Sunday, January 1 1995
There's not much in this film that's subtle, but it does actually have something thoughtful to say about the ways that we perceive and assume truth, or the ways we might be convinced of some untruth because of our own anxieties. What you see can be -- and usually is -- deceiving.
Amy's just come up with her final project concept: a serial killer whose murders are based on urban legends. (Um, didn't someone already make this movie?)"
'Urbania' is all about stories, how they're told and how they are received, who shares and who withholds, or what anyone might mean by telling a story.
A Nazi U-boat commander, peering through a periscope, locks a merchant ship in his sights. After giving the order to fire, he studies the ship's flaming wreckage and proclaims that the crew has succeeded in breaking her back.
What it gets you thinking about, while you watch it and for some time afterwards, is whether anyone can ever know what has 'happened,' and more disturbingly, how the tendency to want such knowledge can be violent.
Steve Everett is an old-school newspaper reporter, the kind who has improbable hunches that turn out to be right, who gives investigative reporters a good name, who's relegated to fiction these days. He's also more complicated than that, a self-styled macho boozer and womanizer, but recently slipped into another state, feeling confused and a little pathetic.
Instead of making bold political statements, 'Drunken Horses' shows how its characters -- and the people they represent -- suffer, yet endure.