography is basically a mystery to my movie-craving eyes. My first viewing of NORTH BY NORTHWEST took place in the best possible environment (a packed movie theater) and I was blown away by how thrilling this film is. This is basically a James Bond film before Bond ever hit the screen. Cary Grant serves as a charismatic leading man who’s on the run for a murder he didn’t commit. Over the space of his death-defying adventure, we gets lots of suspense, action, and unexpected plot twists. I was on the edge of my seat for this entire film and walked away extremely satisfied. If the rest of Hitchcock’s filmography is anywhere near this great, then I’m in for a real treat as I continue to watch his work.

10. I DON’T FEEL AT HOME IN THIS WORLD ANYMORE: Blending a Coen brothers style of humor with indie thriller sensibilities, I DON’T FEEL AT HOME IN THIS WORLD ANYMORE might just be the most underseen and underrated film of 2017! This movie won an audience award at Sundance and then went directly to Netflix, where some people talked about for a couple of weeks and then it just kind of seemed to vanish out of the public eye. This is a vigilante thriller that’s believable in how inept real-life wannabe vigilantes might be and frequently dishes out shocking spurts of graphic violence. This might be the best Coen brothers film that the Coen brothers never made and I can’t wait to see what first-time director/writer Macon Blair cooks up next!

9. BABY DRIVER: What can I say? Edgar Wright consistently makes great films. BABY DRIVER is a passion project that Wright had in the works for years. In a similar fashion to how George Miller carefully planned out every scene, shot, and effect in MAD MAX: FURY ROAD, Wright constantly lets the viewer know that they’re in the hands of a visionary storyteller. This stylish crime tale about a getaway driver who (ironically enough) wants to get away from his criminal lifestyle is loaded with colorful characters, hilarious humor, and adrenaline-pumping action that’s synced up to one of the best damn soundtracks you’ll hear all year. I gushed over this movie back in June and I am still gushing about it now. If you want a joy ride of pure fun, BABY DRIVER will satisfy your cinematic craving!

8. THE DISASTER ARTIST: Never in a million years did I think that anything to do with Tommy Wiseau’s so-bad-it’s-good THE ROOM would ever wind up on any “Best of” list. Yet, here we are. James Franco lovingly adapts the nonfiction book about the creation of THE ROOM to the big screen in a way that’s not only hilarious, but also genuinely touching. THE DISASTER ARTIST doesn’t take the easy route of being a goofy comedy about a loser who fails so spectacularly that he kind of succeeds. Instead, this film takes a more complicated drama-comedy approach and shows us the more serious side of oddball Tommy Wiseau…and his strange friendship with would-be aspiring actor Greg Sestero. THE DISASTER ARTIST is a moving must-see for ROOM fans and cinephiles who just love great movies in general.

7. BLADE RUNNER 2049: I’m saying it right now, BLADE RUNNER 2049 is one of the best sequels to ever hit the silver screen. Over three decades after its predecessor’s debut, BLADE RUNNER 2049 recaptures the bleak sci-fi/noir spark that made the original into the cult classic that it is today. 2049’s cast all deliver amazing performances across the board, with supporting actors making the biggest impressions in their small minutes of screen time and Ryan Gosling serving as a fascinating new antihero. Besides delivering a complex mystery that unpredictably shifts directions as it goes along, 2049 also has one of the most beautiful romantic subplots in years and it features a literal “one-dimensional” character. For those who were bummed out by this film’s disappointing box office returns, remember that the first BLADE RUNNER was a box office flop and is now considered to be one of the greatest science-fiction films of all time. A similar classic status will undoubtedly follow BLADE RUNNER 2049 in future years!

