LA Confidential: Very hush-hush

 

★★★★—One of my favorite films from the 1990s. Saw it in the theater my freshman year of high school with a girl I was trying to get with. She was not impressed. I wouldn’t shut up about it. I knew we wouldn’t work out. 

 

Still not as good as the book as a lot of the plot gets boiled down and some things don’t make a lot of sense as a result. The whole Exley sleeping with Lynn thing is confusing, there is no mention of any child killings at all (though that is like half the book), and heroine is more or less just MacGuffin in the movie. James Ellroy has a legit beef for what the film did to his novel, but I don’t think what he wanted would have been possible for a normal length feature film. Also, calling it a “turkey of the highest order” is a lot of hyperbole. 

Ger

The Johnny Stompanato stuff is extremely lame. It feels like we are going and meeting him in a video game. “Choose your own adventure. A. Good cop. B. Bad cop. C. Lean on him.” Everyone chooses option C. Lot of tooling on world famous thug Johnny Stompanato. Bud calls him a “wop cocksucker,” which he uncharacteristically lets slide. Exley calls his girlfriend, Lana Turner, the movie star, a whore. This also doesn’t get him killed, though Turner throws a drink in his face. 

Kevin Spacey, Russell Crowe, and Guy Pearce are all excellent and memorable. At the time, I was most impressed with Crowe, but now I’d unfortunately call Spacey the best of the bunch, but he’s an asshole. Supporting cast is great, too, especially James Cromwell, one of my favorite vegans. David Strathairn, Ron Rifkin, Graham Beckel (who always plays a cop), all good. Danny DeVito, Kim Basinger, they are okay. Basinger is hella fine though. 

Has an authentic 1950s vibe I am a total sucker for. This led to many noir flicks for me in the late 90s. It holds its own with the best of them, weaving together crime, corruption, and Hollywood glamour. 

Though I don’t think it is a truly great film—too confusing, not focused enough—it is one of my favorites, and one I’ve watched many, many times. Hell, the DVD was the first thing I ever bought on Amazon, this also being my first DVD… 

 

Something funny, once I fell asleep watching it. The home screen is DeVito saying “Off the record. On the QT. And very Hush-Hush.” I had a friend staying with me and he couldn’t figure out how to turn off the DVD player. He now hates this movie. 

Neighborhood Watch: How much Jack Quaid can you handle?

 

★★★★--Jesus, how many movies was Jack Quaid in last year? This one was pretty fun. Low budget regular Shmo‘s thrown into an investigative situation. My kind of flick. has some flaws. Gets a little off track at some point. But rights the ship in the end. Reunites Jeffrey Dean Morgan and Malin Ackerman from Watchmen. Sort of funny because of Quaid and The Boys. I really like all three of those actors. Directed by one Duncan Skiles. I’ve seen and liked two of his three feature-lengths, the other being The Clovehitch Killer. Not a bad flick.

Brick: Early Rian Johnson neo-noir holds up

★★★★--Joseph Gordon Levitt and Rian Johnson team up. Was crazy about it when it came out. Holds up. Love neo-noir with the hard-boiled dialogue, the seedy characters, the femme fatale. Especially into it when the person investigating is just a normal shmo. Also, if it’s high school. Those seem to have been super popular around that time. I feel it goes from being all right to pretty good to great by the end. My complaint is that it could be tighter.

David Fincher's 'The Killer': An Existential Masterpiece in the Shadows of Noir

The Killer - David Fincher - 2023

David Fincher is my favorite filmmaker. Every time he makes a movie, it is a gift. This one, especially so. Earlier this year, I said that Oppenheimer was the best movie to come out in my lifetime. Well, it might be the best film of the year, but I'm pretty sure The Killer is my favorite. By the way, this surpasses 2007 as the best film year I've been cognizant of, and these two pictures give me a No Country for Old Men vs. There Will Be Blood vibe. Yeah, that movie that won all the awards was dope, but the other was the best movie of the decade. I'm going on record; it's the kind of film that gets the Academy's attention, doesn't win shit, then years later, everyone collectively realizes it's a classic. We shall see come awards season. 

