Red State, a film by Kevin Smith

Red State (2011) is Kevin Smith’s first and only derivation from his View Akewniverse, and probably for good reason. Smith skillfully creates an authentic world filled with realism in violence and characters devoid of true white hats while successfully avoiding the heavy rambling dialogue of his prior work. And while the atmosphere, acting and mise-en-scene are superbly imparted, the film ultimately suffers as a soaking mess in terms of plot and structure.

Fascinating characters are the heart and soul of Red State. Smith seamlessly shifts the focus between central cast members without disrupting the plot. Minimal effort is required to reveal the rich inner lives of the characters (which is to be expected, given his prior work), even though there are “few redeeming characters” (filmmaker’s words).

Smith’s use of unknown actors lends gravity to the authenticity of the film, but this decision is a double-edged sword, making the introduction of famous actor John Goodman halfway through the film jarringly intrusive. Had his character been introduced at the 17 or 30 minute mark (or even as the protagonist) this could have been averted.

While Goodman’s performance proved to be one of the least interesting in the whole film, actor Michael Parks portrays his character with absolute brilliance. His performance is perfectly and fully realized, charismatic, and utterly entrancing, the true gem of the film.

While the director demonstrates his usual strength as a character-oriented storyteller he also describes his grave lack of ability in plot development. The story is handled clumsily, going out of its way to draw Waco parallels at the expense of an organic plot. In a failed attempt at richness, Smith fails to juggle multiple storylines, each being underdeveloped and poorly communicated, the confused cluster finally crashing into a smoking heap by the end. Other problems stem from this failure, such as numerous payoffs with no accompanying setups (including a key piece in the plot’s final moments), frivolous character deaths, and far too little much “telling” through monologues instead of “showing.”

In the end, this reviewer felt that the film should have been about the cult, not the outside interlopers. More material was to be gained by doing so and would provide the audience greater understanding of each faction in the film. As it is, even the title "Red State"is an ungainly play at immature political commentary.

Rating: 2 / 5

Get the Gringo, a film by Adrian Grunberg

By James Gilmore

Adrian Grunberg’s gritty tough-guy film, Get the Gringo, is a wry tongue-in-cheek action crime drama with an edgy but resourceful troublemaker for a protagonist. He is proactive and refreshingly clever, a guy who only looks out for himself in world where everyone is corrupt and everyone is out to get him.

Colorful in texture, tone and visuals, Gringo creates a palatable experience for the audience free from the dictatorial confines of the mainstream Hollywood studio system, as is evident in some of its more taboo elements and several touches of brutal violence. Characters grow out of the naturally developing, organic plotline and are inseparable from this well-told story.

Some viewers may find parts of the third act low on the believability scale but overall Gringo’s storytelling flaws are minimal.

Although the film may not aspire to deep philosophical pondering the film fulfills its goal as a solid piece of entertainment. If you are in the mood for a Friday night flick that is refreshing, stimulating and all-around entertaining, give Get the Gringo a try.

Rating: 3.5 / 5

Series 7: The Contenders, a film by Daniel Minahan

by James Gilmore

Before the Hunger Games (2012) there was a grossly popular Japanese film by director Kinji Fukasaku called Battle Royale (2000), and there was today’s subject, an obscure little film called Series 7: The Contenders (2001) by Daniel Minahan.

Based on his experiences working in reality TV, Minahan exploits his intimate knowledge of reality television to accost that hypocritical world with scathing ridicule.  In this deadly serious mockumentary, Minahan takes us through highlights from the seventh season of a fake hit reality series called “The Contenders” in which a group of individuals are selected at random to compete in an anything-goes deathmatch.  Think of Series 7 as the Roman gladiatorial games meets reality television.

The story is short and efficient, confronting head-on a two-pronged theme: that the American public’s insatiable lust for entertainment and the media’s unscrupulous push for ratings could ultimately lead to the sacrifice humanity itself. Minahan drives home his point with merciless precision by employing a faux unscripted format which so closely resembles the genuine article that one wonders if such an inhumane entertainment is not too far off, if our “advanced” civilization has deteriorated to the point of reviving Roman gladiatorial bloodsports just to keep audiences entertained. Or perhaps Minahan is saying that reality television as it is now is an emotional battle royale in which there can be only one survivor.

Character lies at the heart of the script. Plot twists usually occur in the form of character reveals, and everyone in The Contenders hides aces up their sleeves. Even the most unassuming combatant will surprise you more than once.

Viewers may recognize the star of the film, Brooke Smith, whose prior work include roles in Grey’s Anatomy and The Silence of the Lambs.

Daniel Minahan’s Series 7: The Contenders is a complete surprise and a must see, an impressive low-budget film worthy of its stock. Available on streaming at Netflix.com.

Rating: 4 / 5

The Fighter, a film by David O. Russell

by James Gilmore

The Fighter is not so much a story about one boxer trying to make his way in the world as a story in which every character is a scrappy fighter in their own respect, each trying to achieve his or her dream in a gritty, realistic world bristling with testosterone and raw emotion, unstained by the airbrushing of Hollywood gloss.

This modern day Cinderella story appears to be about boxing on the surface, an inspiring underdog story about a man who literally never quits.  But in truth the film is much, much more.  The pseudo-documentary style and directing create an unglamorous world which examines poverty, family, loyalty, love and, of course, boxing, all with a humanistic eye.  At the core of the film’s strength is its impressively detailed peek into the complexities of family and family politics.

Acting performances in the film deliver an array of raw emotion in a steady one-two of jabs and thrusts without the forceful injection of artificial drama, while its bold, aggressive characters allow Amy Adams and Christian Bale to thrive in their best acting roles to date—an impressive achievement considering both actors’ extensive experience.

The Fighter, obviously more a labor of love than a labor of money, proves itself to not only be one of the best boxing films ever made, but one of the greatest family dramas of all time.

  

Rating:  5 / 5

Black Swan, a film by Darren Aronofsky

by James Gilmore

Black Swan is perfect in both conception and construction, although the plot and main character leave something to be desired. Despite a very good script, Aronofsky’s masterful directing far exceeds it, nearly surmounting the story’s shortcomings. Nina and Erica Sayers both lack adequate character depth, as does their relationship. The end result is a strange film whose story fails to engage the audience enough to match the superb filmmaking which surrounds it. Once again, a potential masterpiece is thwarted by a thin script. On the other hand, the exquisite filmic storytelling boasts powerful imagery and cinematography with a strong European—but especially French—influence.

Excellent casting with outstanding performances by the actors. Mila Kunis’ surprising performance demonstrates her capability to grapple serious acting weight while Vincent Cassel’s work falls nothing short of superlatively stunning. Natalie Portman delivers her best performance to date upon transformation into the Black Swan, but otherwise remains her usual self in which she appears to be perpetually on the verge of tears.

On a side note, one might almost call Black Swan "The Machinist for Women.”

Rating: 4 / 5