6. WAR FOR THE PLANET OF THE APES: Seven years ago, if you had told me that a PLANET OF THE APES prequel trilogy would be one of the best cinematic trilogies ever, I would have laughed in your face. It turns out that’s exactly the case though. 2014’s DAWN drastically improved upon the minor flaws of 2011’s RISE, but 2017’s WAR FOR THE PLANET OF THE APES is stellar storytelling from beginning to end. Themes of revenge, survival, and forgiveness are examined throughout the film’s ever-changing plot. Performance wise, WAR fully shapes out intelligent ape Caesar (played wonderfully by Andy Serkis) as animal protagonist who’s more compelling than most human protagonists in films and also introduces Woody Harrelson as a monstrous villain who we want to see die in the most painful way possible. WAR FOR THE PLANET OF THE APES was the best possible way to conclude the APES prequel trilogy and is one of the best summer blockbusters I’ve ever sat through!

5. IRREVERSIBLE: I originally heard about Gaspar Noe’s rape-revenge drama from a podcast in 2008, but hadn’t bothered to give it a look until earlier this year. Though not strictly a horror film by any means, IRREVERSIBLE is a terrifying cinematic experience as events are told backwards. Unlike other linear rape-revenge stories, we see the revenge come first and travel backwards through the moments that eventually lead up to the violent act of justice. As the film plays out in reverse (ironic considering its title), we put pieces of this depressing puzzle together for ourselves and this already tragic event becomes even more tragic with each new revelation. This isn’t a film for the faint-hearted and it’s about as bleak as they come, but IRREVERSIBLE is an uncompromising masterpiece that deserves to be seen by anybody who loves the serious artistic side of cinema!

4. LOGAN: There will never be a better Wolverine than Hugh Jackman. I’m saying that right now. Over a decade has been spent watching Jackman in the role of this weaponized mutant, so LOGAN serves as a suitable final chapter for Jackman’s reluctant do-gooder. The future X-MEN films have a tough act to follow, because LOGAN is a special kind of superhero story. Relationships between the small cast of characters drives the emotional core of this film forward, whilst the R rating finally delivers something that X-MEN fans have wanted to see since 2000: a bad-ass Wolverine slicing and dicing his way through bad guys. This film also has shades of Cormac McCarthy’s THE ROAD crossed with a comic book story that’s about as unconventional as they come. Now that Disney is in talks to own the X-MEN franchise, we likely won’t see another film like LOGAN coming from this mutant-based series. LOGAN is a one-of-a-kind superhero film and one of the best comic book movies ever made!

3. EYES WIDE SHUT: Stanley Kubrick’s final film is an underrated masterpiece about the way in which people delude themselves into believing that they’re happy…and also there’s a creepy sex cult involved too. The entire film has a dream-like atmosphere as we watch the main character (Tom Cruise) venture through a single night odyssey that explores the sexual possibilities of cheating on his wife. Kubrick masterfully shows the dire consequences that might result from following our instinctual desires, whilst also putting us into the place of Cruise’s character. This is especially true of the ending which offers two distinct possibilities: one of them is easy and comforting…and the other one is ambiguous and dangerous. Whatever you might think of it or how you might interpret it, EYES WIDE SHUT is sure to keep you talking about it long after it’s over.

2. YOUR NAME: Eat your heart out Studio Ghibli! YOUR NAME just might be one of the most beautiful stories I’ve ever sat through. This film has gorgeous animation from beginning to end, while also delivering an entrancing tale of emotions and body-swapping. It’s initial set-up sounds like the anime equivalent of FREAKY FRIDAY, but drastically becomes something far more charming and moving as its complex plot moves along. This might be one of the strangest love stories ever put to the screen, but its emotional resonance is undeniable! The characters are all built up to the point where the viewer feels for their struggles and deeply cares about them. This makes the film’s final third into a very suspenseful and gripping ride. Also, the climax is utterly perfect. YOUR NAME is a masterpiece and deserves every bit of praise it has received so far (and will continue to receive)!