Based on the French graphic novel series The Killer written by Alexis "Matz" Nolent and illustrated by Luc Jacamon. Stars Michael Fassbender as the hitman, also Arliss Howard (who I love), Charles Parnell, Kerry O'Malley, Sala Baker, Sophie Charlotte, and Tilda Swinton. This is the second of four movies Fincher is making for Netflix. The first was Mank, released in 2020. 

The gist: a hitman finds himself in some shit after botching a hit. He's now playing cat and mouse with his former bosses (and himself), who nearly killed his girlfriend trying to get to him. So "nothing like this can ever happen again," he goes on the offensive, globe-trotting, ducking in and out of shadows, insisting that what he's doing isn't personal. Yeah, sure. 

It's this guy's version of self-help. You know, throw yourself in your work, meditate, do some yoga, tell yourself lies, take up existential philosophy, quote some Aleister Crowley (I named a rooster Aleister Crowley, no shit), listen to the Smiths, shoot a guy in the face. Just like mine, except with extreme violence. (I have said verbatim several things this guy says through the course of this film, but never really considered myself a psycho).

The world portrayed is in no way glamorous. This world is cold. The film opens with him prepping for a kill, which is all just mundane shit, part of his day. People that come for you have no names or faces. You don't know who they are, and they don't know you. But that bullet still has your name on it. People don't understand why he is there when he shows up to do his deeds. 

This isn't just run-of-the-mill action. The one choreographed fight scene is fucking brutal, all out, and devastating. As Fassbender walks away, he repeats one of his mantras, "This is what it takes." He's saying this to us, the audience. Fuck.

First watch, I thought it was a masterpiece, but it was a mid-tier Fincher. Now, I have it fourth and rising. Zodiac, Se7en, and Social Network ahead of it. But just barely. Surpasses Gone Girl and Girl with the Dragon Tattoo, another of his misunderstood home runs. 

Made me think of Paul Schrader whose work also depicts troubled men struggling through an existential crisis leading to a violent, cathartic event. If you don't know who he is, he's the guy who wrote Taxi Driver and Raging Bull and directed the films  Cat People, Affliction, Auto Focus, The Canyons (the insane Bret Easton Ellis written film staring Lindsay Lohan and porn actor/rapist James Deen who was called "Bill Cosby of porn"), and most recently The Constant Gardner. He got into some shit after the 2016 election for calling the upcoming Trump presidency "a call to violence" and that "we should be willing to take arms. Like Old John Brown." Such earned him a visit from the NYC Counterterrorism Bureau. So that's pretty cool. 

Looked to see if he had anything to say about it. He did. "Is style its own validation in narrative art? Or should it serve another purpose as well? Fincher's film is a masterclass in film style, but there is a pharase (sic) for this in Texas. It's called 'all hat.'" He also called Fassbender's character "the Chatty-Kathy of hit men."

Fincher himself called it a "B-movie." A dressed-up, near-silent assassin film that's sharp, pulpy, and doesn't pretend. Style, cynical worldviews, pessimism, these are things Fincher films ooze. The images of the various nocturnal cities suggest a Dostoevsky nightmare, fragments of artistic tradition to stave off spiritual despair, laden with new-wave references to other movies and directors. nostalgia is very much in Fincher's mind. Fincher gives us many allusions (most notably Le Samourai by Jean-Pierre Melville). Throughout, unorthodox narration (very much a noir trope) demonstrates the ambiguity of human motives. Commodity culture is a wasteland (product placement is everywhere, making his job both easier to perform and harder to get away with). The film is a critical and self-reflexive analysis of contemporary life, a dream image of bygone glamour repressing as much history as it recalls and service of the cinephile and commodification.

Asked several people what they thought this movie was about and got completely different answers, which were also different from mine. That's what makes Fincher a genius. It's different based on where you are and what you're dealing with. For me, it was obviously about the fallacy of control and the lies we tell ourselves. Also, a meditation on what it takes to be great. Also, why give a shit enough for those sacrifices. This is where the existentialist fires up.

