There are actually two Stax Records stories. The first is of the mid-‘60s, when they defined soul music before tragedy and a sudden collapse. The second is of their rise up from those ashes to become a player in the post-Black Power funk era, and of a second, crippling financial controversy. This Samuel L. Jackson-narrated doc, although a little sketchy on some of the details, delivers both stories with vibrant interviews, including label co-founder Jim Stewart and Otis Redding’s wife Zelda. But feel free to skip the history lesson and enjoy the steady stream of rare concert and TV footage starring Redding, Sam and Dave, Isaac Hayes, the Staple Singers, and many soulful more.
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It seems David E. Kelley brought out a magnifying glass on a sunny day and held it close and steady over the iconic American town of his quirky imagination, Rome, Wisconsin until all the nation’s cultural politics, circa 1992, caught fire. Its cast of somewhat nutty characters feel the heat and respond in believably human ways. There are no heroes, here, but there’s always a point. If you’re not laughing at each episode, your brain must be fried.
Our life is not a movie, but maybe it has cinematic elements that piece together splintered images. If there’s love, it’s “a spot against the sky’s colossal gloom”. Like the National, Okkervil River impart to the listener the sense that they are privy to a vital revelation, though the immediate meaning of the words may remain a mystery. If Will Sheff’s characters are more fully-formed than Matt Berninger’s, they are also more cracked, tougher to get through to. On The Stage Names, the band have once again shown themselves to be expert at creating this undeniably sad and powerful indie rock. It’s one of the year’s essential albums.
For the weekend beginning 30 November, here are the films in focus:
Before the Devil Knows You’re Dead [rating: 8]Before the Devil Knows You’re Dead is kinetic. It’s dynamite laced with electricity. It’s a perfectly played puzzle that’s final images make for an astoundingly satisfying statement.
Sidney Lumet has made some of the greatest films of the modern era, stellar works with titles like Serpico, Dog Day Afternoon, Network, and The Verdict. He’s also hacked his way through some undeniable garbage including The Morning After, A Stranger Among Us, and the god awful Gloria remake. With his last significant film being the uneven Vin Diesel vehicle Find Me Guilty, many believed his best days were behind him. After all, at 83, the one time master of the TV drama had come a long way from the medium’s Golden Age. Bowing out gracefully was obviously not in the cards - until now. Even if he never makes another film, Lumet has relit his fading limelight with the amazing thriller Before the Devil Knows You’re Dead. Fragmented and ferocious, it’s one of the best efforts of his often uneven career. read full review…
The Savages [rating: 7]Walking precariously between real world gravitas and the far too isolated and idiosyncratic, The Savages is a wonderful premise undermined by some unnecessary pretense.
It’s a crime how we treat the elderly in America. Disposable, burdensome, and no longer warranting dignity, we warehouse the old in an odd attempt to master our own fleeting mortality. We create buzzword balms like “assisted living”, “retirement community” and “senior hospice”, all in an attempt to avoid the more scandalous label “nursing home”. Adult children caring for their enfeebled parents have become a post-modern social phenomenon, a glorified gut check for often distant siblings and their inadvertently affected families. In her latest film, writer/director Tamara Jenkins explores the effect that infirmary has on The Savages - a brother and sister whose abusive father is slowly succumbing to dementia. Yet instead of investigating only the comic or dramatic possibilities of the story, the filmmaker falls into some often unnecessary quirk, rendering important themes and issues slightly surreal. read full review…
The Golden Compass [rating: 6]The Golden Compass has to do a lot of Pullman and Dark Material‘s heavy lifting. Sadly, it can’t handle it all.
Have no fear, Tolkien lovers - Phillip Pullman is not about to steal the big screen title from our beloved Lord of the Rings. The greatest trilogy of all time is still safely sitting in first place, having vanquished previous pretenders to the throne such as The Chronicles of Narnia, the awful Eragon, and the recent The Seeker: The Dark is Rising. All hoped to become future franchise epics. All fully failed to achieve said sense of scope. While there will be a second installment of C. S. Lewis’ veiled theological tall tale, the search for the next big flight of fantasy continues. The latest installment comes from New Line, the company that took the risk on Peter Jackson and wound up winning. Sadly, The Golden Compass feels more like an afterthought than a solid cinematic challenger. While it strives to be the all-inspiring spectacle the genre requires, its universe is too self-contained to truly connect with audiences. read full review…
Sidney Lumet has made some of the greatest films of the modern era, stellar works with titles like Serpico, Dog Day Afternoon, Network, and The Verdict. He’s also hacked his way through some undeniable garbage including The Morning After, A Stranger Among Us, and the god awful Gloria remake. With his last significant film being the uneven Vin Diesel vehicle Find Me Guilty, many believed his best days were behind him. After all, at 83, the one time master of the TV drama had come a long way from the medium’s Golden Age. Bowing out gracefully was obviously not in the cards—until now. Even if he never makes another film, Lumet has relit his fading limelight with the amazing thriller Before the Devil Knows You’re Dead. Fragmented and ferocious, it’s one of the best efforts of his often uneven career.