1. MOTHER!: Much like my favorite film of 2016 (HIGH-RISE), I know that there will be people who loathe and downright detest MOTHER! Some will hate it for its sheer artsy nightmare-logic style and others will despise its controversial message, but I adored every single frame of this fucked-up little ditty. The film follows a woman and her husband in an isolated countryside house. After a strange couple pop in and just decide to stay, their lives are shifted in horrifying ways. I can’t get too into details, because it would spoil some of the film’s nasty surprises and metaphorical madness. I will say that MOTHER! is my favorite horror film of the 2010s so far and one of the ballsiest films to ever receive a nationwide theatrical release. People either really love this film or totally hate it. There isn’t much middle ground to be found and you will likely walk away with a very strong opinion about it. One of the film’s trailers promised that “you’ll never forget where you were the first time you saw MOTHER!” and that statement is completely accurate. I’ve been thinking about this unforgettable horror film since its release and I can’t wait to dive into it again and again in future years to come!

Well, 2017 was a wild year for me…both on this site and in my personal life. I’m currently in the process of moving, so reviews will resume sometime in January! I plan to keep this little movie blog rolling, with plenty of reviews (both old and new) being pumped out on a mostly regular basis! A huge “thank you” to anyone who’s read this blog at all during the past year or any new readers who are discovering it for the first time. There was plenty to love in the world of film during 2017 and here’s to a just as great (if not better) 2018!

GLENGARRY GLEN ROSS (1992)

Review by Derrick Carter

Running Time: 1 hour 40 minutes

MPAA Rating: R for Language

Directed by: James Foley

Written by: David Mamet

(based on the play GLENGARRY GLEN ROSS by David Mamet)

Starring: Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris, Kevin Spacey, Jonathan Pryce & Bruce Altman

GLENGARRY GLEN ROSS is quite interesting for a lot of reasons. In 1984, playwright David Mamet penned the play that this film was based upon and that play went on to receive the Pulitzer Prize and a Tony. In 1992, Mamet adapted his own play for the big screen and whoever cast this film did one hell of a job in filling the roles. Pacino, Lemmon, Baldwin, Arkin, Harris, Spacey, and Pryce have all put in acclaimed performances throughout their success-filled careers. However, to see them all in one place is stunning. Even though this film bombed at the box office, it wound up being nominated for an Academy Award and a Golden Globe. If you like dialogue-driven narratives and amazing acting, then you’ll likely find something to love in GLENGARRY GLEN ROSS.

At a small real estate firm, four salesmen are competing in a high-stakes competition that will result in the winner getting a bonus and a brand new car. This competition just got more important as the company higher-ups have sent in a trainer (Alec Baldwin) to reveal that the top two salesmen will be keeping their jobs and the rest will be fired. This dire discovery puts the employees in a desperate spot. Dave Moss (Ed Harris) and George Aaronow (Alan Arkin) talk about possibly getting revenge on the company. Washed-up, has-been Shelley “The Machine” Levene (Jack Lemmon) desperately tries to close his lousy leads. Meanwhile, office superstar Ricky Roma (Al Pacino) seems to be sky-high on his sales. However, things become drastically more complicated when a burglary occurs at the firm and its clear that one (or more) of the salesman might be responsible.

Though there are crime-mystery elements in its second half, GLENGARRY GLEN ROSS mainly functions as a downbeat drama and dark comedy about four salesmen desperately trying to prove their importance. As a result, this plot is purely forward by dialogue and conversations…which means the acting had better be really damn good or the viewer would be in for one long drag of a film. Thankfully, GLENGARRY GLEN ROSS’s strongest qualities are its powerhouse performances and the snappy dialogue.

The best performance easily comes from Jack Lemmon as “The Machine” Levene. This character seems like a sad shell of the person he used to be. Lemmon won a Best Actor award at the Venice Film Festival for his more than believable portrayal of the live-action equivalent of Gil from THE SIMPSONS. Honestly, Lemmon deserved this film’s nomination for the Academy Award and Golden Globe as well. You legitimately feel sorry for his character and you can visibly see the desperation on his face throughout damn near the entire film. You also see how cocky he gets upon potential newfound success as well. Lemmon’s Levene steals the show!