"Fate is a placebo," he says at the end. "The only life path is the one behind you." Then he flenches when he says he is one of the many, just like us, the audience. That shit isn't going to last. This whole time, the killer is a political pessimist experiencing existential anguish, erasing his old life and taking up this new one that is the antithesis of everything he says and does. However, he is the ultimate unreliable narrator. At the end, you see a man expressing a passion for the past and present but also a fear of the future. Dreads looking ahead instead tries to survive by the day and, when unsuccessful, retreats into the past, i.e., its erasure. He is one with a lack of clear priorities, experiencing his first taste of insecurity. So he concentrates on violence, perversion, and decay, what he knows. His cauldron of inarticulate rage we get through his noir-like offscreen narration that's highly poetic and ironic, reinforced by his protection and love that we don't see and is likely bullshit. This love, who is stuck with at the movie's end, has destroyed his real identity. Ideologically, deep down, he is a contradiction, and all his talk incoherent. 

Yes, if you can't tell, I love existential art and film noir. A character withdrawing into despair and bitter disengagement that's my jam. Couple that with an atmosphere of determinism and irony, irredeemable evil, exposing the underside of American character, then I am rock hard. "I. Don't. Give. A. Fuck." 

The Glass Key: Kicking off "Noir November" with a hard-boiled masterpiece

The Glass Key - Stuart Heisler - 1942 

★★★★★-Starting Noir November off like a rocket with this masterpiece. The second screen adaptation of Dashiell Hammett's novel of the same name, a peak, twisted, hard-boiled tale.

Read the book over the summer. Loved it. Back then, I knew I was going to start off the month with this flick. I’ve probably watched 300 noir/neo-noir in the last five years, minimum. It’s been quite a while since I was this excited about a noir flick. 

Directed by Stuart Heisler. Mostly remembered for this and the 1944 propaganda film The Negro Soldier, a documentary-style recruitment piece aimed at African Americans to get them to enlist in the military during World War II. Also, the Humphrey Bogart film Tokyo Joe, and the 1949 film Tulsa, starring Susan Hayward, for which he was nominated for an Oscar. Found success with another Hayward movie in 1947 for Smash-Up, the Story of a Woman. 

Veronica Lake is the female lead but not the femme fatale. She was never more beautiful. She’s not great but is obviously a star. Stars Alan Ladd as the hardboiled detective. Mostly think of him as Johnny Morrison from The Blue Dahlia and Shane from Shane. Brian Donlevy plays Paul Madvig, the rich, corrupt politician at the center of the murder who can’t control his daughter. William Bendix plays the thug, as is his way. He’s always great. Complete psychopath in this flick. Kicks a photographer in the face as he’s getting taken out of the police station kind of guy. Perfectly cast.

Film thrusts you in the murky waters of political intrigue, corruption, and romance, with a side order of murder. Crooked politician Paul Madvig (played by Donlevy) is a political boss who's decided to swap his shady dealings for a shot at redemption. He's throwing his weight behind the reform candidate for governor, a move that's unpopular with the criminal underworld. He's also got his eye on the governor's daughter, Janet (played by Lake, who's damn cool). Enter Ed Beaumont (Ladd), Madvig's right-hand man and fixer. He's got to navigate this labyrinth of lies and deceit to clear his boss's name. It's a tale as old as time, guy meets dame, falls for dame, gets framed for murder by gangsters. 

Drew me in immediately. Madvig immediately makes his entrance by throwing a guy out of the window into the pool for giving him shit for talking to a candidate from the opposition party. This guy gets it, and doesn’t give a flying fuck. Donlevy sort of stole the show with his performance. 

Film flies by way faster than an hour and 25 minutes. Still manages to hit all the main beats of the novel. That’s what I love about the genre. You get right into it with an economy of engaging plot with dubious characters, snappy dialogue, and brutality. Plus, beautiful cinematography and women that are to die for.  

The Stranger is a unique, intense crime drama that's worth your time

 The Stranger - Thomas M. Wright - 2022

★★★★-The Stranger is a film that masterfully conceals its true tone, leaving audiences intrigued and guessing for most of the movie. Within its absorbing narrative lies an irresistible character study of two enigmatic men, both harboring complex secrets. One grapples with the haunting consequences of his past, while the other wrestles with guilt, striving to preserve his identity while masquerading in plain sight. This is unlike any crime thriller I've ever seen, that's for sure. 

Crime thriller written and directed by Thomas M. Wright. Based on a true story, which is fucked up. Comes from the non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer by Kate Kyriacou.

Stars Joel Edgerton as the undercover and Sean Harris as the target of the investigation. Recognize Edgerton from Prometheus, The Green Knight, and a few of the Mission: Impossible movies. He works with Edgerton a lot. Harris played Tom in The Great Gatsby, was Gordo in the movie The Gift, and Boy Erased (the last two he also directed). They are both phenomenal.

