Category Archives: Film Fodder

“Silent House” is chilling, until the end

Silent House (starring the other Olsen girl, Elizabeth) is one of the most uniquely shot movies that I’ve ever seen. The soundtrack is minimal, appropriately scattered throughout the film. But what stands out the most about this film is the fact that the entire movie is done in one uninterrupted take. So, from the beginning of the movie all the way until the end, you’ll see a continuous shot form the same camera, giving it a sense that things are actually happening in real time.

This is the first film that I’ve seen shot like this, and it had me thinking a few of things. First, it made me feel really bad for the actors if the director needed to yell ‘Cut!’, because they would have to start all over again. Second, there were several moments where the camera is following a character who’s running, and it’s legitimately difficult to follow what’s going on. I don’t normally get motion sickness while watching a film, but admittedly, this film had me looking away just to stay oriented. And third, it did have an INCREDIBLY creepy effect on the film, because it leaves the viewer not knowing what might be just off screen, which provides some genuine scares.

Based on the 2010 Uruguayan film La Casa Muda (The Silent House), Silent House is about a young woman who becomes trapped in the lake house she grew up in. The house is now haunted by unknown terrors and you see her gradually slip in into a panicked psychosis.

While the plot is fairly basic, the ending proves to be a bit of a disappointment. I won’t give anything away, but don’t be surprised if you leave the theater feeling a bit underwhelmed. There’s such a great buildup of tension throughout the film, then the film just ends abruptly. Perhaps this was the directors’ intention, in an attempt to leave an eerily lasting impression, but it really falls flat.

All in all, Silent House is a decent horror film with plenty of genuine scares and a bit of a disappointing ending. Is it worth seeing in theaters? For the amount of tension that is built up, yes. Just be warned; that tension won’t last until the very end.

Silent House. Directed by Chris Kentis and Laura Lau. Starring Elizabeth Olsen, Adam Trese and Eric Sheffer Stevens. Rated R. www.whyisthishappeningtome.net.

If you think you’ve seen “John Carter” before, it’s because you have (sort of)

Even before you sit down to watch the new Disney film John Carter, there’s something awfully familiar about pretty much anything you’ve seen about the movie leading up to its release. But once the interplanetary action begins to unfold, the déjà vu really starts to set in. The weird thing is, that familiarity comes from many different sources.

These are not the, um, Tharks you're looking for.

In much the same way that the recent Journey 2: The Mysterious Island (read my review here) blurs the lines between fantasy and reality by presenting the works of Jules Verne, Robert Louis Stevenson and Jonathan Swift as non-fiction, John Carter is told from the perspective of author Edgar Rice Burroughs as if he is reading the memoirs of his uncle, the real Carter (Taylor Kitsch). Carter’s abrupt jump from post-Civil War adventures in the American Wild West to the similar terrain of Barsoom plays out in much the same way as 1984’s The NeverEnding Story, with the viewer seeing the action as Burroughs reads it.

Upon his mysterious arrival on this unfamiliar planet, Carter soon learns that there are some big differences between the deserts he was just traversing on Earth and the arid landscape of what we soon learn to be Mars, which is in a Mad Max-like state of unrest as its inhabitants are at odds and its natural resources are dwindling. After some clumsy trial and error, Carter discovers that he has almost Superman-like strength on Mars, and he can leap tall buildings in a single bound. These special powers soon attract plenty of attention from the natives. Though he is unable to fly, the red-skinned humans of Helium (who unfortunately do not talk like munchkins as you might expect of people who live in Helium) have mastered that technique with their floating ships, years before the inhabitants of Carter’s home planet have ever seen such things. (You see what they did there, with the people from Helium being able to fly? Clever.)

Thanks in large part to the beauty and spunk of Helium’s Princess Dejah Thoris (Lynn Collins), Carter quickly falls in with her people in their fight against the Zodangans (also human) and the Tharks (tall green creatures that look like a cross between the creatures from Avatar and Star Wars‘ General Grievous, with

Should I pet you or run for my life?