Though he’s only regulated to a single scene, Alec Baldwin dominates his sole moment as the foul-mouthed company “motivator.” Baldwin’s character’s motivational methods mainly consist of verbally demolishing everybody around him and laying on deep psychological abuse as he seems to almost revel in the fact that half of the firm will be out of jobs by the end of the so-called “competition.” Meanwhile, Ed Harris and Alan Arkin play off each other as two men who are so desperate for cash that they might put their entire futures at risk with thoughts of a bone-headed decision.

Al Pacino plays Ricky Roma, the only “good” salesman of the bunch. Roma’s devilishly slimy tactic is building trust/friendship and then unexpectedly springing his sale pitch on his newfound “friends.” Pacino’s Roma is about as scummy as a salesperson can be and there doesn’t seem to be a genuine bone in his body, unless he’s talking about screwing someone out of their hard-earned cash or ultimately benefiting himself. Jonathan Pryce pops in for a couple of scenes as one of Pacino’s insecure customers/”friends.” Also, Kevin Spacey stars as the stuck-up office drone, who coldly pisses off every single salesman at one point or another.

If nothing else, GLENGARRY GLEN ROSS will make you paranoid about ever talking to a salesperson again. The dialogue is loaded with more profanity than your average Quentin Tarantino movie, but flows along in a naturalistic and witty manner. The film’s constant conversations might bore some viewers who cannot stand the idea of watching salespeople talk, fight, argue, and accuse each other for just under two solid hours. However, GLENGARRY GLEN ROSS is an example of how great acting and smart dialogue can carry a film all by themselves. It’s not for everybody, but GLENGARRY GLEN ROSS should satisfy cinephiles who want to dig on an amazing cast of actors delivering fantastic performances.

Grade: B+

MOTHER! (2017)

Review by Derrick Carter

Running Time: 2 hours 1 minute

MPAA Rating: R for Strong Disturbing Violent Content, some Sexuality, Nudity and Language

Directed by: Darren Aronofsky

Written by: Darren Aronofsky

Starring: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Domhnall Gleeson, Brian Gleeson, Kristen Wiig, Jovan Adepo & Stephen McHattie

Darren Aronofsky is known for artsy psychological headtrips and experimenting with narrative structure. REQUIEM FOR A DREAM put him on the map for moviegoers, whilst THE FOUNTAIN served as an ambitious anthology that split folks down the middle, and BLACK SWAN was a beautiful descent into madness. Also, NOAH saw Aronofsky putting his own fantastical spin on a Bible epic with polarizing reactions as a result. I’ve pretty much loved every Aronofsky film that I’ve seen thus far, so know that’s where I stand when I say that MOTHER! is a brilliant, ballsy piece of cinema that completely blew me away. This is easily one of the most original horror films that I’ve seen in years and is guaranteed to make a lot of people hate it. Those who dig MOTHER! though, will likely love it and not be able to stop thinking about it.

Without giving any spoilers away in my plot synopsis, I’ll say that MOTHER! is about the relationship between a poet (Javier Bardem) and his much-younger wife (Jennifer Lawrence). Lawrence’s character has renovated her husband’s formerly burned down house from scratch and the end result is beautiful to behold, but Javier’s character still can’t get over a troubling bit of writer’s block. When a mysterious couple (Ed Harris and Michelle Pfeiffer) show up uninvited and make their way into Lawrence’s and Bardem’s home, tensions begin to flare as Lawrence strongly dislikes their imposing presence and Bardem revels in their company. More guests soon arrive and things quickly spiral into morbid metaphorical madness!

MOTHER! is a film that’s bound to polarize viewers. First of all, this is very much an arthouse horror flick. The narrative constantly uses nightmare logic and plot points/characters are clearly meant to represent things outside of this story. Symbolism is strong in this film. Those who don’t enjoy slow burns and artsy flicks will most likely despise this movie from its strange beginning until the deeply disturbing conclusion. Then there’s the actual message (or messages, depending on your interpretation of events) which may turn certain viewers off. Aronofsky isn’t exactly subtle in certain areas, and there’s enough head-fuckery to guarantee multiple viewings are necessary to catch everything in this detailed piece of art.