It all begins with a botched robbery. The tiny Mom & Pop Hanson family jewelry store is hit one fateful morning, the thief taking everything he can get his hands on, including the life of loveable co-owner Nanette. Luckily, she plugged the perpetrator before he could get away. The loss of their matron devastates the Hansom clan—or at least, that’s how it seems. Father Charles becomes obsessed with finding out why his store—and wife—were targeted, while siblings Andy, Hank, and Katherine are distraught. What no one knows, however, is that the burglary was masterminded by the two brothers. Andy has been stealing from his job, and using the money to indulge in all manner of perversions. Hank’s failed marriage has landed him in debt, missing child support payments hanging over his head like a dark cloud of guilt. The notion of robbing their parents’ small store seemed like the easy way to solve all their problems. But desperation never leads to flawless execution, and before long, the crime complicates matters in ways no one, not even the conspirators, could imagine.
Before the Devil Knows You’re Dead is kinetic. It’s dynamite laced with electricity. It’s a perfectly played puzzle that’s final images make for an astoundingly satisfying statement. It’s about greed and the lack of money, morality and the lack of ethics, love and the lack of commitment. It takes standard human foibles and amplifies them to the stuff of glorified Greek tragedy. With amazing performances, pitch perfect direction, and a story that crackles with flawless mechanical timing, we wind up with another stellar example of that solid suspense subgenre—the dark double cross. In a year that’s seen the equally exceptional Gone Baby Gone and No Country for Old Men, Lumet’s return to glory stands right along side them. It’s depressing and daring, showing that even six decades in, this heralded director is not about to go softly into that good night.
This is a movie about desperation, pure and simple. Andy, the cocksure older brother, is desperate to get his life in order. He’s been stealing from his employer. He’s been blowing the money on drugs and male prostitutes. He’s convinced his wife is onto his numerous excuses about their finances and his free time. If he can talk his younger brother Hank into knocking off their parents pride and joy—a strip mall jewelry store—all his problems will be solved. And he’s picked the right accomplice. Hank’s situation is no better. He owes his ex-wife thousands in child support. He lives in a rundown, dumpy apartment. He’s tired on living in the shadow of his seemingly successful sibling and longs to regain the favor he once had with his father. For him, the cash would settle debts and reestablish his reputation.
Lumet then locks these two (thanks to an excellent script by feature first timer Kelly Masterson) in a dangerous game of trust and trickery, mirroring their frightening flawed nature with the results of their best laid plans. Plot is crucial to enjoying this crackerjack effort, and yet Before the Devil Knows You’re Dead does something very interesting with the narrative. Instead of playing it out linearly, following the Harmon’s plans from start to finish, the material is mixed-up, Pulp Fiction/Rashamon style. It allows motives to hang over the most innocuous sequences, while consequences cloud the conspiring. It lets us see beneath the surface of Andy and Hank, and once the deed is done, the effect their bungling has on everyone involved.
Lumet lines up some powerful talent to pull this off, and his casting is confident. Phillip Seymour Hoffman, whose everywhere this awards season (he’s also in The Savages and Charlie Wilson’s War), literally bares all as the slimy, scheming Andy. From an opening sex scene with co-star Marisa Tomei to his confrontations with grieving father Albert Finney (who appears to wear a perpetual mask of horror on his aged face), Hoffman is all open sores and conniving deceit. He uses his stocky shape to suggest power, but in his eyes we see nothing but a little boy lost. Equally impressive is Ethan Hawke. An often marginalized actor, he is very good here, turning the hapless Hank into a well intentioned but basically inept adult. He’s the necessary catalyst for Andy’s lofty ambitions. He’s also the mechanism that will drag both of them down.
The ripple effect that occurs post crime is so delicious that to go into further detail would ruin many of Devil‘s delights. Some may see the Coen Brothers in Lumet’s latest, and the comparison is not accidental. Longtime collaborator Carter Burwell supplies the musical score, and his Miller’s Crossing meets Fargo influences are felt throughout. Lumet also loves location, be it a rundown city apartment or an ultra modern rent boy’s penthouse. He explores the space, letting the camera linger on elements that offer insight into the people we are dealing with. In addition, there’s a level of personal juxtaposition here that cannot be ignored. Andy lives in a luxuriant flat, its tastefulness hiding his blackened heart. Hank is practically destitute, his home a jumbled wreck of hand me downs and leftovers. Yet aside from his never-ending money problems, he’s a decent man, undeserving of his eventual fate.
It makes for a volatile combination, one doomed to fail and bound to be painful on the rocky road down. Yet Before the Devil Knows You’re Dead is ultimately about cruelty of karma, of how one man’s simmering evil comes to taint and twist everyone around him. Andy is indeed the corrupting influence, a disconnected child who feels entitlement allows for any transgression, no matter how horrible. He turns his brother into a killer, his father into an obsessive, his wife into an adulteress, and ultimately, he becomes the literal and figurative ender of life. The title here is taken from an old toast, a beer-soaked bragging about beating Satan at his own game. Before the Devil Knows You’re Dead may signal a reinvigoration of Sidney Lumet’s standing, but it’s much more than that. It’s filmmaking as art, and endearing entertainment. Its impact will remain with you long after the final frames fade away.