Predator-like tusks on their faces). And from the pod race-like scenes to the premise of an unlikely leader and his rag-tag group of allies (including a dog-like creature that is clearly a giant salamander/Boston terrier mix with six legs) trying to unite opposing factions against a common enemy, John Carter has George Lucas written all over it. Or is it the other way around?

The reason so many things in John Carter seem so familiar is because the Burroughs book on which it is based (A Princess of Mars) was a huge influence on Lucas, James Cameron and many other sci-fi and fantasy writers and directors. So its not that this film borrows heavily from other stories, but that those stories have been borrowing heavily from this and other Burroughs works for decades (he’s also responsible for the Tarzan books). Though the movie is an accurate adaptation of Burroughs’ original adventure, and it’s a rare combination of visual accomplishment (in 3-D no less) and an intriguing story, it’s doubtful most moviegoers will realize that movies like Star Wars, Flash Gordon and Avatar likely wouldn’t exist had the John Carter books not been written.

Regardless of that potentially inevitable setback, the movie has a lot going for it. Director Andrew Stanton has proven himself with the animated features Finding Nemo and WALL-E, and John Carter is definitely a great introduction to what he can do in a live action setting. And like so many other live action Disney movies (20,000 Leagues Under the Sea comes to mind), John Carter is sure to become one of those movies that ingrains itself into the minds of children and other adventurous spirits.

Princess Dejah Thoris (Lynn Collins) is about find out what happens when an Earth guy asks you to pull his finger.

The only weak link in the story comes when a Carter-sympathizing Thark gives him some sort of potion that connects him to Barsoom, allowing him to suddenly understand the planet’s inhabitants, regardless of what language they speak. In turn, they can also understand him despite his Virginian dialect. Though this magical potion and its abilities seem a bit far fetched, at least this movie offers some sort of explanation as to why people from different planets are able to understand each other, unlike many sci-fi and fantasy stories.

But with all the unifying monster-fighting action, the developing love story and visually stunning 3-D effects, John Carter is sure to please most moviegoers, even if many of them think its ripping off all the movies it has inspired. And with ten sequels in Burroughs’ Barsoom series, Disney has plenty of opportunity to create a new sci-fi film franchise.

John Carter. Directed by Andrew Stanton. Starring Taylor Kitsch, Lynn Collins, Willem Dafoe, Thomas Haden Church, Samantha Morton, Ciarán Hinds, Mark Strong and Dominic West. Rated PG-13. www.disney.go.com/johncarter/.

Tim and Eric talk about the big-screen surrealism of “Tim and Eric’s Billion Dollar Movie”

Anyone who has ever watched Adult Swim‘s Tim and Eric Awesome Show, Great Job! knows that Tim Heidecker and Eric Wareheim have a really weird sense of humor. And when I say “weird,” I mean waaay out there sketch comedy absurdity that is like a Saturday Night Live hallucination. The duo’s awkward stream-of-consciousness humor has garnered a cult following, including the likes of “Weird Al” Yankovic, John C. Reilly, Will Ferrell, Marilyn Manson, Paul Reubens, Danny Trejo and Rainn Wilson, all of whom have also appeared on the show.

Photo courtesy Magnet Releasing

With the release of Tim and Eric’s Billion Dollar Movie, the duo takes its squirm-inducing sketch skills (and some of the people that have been on the show) to the big screen in a feature-length film about the duo squandering a billion dollars given to them by the Schlaaang corporation to make a feature-length film. Sound confusing? Well it is, sort of. Since Heidecker and Wareheim play themselves, and Tim and Eric’s Billion Dollar Movie is like a movie within a movie (within a movie, if you count the short film starring Johnny Depp (played by Ronnie Rodriguez) that starts the film), it can be a bit hard to follow. And that’s not even factoring in the part about them buying a dilapidated shopping mall filled with vagrants and oddball shops in order to make the billion back. Trying to make sense of it all is making me sleepy, so here’s an interview the guys did with Wrestling with Pop Culture to further confuse you.

