A sympathetic look at the struggles of a recently released pedophile? No thanks. This film is well acted and pretty well directed but the script is far too permissive on the subject of pedophilia and way, way too accommodating. Kevin Bacon deserves credit for a strong performance as Walter, the aforementioned sex offender. Too bad his hard work is all in service to something so morally corrupt. Writer/Director Nicole Kassell attempts to avoid our natural, and justified, contempt for her pedophile hero by not revealing his crime until well into the film. The thinking is that we will grow comfortable with Walter and have sympathy for his tormented soul so when his disgusting urges are discussed we will be compelled to be more understanding. This attempt to humanize the worst in the spectrum of human evil is disturbing. I can hear detractors arguing that the film isn’t sympathetic to the pedophile since it doesn’t support his lust. The problem is that it doesn’t completely condemn it. Walter is shown as a victim of himself and of society. He is out of step with the world because of his urges. The judgment of the world is represented by a belligerent, snooping cop Sgt. Lucas (Mos Def). The combative relationship between Lucas and Walter sets up the situation where the cop is the villain and the pedophile is the hero (structurally speaking). I don’t know about you but this is where I get off the train.

Listen, I get that everyone seems to think that we need to have an understanding of all branches of humanity. I get it. This understanding doesn’t need to extend to presenting weak-willed narratives taking the side of the offender. When we begin offering sympathetic looks at the most evil people in our society, (c’mon, the poor guy can’t help himself) then we begin condoning it.


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Labels: film, Kevin Bacon, Mos Def, movie review

Short Review: It's like everyone made this film while waiting to make something better.


It certainly seems like Bruce Willis sometimes makes movies just to be in movies. He has makes blockbuster Hollywood films (Die Hard, Armageddon,) and fields more high-concept fare (Pulp Fiction, The Sixth Sense, Sin City, 12 Monkeys.) Then there is a third pillar of work that acts career filler, a line of tin eared guy movies with a heart of gold (Hostage, Tears of The Sun, Hart’s War) that are neither dreadful or successful. It is as if Willis wants to be seen as sensitive while he kills people. This third type of film tries to have a message but isn’t cooked enough to be served that hot. In most cases, these films are bland, wishy-washy pieces without the potency of neither a message nor the attraction of lots of explosions. Most actors of Willis’ drawing power would probably pass on such projects and keep to making the big-ticket, sure-fire productions. Perhaps he signs on to these projects because he can’t stand the idea of Michael Chiklis getting more roles. Obviously, I have gone down this road because this film is one of Willis’ empty-calorie efforts.

This film has some moments to save it from wasting all of your time but not enough to make you want to see it twice. The film tells the story of weary, drunk cop Jack Mosley (Willis) who runs into a spot of trouble while trying to get witness Eddie Bunker (Mos Def) to court. A collection of corrupt cops need to have Bunker killed and proceed to shoot up sixteen, well populated, urban blocks in their effort. This is the kind of plot that works great during fanciful talks over drinks but falls apart when it meets the paper. Since cops aren’t given to starting running gun battles in busy city streets, even to save their own hides, the story never gets beyond feeling like a cheap movie. With a better-developed script and a more realistic path for the plot to expand, this could have been a far better movie. Then again, with better grammar, more patience and better connections, I’d be a better reviewer so I guess life ain’t fair.

Willis gives a stock performance. He replays his role from Hostage but with different clothes. Tired old cop with a history and a failed personal life gets a final chance at redemption. Yawn. He’s involved to pick up a paycheck, not explore the depths of the art of acting. He there’s to be Bruce Willis and little else and in that role he succeeds. His supporting cast is built with two very good actors who don’t do much. Mos Def is the most vibrant person in the film but is also the most annoying. Mos Def is a fine actor who still needs his big break, so he really pulls out the stops, too bad his voice is so irritating in this piece you’ll just ask for him to stop. Doing his best impression of Flavor Flav, Mos Def gives a great performance that is nearly unbearable to listen to. His high-pitched and garbled dialog is not terribly different than listening to a cat being tortured for ninety minutes. The other heavy hitter in the film is David Morse who pulls out his usual tough-guy character. Morse is a talented actor deserving of respect, but there are some films where he seems to know no one will be seeing his performance and just glides through the piece.

The film itself is not visually interesting. The script is in need of a rewrite. The acting meets the requirements of the production. If your settling down an evening of doing nothing, this film will consume your time. If you’re looking for good entertainment or something of value, this will waste your time. Your circumstances should determine your choice to see the film. It's not terrible but it's not that good either.


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Other Critic's Reviews:
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Labels: Bruce Willis, David Morse, film, Mos Def, movie review

Not wild about Adrien Brody, one of the more overrated actors working, but overall this looks solid. Jeffrey Wright, Mos Def and Eric Bogosian make up for Brody's inclusion. This one really depends on a great script. If Darnell Martin (who's penned a number of Law & Order and other television dramas) can keep things focused on character and really digs into these guys, this could be a great film.






Screenwriters: Darnell Martin
Director: Darnell Martin
Actors: Gabrielle Union (Something the Lord Made), Beyoncé Knowles (Dreamgirls), Adrien Brody (The Jacket), Emmanuelle Chriqui (You Don't Mess with Zohan), Jeffrey Wright (Casino Royale), Mos Def (Be Kind, Rewind), Cedric the Entertainer (Street Kings) and Eric Bogosian (Under Siege 2: Dark Territory)

Labels: Adrien Brody, Beyonce Knowles, film, Jeffrey Wright, Mos Def, movie trailer

Short Review: Serious and heartfelt, this movie wants to inspire and does just that.


This is a good movie, however, it lacks visual strength and style. Additionally, the script is at times a little flat. Despite these weaknesses, the topic is riveting and Alan Rickman and Mos Def offer performances that compensate for the weak points of the script. The story involves a large amount of medical drama, which in many cases doesn’t translate well to screen. Thanks to the performances, this one manages to be worth while.

Cardiologist Dr. Alfred Blalock’s (Rickman) and Vivien Thomas’ (Mos Def…or is that Mr. Def?) work to find a cure for “blue babies” and invent bypass surgery along the way while living under a segregated society. I give this film credit for one thing, it didn’t pander once. In films about race it is very easy for the filmmakers to treat the audience either like: a) children who need to be told to love one another or b) viciously racist children who need to told to love one another. Often filmmakers make the mistake of assuming the general audience hasn't moved in their views on race since the time prior to The Civil Rights Era. This film also lacks something that is in the DNA of most films involving race relations – the proud white liberal who comes to save the day for those hapless oppressed blacks. This is most obvious in Civil Rights Era pieces such as Ghosts of Mississippi. African American are oppressed by overweight white Southern crackers and white East-coast liberals sweep in and beat back the ugly head of racism. We can’t get big films made about Medgar Evers but we have a dozen celebrating the underdog civil right court battles of New York liberal lawyers.

I am way out in left field. Let me come back.

Mos Def (a.k.a. Dante Bezé, Bizet Dante, Smith Dante, MosDef, Dante Terrell Smith, Dante Smith and/or Black Star) is in full effect in this movie and brings a heart to the piece that would otherwise be missing.

The film will certainly will be forgotten as time goes on but that shouldn’t discourage you from seeing it. There is some good being done in this film, it just isn’t resounding.


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Labels: Alan Rickman, film, Mos Def, movie review