Jennifer Lawrence deviates from her mainstream dramedies and teeny-bopper roles to play her ballsiest role yet as this film’s titular protagonist. As Lawrence’s character is put through the emotional gauntlet, the viewer is also pushed through the wringer. I felt that her growing frustration, bafflement and devastation were all completely believable as I felt the same emotions whilst experiencing this film (in the best way possible). Javier Bardem has already proven himself to be a phenomenal performer time and time again. I don’t want to say too much about his character here, but he leaves an unforgettable impression and tackles his difficult-to-understand character with bravado.

In a supporting role, Ed Harris is half likable and half creepy as the first unexpected guest. Michelle Pfeiffer is positively hateable as his wife and will make you want to slap her in the face. She’s so good at being bad in this film. Domhnall Gleeson, Kristen Wiig, and Stephen McHattie also pop in for supporting roles and make the most of the screen time they receive. The other supporting actors, a bunch of random faces, also will gradually piss you off as much as they do Jennifer Lawrence’s character. This film does a fantastic job of making you irritated and uncomfortable towards people simply being assholes. I don’t want to dive deeper into these characters’ actions…because there would definitely be spoilers in those details.

As far as cinematography goes, this movie is incredibly atmospheric and there’s a growing dread that digs inside you as the running time moves forward. Even though this is a slow burn, these two hours rushed by for me and I know that I’ll be rewatching this film many times in the future. It also seems fair to describe MOTHER! as the most unusual home invasion horror flick that you’ll ever see. The film also contains truly disturbing scenes and becomes all-out insanity during its final third. There are genuinely horrific images that you won’t be able to forget after you’ve seen this film and Aronofsky’s demented script puts brilliant spin on centuries-old themes.

If you don’t want to read minor spoilers, skip to the last paragraph. Aronofsky really ticked people off by treating NOAH as a fantasy and though that film wasn’t perfect, I thoroughly enjoyed it. This taken into consideration, MOTHER! seems to be the exact swtich-up of that formula. Here, Aronofsky is retelling Bible stories in the most fucked up, disturbing way possible and it winds up being one of the ballsiest films that I’ve seen in the 2010s. Though there’s an argument to made about the interpretations of artistry and failing relationships, I totally bought this on the not-so-subtle Biblical ideas and characters’ names seem to really hammer that home for me. I adored this film, but can totally understand why someone wouldn’t be into this sort of thing and not care for it at all.

MOTHER! feels like something that Lynch, Cronenberg, or Kubrick would have directed in their heyday. It’s one of the strangest home invasion horror films you’ll ever see, while also serving as a brilliant slice of metaphorical madness for those who really love this film’s sheer darkness and overall message. This is a strange, rough, and fucked up film…and I loved every single second of it. A movie hasn’t left me pondering over it this much in a long time and I can’t wait to revisit MOTHER! many times in the future. This is not only the best horror film that I’ve seen in years and one of the best films of 2017 (so far), I’d argue that this will go down as one of the best films of the 2010s for me!

Grade: A+

A HISTORY OF VIOLENCE (2005)

Review by Derrick Carter

Running Time: 1 hour 36 minutes

MPAA Rating: R for Strong Brutal Violence, Graphic Sexuality, Nudity, Language and some Drug Use

HistoryViolence poster

Directed by: David Cronenberg

Written by: Josh Olson

(based on the graphic novel A HISTORY OF VIOLENCE by John Wagner & Vince Locke)

Starring: Viggo Mortensen, Maria Bello, Ed Harris, William Hurt, Ashton Holmes, Peter MacNeill & Stephen McHattie

David Cronenberg made waves with his unique brand of body-horror (SHIVERS, THE BROOD, VIDEODROME) and a number of dark psychological thrillers (DEAD RINGERS, CRASH, SPIDER). This filmmaker seems most comfortable when he’s making difficult films that are sure to be a hit on the art-house circuit, but won’t likely connect with the general public. However, Cronenberg has also crafted a handful of mainstream hits. Next to his remake of THE FLY, A HISTORY OF VIOLENCE just might be his most accessible movie. Based on the graphic novel of the same name, VIOLENCE isn’t a bloody shoot-em-up from start to finish as its name implies, but rather a dark drama with spurts of graphic bloodshed. Those expecting a simple action thriller will find themselves disappointed, while those hoping for something deeper will be rewarded.

