A History of Violence.

Review #1220: A History of Violence.

Cast: 
Viggo Mortensen (Tom Stall / Joey Cusack), Maria Bello (Edie Stall), Ed Harris (Carl Fogarty), William Hurt (Richie Cusack), Ashton Holmes (Jack Stall), Peter MacNeill (Sheriff Sam Carney), Stephen McHattie (Leland Jones), Greg Bryk (Billy Orser), and Kyle Schmid (Bobby) Directed by David Cronenberg (#816 - Crimes of the Future and #1127 - eXistenZ)

Review: 
I suppose there is something to be said about violence and how it pervades our lives from time to time, and how people deal with the consequences of said actions in trying to survive and where it can go from there. This is adapted from the 1997 graphic novel of the same name written by John Wagner (writer of works such as Judge Dredd) with art from Vince Locke that Josh Olson turned into a screenplay, which kept parts from the first half mostly intact while re-writing the climax involving Stall and his brother. In any case, this is a nice pulpy tale with plenty of noir elements to go around, having capable performances from its cast that makes this a worthy piece to check out alongside other Cronenberg pieces. In a sense, it feels like a take on the Western genre, with its take on the reluctant gunfighter and his fight to escape the impulses of his dark past. It moves at its own pace for 96 minutes, having its share of violence alongside interesting moments with its characters that allow to seem more than just figures to play around with. Mortensen is wonderful, playing his man with the right sense of balance between trying to toe the line of morals and his true nature, being convincing and selling his paths in two different worlds with plenty of conviction to go around. Bello also shines well, being capable with passion and grace with plenty of chemistry to go around with Mortensen. Harris makes for a worthy adversary when he shows up on screen, showcasing menace with ease and a pair of sunglasses. Hurt shows up right for the climax, but he makes it all worth it with his own degree of threatening nature (with ensuing Irish accent) that makes his time on screen work just as well as any big bad in a noir type of film does. Holmes is decent when needed, as can be said for MacNeill. McHattie and Bryk do well with their moments on screen in the first half, being capable at showing aggression as expected with subtlety. It is a film that makes its violence ugly and shocking without dwelling on going for overkill or distraction. This is a well-done blunt instrument of a film, showing violence and its mingling with identity without becoming just another crime thriller movie. We never find ourselves cheering for when the characters get into a shootout but instead think about the circumstances that drive people to do such things in the first place. This is a effective film that wraps itself in tension and violence without losing its target in all of the ruckus and blood.

Overall, I give it 8 out of 10 stars.

Payback (1999).

Review #1191: Payback.

Cast:
Mel Gibson (Porter), Gregg Henry (Val Resnick), Maria Bello (Rosie), Lucy Liu (Pearl), Deborah Kara Unger (Lynn Porter), David Paymer (Arthur Stegman), Bill Duke (Detective Hicks), Jack Conley (Detective Leary), John Glover (Phil), William Devane (Carter), James Coburn (Justin Fairfax), Kris Kristofferson (Bronson), and Trevor St. John (Johnny Bronson) Directed by Brian Helgeland (#372 - 42)

Review: 
The strangest thing about films can be the ways that it can sometimes transition into numerous forms before a final shift into the form that goes to audiences. This film is a particular example of where a director's vision can verge differently from ultimately made it to the screen. Brian Helgeland was making his directorial debut after meeting up with Gibson on the set of Conspiracy Theory (1997), a film that he had written for. During the post-production stage for that film, Helgeland happened to have the script with him when Gibson inquired about the pages he had with him, for which he read the first act of. A few weeks later, Gibson agreed to finance the film with his production company Icon Productions provided they could shoot within 12 weeks. The film is as adaptation of the 1962 novel The Hunter by Richard Stark (pen-name for David E. Westlake), the first of 24 novels from 1964 to 2008 with the character Parker as the main lead. It had already been adapted a movie in 1967 as Point Blank, featuring Lee Marvin, and other novels had been given film adaptations.

Before I talk about the circumstances that led to Helgeland's dismissal from the film, let's talk about how the movie is first. For a neo-noir, it certainly is a decently entertaining one. It maybe a bit routine in terms of its story and action, but it is a road worth walking onto in part because of its dark charm, which in some ways feels like a guilty pleasure. Gibson is certainly up to task in delivering a character worth following with a subtle grin in a film with oddball people basked in noir types. Henry is fairly adept at showing menace for his time shared with Gibson. Bello does fine with her material, sharing her time with Gibson quite well. Liu (playing a dominatrix) is quite quirky. Paymer plays his role with a good deal of sleazy ooze that is pretty amusing. It is amusing to see Coburn briefly, but interesting to see Kristofferson all of a sudden in the film appear; he isn't really too menacing as the big bad but he is at least neat to watch. The movie moves with a dynamic pace to try and garner up excitement along with a chuckle, and it works out fine for the most part, playing to the noir type handily. It is sometimes a bit wobbly with its plot motivations (and its action violence on occasion), but the final product works out mostly because it manages to distract itself enough to where while you can see where "producer's notes" may have stepped in, you can at least find something to watch without too much disapproval. It has a bit of fun with its aspects of revenge without being too demanding.

Helgeland's version of the film was felt to be too dark for a mainstream audience in terms of story, tone, and look. he was fired from the project, which occurred two days after winning an Academy Award for Best Adapted Screenplay for his work for L.A. Confidential (1997). Thirty percent of the film was re-shot (with new material written by Terry Hayes), with John Myhre (production designer) doing un-credited directorial work. Helgeland would have his version of the film (referred to as Straight Up: The Director's Cut) released on DVD in 2007. His version differs from the theatrical version in several ways, such as a shorter length (90 minutes as opposed to the 101 in the theatrical), a female Bronson un-seen by the audience that is voiced by Sally Kellerman, the removal of the narration by Gibson, and the restoring of the look of the film from a bleached tone to one more normal. Honestly, the look is okay as is (even if sometimes it may seem better in black-and-white by simply taking the color out of the screen manually), but at least there exists two versions to compare. I don't have too much interest in watching the other cut, but if you are curious about what makes a movie go in different directions, I'm sure it is right up your alley. The film as is just fine, not being any kind of big statement as a neo-noir action flick, but it will serve just alright for the tastes of people wanting some entertainment.

Overall, I give it 7 out of 10 stars.

original image: