Out of the Furnace: when his kid brother disappears after getting involved in redneck bare-knuckle boxing, his stoic brother takes the law into his own hands. The acting is nothing short of stupendous; everyone is in full on beast mode; although Casey Affleck does his trademark mumbling incoherency shtick – which is becoming pretty tiresome / irksome. Despite the array of colossal performances topped by Bale and Harrelson, the film is completely marred by a time-bendingly-slow pace, which makes it seem like a 4-hour affair. It’d be like watching Aryton Senna do a Formula 1 circuit in on a mobility scooter. When you’re filling an already lengthy movie with unnecessarily long aerial takes of a car driving through woods, and a time-consuming barely relevant sub-plots (like drink driving) – your editor needs to take a running jump. As the buildup to the finale is so agonisingly drawn out, the end – although satisfying – is ultimately underwhelming. Despite being a more grim version of the boxing sub-plot from Snatch, this it’s a gritty portrayal of a broken American steeltown community in decline. A very Eastwoodian sleeper, but only because it makes you want to sleep…
Killing Them Softly: a mob ‘enforcer’ investigates the robbery of a protected card game. the style is a bizarre mix of Indie/Arthouse, and cutting-edge (often trippy) blockbuster effects and visuals. The sound mix is equally as strange, mostly through the ‘background noise’ being deliberately amplified in almost every scene. The script is very dry, boring, overly – and offensively – misogynistic, and contains characters called Frankie, Mickey, Markie – which gets hard to follow at points. Most scenes are overlong and rambly, Gandalfini in particular gets far too much time. Pitt is the best in class, everyone else coasts on mob/Australian stereotypes. Scoot McNairy – decent performance, but hands-down THE most annoying voice of the year. There’s a blatant political/economic overtone – mostly through in-picture TVs/Radios – and it’s as subtle as a brick to the face. Most frustratingly,, it plays out exactly as you know it will; with no twists, turns, surprises or originality – and you can’t root for any of the characters. Killing Them Softly is a bleak / grim / crushingly realistic mobster-procedural critique of corporate culture (where underpaid people do the dirty work, and getting a decision from the bosses is impossible – original, huh?) – unfortunately, it’s nowhere near entertainment.
Safe House: a neglected CIA rookie sees a chance to prove himself when his safe house is attacked and he’s left to protect & contain a notorious rogue agent. Both Denzel and Reynolds are on good form, although neither’s particularly stretched given what they can do, it’s definitely easy money. In saying that, having these two does mean the characters are a bit deeper than standard action stars would be. The focus here is on straight-up, balls-to-the-wall action – about 1/2 the runtime is chase, shootout or fighting scenes, which makes for some great popcorn gawking. There are a couple of ultra-shaky cam moments where they’d have been better drawing black and white stick men hitting each other, but for the most part the action’s alright to follow. Unfortunately, this doesn’t put much thought on the plot, the story is the definition of unambitious and you can predict everything from the initial set up, right down to the final scene. Safe House may not be a particularly engaging or deep movie: “Post Bourne entry political thriller” just about sums this up, but with its eyes firmly fixed on the CrashBangWallop, it delivers ample in this department.