MCDHIOF EC030

Tom Stall has made a good life for himself in a small peaceful Indiana town. He is a loving husband, a devoted father to his two children, and runs a little restaurant. One night, everything changes when two convicts attempt to violently rob Tom’s diner. With quick reflexes and a steady trigger finger, he kills both men. This has him lauded as a local hero by the townsfolk and news, but Tom is the quiet type and neither wants credit, nor the attention. There might be a reason for Tom’s reserved manner about the incident as some shady people, including a dead-eyed man, show up claiming that Tom is actually someone named “Joey.” As the Stall family’s encounters with these threatening men begin to reach a frightening peak, it’s clear that Tom might not actually be who he says he is.

MCDHIOF EC035

HISTORY OF VIOLENCE is definitely a story with pulp conventions. As a result, there are some clichés (e.g. a kid being used as collateral), bits of cheesy dialogue, and the plot doesn’t exactly head in areas that we couldn’t correctly guess from miles away. However, the way that David Cronenberg treats this familiar material makes all the difference. More an examination of violence rather than just another action-oriented gangster tale with gun fights and explosions, there’s a dark emotional honest core at the center of VIOLENCE. The film takes its time to examine not just the restaurant incident’s effect of Tom (who’s slowly becoming a more confrontational individual), but also how his teenage son’s escalating conflict with a bully as well as Edie, Tom’s wife, watching her picture-perfect life crumbling around her.

MCDHIOF EC015

As Tom Stall, Viggo Mortensen transforms into a small town guy with a dark secret. Once his character’s shadowy past comes to light, Mortensen does a brilliant job in showcasing Tom’s (or is it Joey’s?) darker side in a natural way that doesn’t feel out-of-place in the context of the story. Maria Bello is excellent as Tom’s wife and not simply a damsel in distress, but a woman faced with a life-changing revelation and must make difficult decisions as a result of that. In the villains department, the movie showcases great talent. Stephen McHattie (the smallest of the bad guys) has a memorable three-scene role as the thug who holds up Tom’s diner. Ed Harris is downright frightening as the dead-eyed man who’s stalking the Stall family. William Hurt doesn’t reveal himself until the final third of the film, but more than makes up for that with a sinister performance.

MCDHIOF EC021

Though it’s far more restrained than those expecting a blood-soaked action flick might hope, Cronenberg delivers graphic gory visuals in his real-world approach to the pulpy material. When someone gets a bullet through their skull, we get a brief shot of their face blown halfway to hell and them choking on their blood. In another instance, someone’s nose is beaten to a gory crater. These scenes definitely don’t make up a majority of the story, which is all about build-up and the effect that these violent incidents are having on the lives of the Stall family, but they exist. The only moment that really felt exaggerated and silly to me was an unrealistic sex scene that comes right the hell out of nowhere during the second half. Otherwise, Cronenberg executes this somewhat clichéd material with a steady hand, heavy atmosphere, and careful attention to detail.

MCDHIOF EC037

A HISTORY OF VIOLENCE might disappoint some people in not being a violent action-packed tale from start to finish, but instead being a dark slow-burn drama with shocking bursts of bloodshed. Cronenberg might not have made a straight-up genre picture or psychological head-trip this time around, but he told a story that seems all too frightening and relevant in our current times. A HISTORY OF VIOLENCE examines just how thin the barrier between a calm simple day and bloody chaos really is, as well as the life-shattering effects that violence can have on both victims and perpetrators.