Talk a little bit about the writing process for this movie in comparison to the work you’ve done in the past.

Heidecker: Well, we tried to take our time with it. We knew we didn’t want to make a sketch movie and we didn’t want to make a long episode of the Awesome Show, so we focused on trying to come up with a story that would fit our sensibility and not clog it up with too much plot. We wanted to make a movie where we could do all of our little tricks and stuff. We went back and forth working on it for quite a while and getting into a good position where we had something we could use to shoot the movie with.

Did you have an trouble adapting to a feature film?

Heidecker: There was no trouble, it was just a challenge. We didn’t really consider it to be adapting, it was just doing something different.

Wareheim: We can do anything, really.

A lot of sacrifices were obviously made to make this movie – Will Forte, a young boy and others. Looking back on all that, is there anything you would have done differently or anyone else  you might have sacrificed in the process?

Heidecker: No regrets. All those people were obviously fake. No one was really killed or anything.

When you were deciding how you were going to make this movie, how did you decide how far you would go with some things and how much you would hold back with others?

Photo courtresy Magnet Releasing

Wareheim: We definitely knew it wasn’t going to be cut as fast as the Awesome Show or have that kind of look. We wanted it to look like a movie so people going into a movie theater have somewhat of a cinematic experience. So some parts, like the Johnny Depp movie, have a more heightened Hollywood look. For the rest of the movie, we wanted to have a higher production value but at the same time we have some of the commercials that have the Tim and Eric style.

Heidecker: The basic rule is, “What makes sense?” So if you’re making a shitty commercial, it makes sense for it to be a shitty commercial. But in a narrative, when you’re just telling a story, it doesn’t make sense for it to be all shitty and weird. We want you to forget about the form of watching a movie until it makes sense for the scene.

You guys have a very niche audience. Not everyone is familiar with Tim and Eric and the movie itself is kind of extreme. How do you want this movie to be taken by people who may not be familiar with the show?

Heidecker: The only thing we’re doing differently is we’re doing a lot of press. We’re talking to as mainstream press as you can get. It’s different than your normal film, I guess, but it should be treated like anything else. It’s not a remake of something, it’s not an animated CGI thing…

Wareheim: At the same time, though, our objective is not for it to do well in the mainstream. We want lots of people to see it, but our objective was to make our movie.

When you started the process of making the movie, was there ever any temptation to make it as crazy and bizarro as possible, which would make it much less accessible to a mainstream audience?

Heidecker: From a superfan’s perspective, they might be like, “Hey, you made this traditional movie!” In that sense, we kind of found a middle ground. We knew we couldn’t get the movie made if it was just going to be completely out-the-window bonkers. And that’s probably not a movie we’d really want to make anyway. We wouldn’t want to spend all that money and all that time and all that opportunity to kind of wank off.

Photo courtesy Magnet Releasing

A lot of the people in the movie have also been part of the show, but there were also people who have been part of the show who weren’t in the movie. How did you go about choosing which of your regulars would be part of this project?

Wareheim: We sort of wrote the characters, then kind of assigned people to those characters. It was just whoever fit. There was a lot of people who didn’t get in there and a lot of people who wanted to get in there.

Heidecker: There was just too many people we wanted to have in the movie, but there just weren’t enough places for them. We didn’t want it just to be a parade of cameos necessarily. So it was just striking a balance and we hope if we get to make another movie we’ll include other people. This isn’t meant to be a time capsule of all the things we care about.

If you got an opportunity to do other films, would you want to keep this continuity or would you want to collaborate on something that went in a different direction?

Wareheim: We’d love to make another Tim and Eric movie or something in the style of this.

Heidecker: It’s kind of weird because the way this movie ends, I’m not sure how you’d continue because there’s the ending of the movie within the movie and there’s this other ending. So I don’t know if it would continue from the screening room or from the mall. So we can kind of do whatever we want.

If you actually had a billion dollars to make a movie, what would you do with the money?

Heidecker: We’d give probably 99 percent of it away. The problem with having lots and lots of money for a movie is that’s somebody else’s money. So they’re going to want it back and they’re going to try to fuck with it to make it as successful to the most people as possible.