HERE BE SPOILERS... Gist is a cop goes deep undercover to try to pinch a suspected child murderer in an insanely elaborate sting operation. His mission is to befriend the prime suspect and get a confession about the guy's involvement in the abduction.

At first, you question if the police are investigating the right man. Slowly start to see how the guy is a real monster, whether he did it or not. The elaborate covert operation all out induces a confession. Again, whether he did it or not. As portrayed in the film, he was probably guilty, but how they built their case was beyond fucked, and was likely entrapment. 

Overall: The film immerses viewers in a gloomy atmosphere of distrust, characterized by brutal language and a haunting soundscape that adds to the tension. With a tightly told mystery at its core, the movie captivates audiences with building tension, enhanced by outstanding the lead performances. It stands out from the average crime drama by offering a more challenging and intriguing experience. Impressive and disciplined storytelling is paired with stark visuals, creating a compelling cinematic journey. There is a powerful image of the guy smoking in a parking lot with the cops looking at him with disgust.

If you enjoy slow-paced films delving into tough and serious themes based on true events, this is a must-watch.

Kill the Irishman: Men who take on the mafia should be wary of driving cars

Kill the Irishman - Jonathan Hensleigh - 2011

★★-Early on, I sort of questioned how this movie this got made. Has a Gotti quality to it. It did get better. Has some charm. Though the 62% on Rotten Tomatoes seems extremely generous. Figure it was funded by the mob or something. Just feels like everyone is kind of phoning it in. 

Crime flick based on the true story of Danny Greene, an Irish-American mobster who rises to power in Cleveland during the 1970s. Follows Greene's relentless quest for control in the criminal underworld, leading to fierce battles with rival gangs and corrupt officials. With each confrontation, Greene's reputation as a street tough that's not to be fucked with grows. However, his rise to power also attracts attention from law enforcement and the mafia, leading to what feels like a few dozen attempts on his life. 

The film kind of grew on me. Dude becomes a total legend in the world of organized crime for having a 50 Cent, hard to kill quality that is pretty admirable, I guess. Doesn't shy away from the guys that want to kill him either, going to meet them on their turf and what not. You'd think they'd be more careful getting into cars. Maybe get yourself a remote starter, or pay an underling to turn the key over for ya. Just spitballing here. 

The lead, Ray Stevenson, isn't that great of an actor. At least not carry a movie good. Only things I recognize him from are  Punisher: War Zone (he played the Punisher), the Thor movies, RRR, and Dexter. Screenplay isn't great either. I'm all for men in rooms talking, but it's got to be exceptional dialogue performed but exquisite actors. Not exactly an Aaron Sorkin screenplay, if you get my drift. 

Few notable performances. Notably Christopher Walken (who was probably on set for three days) and Linda Cardellini. Think of Cardellini mostly from her work on Freaks and Geeks, ER, and as Hawkeye's wife in the MCU. She sort of kills it then disappears. I don't know why she isn't an A-Lister, but it doesn't seem like it is going to happen for her. Val Kilmer is pretty solid as well, though he is underutilized. 

Others you'll recognize include Vincent D'Onofrio, Vinnie Jones from Lock, Stock, and Two Smoking Barrels and Snatch,Paul Sorvino from every mafia movie ever, and Mike Starr from Dumb and Dumber. Steve Schirripa who played Bobby Baccalieri on The Sopranos has a decent part. Like this guy. Vegan, like myself. Has his own line of plant-based Italian foodstuff. Major points in my cool book.

He also directed The Punisher, the one with Thomas Jane as the Punisher, Welcome to the Jungle, and The Ice Road. Wrote Die Hard with a Vengeance, Jumani, The Saint, Armageddon, and this flick, among others. 

Some notes... Liked that they spliced real newscasts from the 1970s into the film. Brazenly killing a made man is usually not a great idea. Seems to work out fine-ish for Greene, but he tells the mafia to go fuck themselves. Also doesn't seem to be the best course of action. 

Only played in 21 theaters for whatever reason. Had decent returns for its limited release, but only in $1.19 million with a $12 million budget. So, yeah, it bombed. Seems about right. It's also too long. This ain't Goodfellas.