Grade: A-

RUN ALL NIGHT (2015)

Review by Derrick Carter

Running Time: 1 hour 54 minutes

MPAA Rating: R for Strong Violence, Language including Sexual References, and some Drug Use

RunAllNight poster

Directed by: Jaume Collet-Serra

Written by: Brad Ingelsby

Starring: Liam Neeson, Joel Kinnaman, Ed Harris, Common, Genesis Rodriguez, Vincent D’Onofrio & Boyd Holbrook

Another year, another Liam Neeson action movie. Most people will point out that this aged action hero has become type cast as a badass who beats people up for taking something. These films include: the TAKEN trilogy, UNKNOWN (his identity is taken), A WALK AMONG THE TOMBSTONES (the life of someone else’s wife is taken), and NON-STOP (his plane is taken). RUN ALL NIGHT is the latest in a long line of Neeson action flicks, but stands as a damned solid effort. Packed full of tension, great scenes and good characters who are actually worth caring about, RUN ALL NIGHT is probably going to surprise a lot of people.

RunAllNight 1

Jimmy Conlon is a former hitman turned alcoholic bum. Jimmy’s day-to-day existence is about drinking his life away and occasionally borrowing money from Shawn Maguire, Jimmy’s former boss and childhood friend. Mike is Jimmy’s estranged son and wants nothing to do with his former gun-for-hire father. This all changes in the space of one night. Jimmy is forced to kill Shawn’s son in order to save Mike and this launches a city-wide manhunt for the father and son. Jimmy and Mike find themselves trying to outrun the mob, corrupt cops, and a seemingly unstoppable hitman. If they can survive the night, everything will be okay. That’s easier said than done.

RunAllNight 2

Though Neeson has played many action heroes in the past, he’s never played anybody to the degree of Jimmy. Jimmy’s a loser, plain and simple. You feel sorry for him and also totally understand why his son wants nothing to do with him. Neeson doesn’t simply dispatch of bad guys here. He’s playing a washed-up hitman against a bunch of thugs who are far stronger than him in many ways, which means that he actually has to outwit them as well as kill them. Ed Harris is fantastic as the likable, but vicious, Shawn. You can understand his plight and see his point-of-view, which makes him probably the most fleshed-out villain that Neeson has dealt with in any of his action films thus far. Joel Kinnaman and Boyd Holbrook respectively play the good and evil sons, but play second fiddle to the veteran actors. Vincent D’Onofrio makes the most of his scenes as one of the few good cops in the city, while Common plays the unstoppable hitman as a clichéd and familiar bad guy.

RunAllNight 3

There are elements that make RUN ALL NIGHT stick out from the crowd of Neeson’s recent output. One of these is the gritty New York atmosphere. This story also happens to be taking place around Christmas and various colored lights can be glimpsed all through the city. The film gets unabashedly bloody with its R-rating, including a stellar confrontation in a bar. Besides typical action scenes that you might expect, RUN ALL NIGHT has one of the best car chases in recent memory as well as a chaotic sequence through an apartment building that’s loaded with set-pieces.

RunAllNight 4

As fun and exciting as this film is, it is not without problems. Shaky camera work ruins a couple of action scenes. The film also drags in places with unneeded moments. There’s a flashback that has no place within the context of the film as well as a far-fetched hospital scene. The final 10 minutes could have easily been cut out altogether. Common’s hitman character is about as one-dimensional as villains come. There was a clear point where the film could have ended with a quiet somber nature, but went full-blown into clichéd territory that reminded me that I was watching another Liam Neeson action flick.

RunAllNight 5

RUN ALL NIGHT definitely isn’t perfect, but is a lot of fun. The performances from Neeson and Harris alone make this film worth watching. Once you throw in some stellar action scenes and a gritty R-rated tone, this movie stands as one of the higher points in Neeson’s career as an action star. Though it’s too long in areas (especially the ending), there’s enough entertainment value and adrenaline-pumping goodness to make RUN ALL NIGHT well worth a look.

Grade: B