This movie is obviously still grounded in your aesthetic, but how big of an adjustment was it to be using different kinds of equipment and a different tool set from your Adult Swim process?

Heidecker: We had made these two short films, Father and Son and The Terrys, for Funny or Die. The process isn’t that different when you’re doing short stuff versus long stuff. It’s just more days. The general fundamentals of filmmaking still apply. So that was pretty much it. We had great producers, a great cinematographer… That’s what ended up mattering was having a great team. We had a couple of people who had made a movie before, so they knew some of the workings arounds of all the technical stuff. So it was just trusting your instincts, working with good people, making sure things were in focus.

Is there anyone you haven’t already had on the show or otherwise collaborated with that you think has a similar aesthetic or that you’d like to work with?

Heidecker: We’ve talked about doing stuff with Peter Serafinowicz and Robert Popper from England who do the Look Around You show. But everybody’s stuff is so personal that it’s hard to even consider working with other people. As far as talent, we’ve worked with everybody we wanted to work with. There are a couple of people like Christopher Guest that I think would be too intimidating and nerve racking.

Wareheim: Tosh. I’ve been tweeting with Tosh.

You just need a viral video.

Wareheim: I’ve submitted tons. Trust me.

Tim and Eric’s Billion Dollar Movie. Written and directed by Tim Heidecker and Eric Wareheim. Starring Tim Heidecker, Eric Wareheim, Will Ferrell, John C. Reilly, Will Forte, Robert Loggia, Zach Galifianakis and Jeff Goldblum. Rated R. www.magnetreleasing.com/timandericmovie.

“We Need to Talk About Kevin” is a profoundly chilling look at inherent evil

Kevin (Ezra Miller) shows his inner monster only to his mother (Tilda Swinton)

It has long been debated if a person can be inherently evil or if circumstances and environment make someone a monster. There is plenty of evidence to support either argument, but in We Need to Talk About Kevin, the monster is clearly born with sociopathic tendencies that fester as the title character grows into adolescence.

Based on the 2003 novel of the same name, this film is presented as the fragmented memories of Eva (Tilda Swinton), a mother whose mind wanders at mundane times like when she is sitting in a waiting room as a fan causes the corner of a poster to flap against the wall (the word “lovers” prominently displayed on the poster’s corner). As Eva’s mind sorts out the details of various incidents from her past, the viewer is forced to make sense of seemingly random images such as John C. Reilly playing with a little girl wearing an eye patch and the recurring sound of a water sprinkler being heard through white curtains flapping in the night wind.

But what at first seems like random thoughts gradually coalesces to form the story of a mother whose teenage son (Ezra Miller) has, since birth, had a dark side that is only apparent to her. When he’s an infant, Eva finds the sounds of jackhammers soothing over his incessant screams. As a toddler, he emptily glares at her as he learns to shoot a toy bow and arrow. And as a teenager he seems to find sick delight in otherwise embarrassing moments such as his mother walking into the bathroom while he’s masturbating.

At first, Eva thinks her son may be autistic. But as time goes on, she realizes he was born with a very different ailment that is nearly impossible to diagnose. Especially since he seems polite and chipper to everyone else, including his father (Reilly). Miller’s portrayal of a natural born killer is profoundly chilling, and the fact that his mother is left with the proverbial blood on her hands (which is masterfully illustrated through flashbacks of her scrubbing the red paint vandals have spattered on the front of her house) makes the situation heart-wrenchingly hopeless.

Eva (Tilda Swinton) and Franklin (John C. Reilly) cope with their son's actions

These increasingly horrific memories are juxtaposed with upbeat and jovial folk and Americana songs by the likes of The Beach Boys, Buddy Holly, Lonnie Donegan and Washington Phillips that are somehow very appropriate despite their contradictory tone. But everything seems to serve a purpose in We Need to Talk About Kevin, from the sounds that drift in and out of Eva’s memories to the Jackson Pollock-like paint spatter a young Kevin applies to the walls with water guns (foreshadowing the culmination of his lifelong disregard for anyone but himself).

