Killing Them Softly

Killing Them Softly is a great mix of those 1970's small time gangster pictures, and a more modern cinematic aesthetic. Directed by Andrew Dominik, whose previous film The Assassination Of Jesse James By The Coward Robert Ford, was a stroke of cinematic genius, Killing Them Softly reteams him with star Brad Pitt, who plays Jackie, an enforcer who has to set things straight when a couple of low level doofus's knock over one of the mob's card games.

Pretty much everyone turns in a great performance in this movie, which is overtly about America and its seedy reality, but, is in a smaller way about growing old and tired. Again, the cinematography is gorgeous, the editing flawless, and the story is fantastic.

The Rum Diary

Based on Hunter S Thompson's book of the same name, The Rum Diary is the story of Kemp (Johnny Depp), a journalist who travels to Puerto Rico to take a job at a small newspaper that seems to be on the brink of shutting down. He meets a cast of unusual characters, and is hired by a mogul, Sanderson (played by Aaron Eckhart) to help spin a slightly illegal and somewhat immoral land and development deal into something positive. When he falls in love with Sanderson's girlfriend, Chenault (Amber Heard), everything starts to go down hill...

The Rum Diary has its moments, but, as a complete film, is uninteresting. There never, really, seems to be too much at stake in the film. Kemp needs the job, but he seems to always get by when things happen. The deal that Sanderson involves him in seems to be going somewhere, but fizzles as a plot element, and Chenault feels like a red herring, but with nothing to cling to when she's gone. I haven't seen Fear and Loathing in Las Vegas, another adaptation of a Thompson work with Depp in the lead, but I can only imagine, considering its rabid fan base, it has to be more interesting than this was.

Let Me In

Recreating something that's amazing is not easy, and, unfortunately, that is what Hollywood tries all too often to do with amazing foreign films. Some piece of cinema from across the pond will find its way into the hearts and minds of a world audience, and Hollywood barges in and say's "Let's take this idea, stylize the heck out of it, put some gore and tits in it (if it's horror, or a lot more graphic nudity if its drama), slap a new name on it and call it our own". The only problem is, all too often, they completely miss the mark of what made the original so good. Matt Reeves, of Cloverfield fame, however, managed to push the Hollywood machine to be as close to in line with the original film Let The Right One In, as this American version, Let Me In, could be.

Let Me In is the story of a young boy, Owen, who is tortured in school and comes home to a loving mother who is, often times, rendered impotent as a parental figure due to the toll her divorce is taking on her. One evening, while playing in the courtyard of the apartment complex where they live, Owen spies an older man with a young girl moving into the apartment next to his. Eventually, they meet up in the very same courtyard. Her name is Abby. She's about his age, stand offish, and doesn't seem to be bothered that her feet are bear in the sub-freezing winter temperatures of Los Alamos, New Mexico. As time goes on, Owen and Abby begin to become friends, but a string of murders in the area are about to change both of their lives.

Let Me In is an admirable re-make. It gets some of the tone right, but it still doesn't reflect the quiet desperation that is evident in the Swedish town that the original is set in, nor does Kodi Smit-McPhee quite reach the malevolence of Kare Hedebrant in the same role. In a "no surprise there" move, Let Me In never covers the question of gender that the source material does, but if it did, Lena Leandersson definitely makes a better young child of slightly questionable gender than Chloe Moretz does. That being said, Smit-McPhee, Moretz, and Richard Jenkins as Abby's care taker, all deliver great performances in the film. The stylization tactics that Reeves uses (streak filters, very shallow depth of field, CG or overcranking for Abby's attacks and retreats, Abby's makeup effects), come off as being overkill, as the original brought the same world to life without all of those extras.

Another big problem I had was with renaming the film. Changing it to Let Me In takes all of the steam and meaning out of its original title. Let Me In could be the name of any horror or drama. Let The Right One In is so perfect because of its ties to Vampire lore. A vampire can not enter the domain of a human being without that human saying they may come in. If they do, bad things will happen to the vampire (read: death). So, "Let The Right One In" is not only important on the level of a human being having power over whether or not he/she will allow the vampire to enter the home, but it has another meaning as well with these two little children - Let the right one in, guard yourself around those who may try to do harm to you.

I'm not trying to bash Reeves. He did a great job, and, like I said, Let Me In is a very admirable remake of Let The Right One In, but ultimately, this is another case of Hollywood remaking a foreign film that doesn't need to be remade. If you haven't seen the original, I would highly recommend it. I would, actually, recommend seeing both, but if you only have time for one, definitely make it the Swedish version.

Burn After Reading

This is a little late, considering I saw this film almost a month ago, but, better late than never. Burn After Reading see's the Coen Brother's return to dark comedy after their cinematic adaptation of Cormac McCarthy's No Country For Old Men, and the more mainstream (but not very popular) Intolerable Cruelty and The Lady Killers. The Coen's have a bit of a reputation for a darker brand of humor, and have no problem jumping right back into it, even after the huge mainstream success of No Country.

The film stars Frances McDormand and Brad Pitt as a couple of dimwitted gym workers. McDormand, who plays Linda Litzke, is trying to get plastic surgery so that she can look younger and fitter, so that she can attract more men. Her insurance, however, won't pay for the procedure. When her doofus friend, and fellow gym employee, Chad (Pitt) finds a disk that he says holds secret government documents on it, they attempt to blackmail the owner of the disk, now ex-CIA agent Osborne Cox (played by John Malkovich) into giving them the money they need. Cox, though, isn't giving them a dime, and Linda and Chad's attempt at blackmail only leads them further down the rabbit hole.

Burn After Reading is hilarious. I mean, some of the jokes are only funny if you find off the wall, out of nowhere violence funny, but, hey, that's what the Coen's do best - make you laugh at things that shouldn't be funny. George Clooney is particularly hysterical as a sex crazed, ex-FBI agent, and JK Simmons is equally hilarious as an apathetic CIA boss.

While the film does drag a little, at times, I find that, for the most part, the Coen's always seem to deliver with something hilarious to keep you coming back for more. I really can't wait to see what they come up with next, and whether it's more serious, like No Country For Old Men, or more dark humor like Burn After Reading, I'm all for it. Or, you know, they could make a Big Lebowski 2. I know I'm not the only one who would be looking forward to that...