Though it is not likely to be categorized as such, We Need to Talk About Kevin is one of the best horror movies of the past few years. Sociopaths often never show their true soullessness to the world, but Kevin’s ultimate act of hubris exposes his inner monster in a big way, leaving Eva with nothing but her memories of what was and what could have been. And it’s only when he is forced to face the consequences of his actions that Kevin finally shows some sign of a human conscience.

We Need to Talk About Kevin. Directed by Lynne Ramsay. Starring Tilda Swinton, Ezra Miller and John C. Reilly. Rated R. www.kevin.oscilloscope.net.

Review by Jonathan Williams

“The Lorax” spreads ecological message in colorfully animated adventure

Morality plays are at the center of all of Dr. Seuss‘ limerick-like tales of humanoid creatures in various fantastical settings. These morals are usually either universally accepted ideals that transcend most (if not all) political, religious and cultural boundaries, or are subtly conveyed through whimsical stories filled with colorful characters. The Lorax, however, has a clear environmental message that is made all the more apparent by its namesake, a grumpy little orange creature voiced by Danny DeVito whose existence is based solely on protecting the forest.

That message is made even more colorfully clear in Dr. Seuss’ The Lorax, which brings the story to life in computer animated 3-D. As has been done with previous Dr. Seuss adaptations, The Lorax is fluffed up with some back story explaining that Ted’s (Zac Efron) motivation for finding a real tree is to impress Audrey (Taylor Swift), the nature-loving hottie he’s pining for. But in Thneedville, where everything is plastic and a Napoleonic business man (Rob Riggle) has built an empire on bottled air sales, there is no nature.

At the urging of his Grammy Norma (Betty White), Ted sets out to find the Once-ler (Ed Helms), the only one who can tell him where to find a real tree. In much the same way the Grinch lives outside of Whoville’s society, the Once-ler is a hermit who lives in a boarded up mansion in the gloomy area outside of town. This recluse recounts the story of a young entrepreneur who set out to impress his oppressive hillbilly family by  mass producing the Thneed, a sweater-like garment that can actually be used for just about anything.

Made from the foliage of the forest’s Truffula Trees, which grows in spirals of flowing hair-like tufts in cotton candy pink and other pastels, the Thneed soon becomes the need of the nearby townspeople.  After initially cutting down a Truffula (the very act that summons the Lorax), the young man agrees to harvest the tufts of trees rather than continue chopping them down. But at the urging of his fickle family, he breaks this promise in order to keep up with supply and demand.

This simple act of defiance snowballs into typical human greed until there are no more trees in the forest, obviously leading to the present-day phoniness of Thneedville. When business ceases to blossom, his family deserts him (again) and the cute little forest creatures are forced to follow their Trail of Tears-like fate to a new forest, the young inventor watches the Lorax float away in disappointment and  is left alone in his big fancy house. Lesson learned the hard way, but there’s still room for redemption.

Luckily for Ted, the Once-ler has the last remaining Truffula seed. Though he’s initially hesitant about letting it go (especially after realizing that Ted’s biggest motivation is impressing a girl), the Once-ler finally gives Ted the seed, with instructions for him to plant the seed in the center of Thneedville. But O’Hare, who has been very Big Brother-like in his attempts to prevent his bottled air-buying townspeople from finding out that real trees create fresh air, has different plans.

Watching Ted race around on the oversized tire of his motorized unicycle thing while avoiding O’Hare’s goons is a lot of fun, and makes great use of the 3-D technology, which actually feels like part of the movie rather than something thrown in for added effect. Though much of Seuss’ magic is lost when all this extra stuff is added to his original story just to make it long enough to be a feature film, Illumination Entertainment (who also made Despicable Me and Hop) still does a great job of nurturing the whimsy and wonder of Seuss. And though most of the dialogue is not in Seuss’ signature rhyme, much of the story is told through musical numbers in which woodland creatures, fish, humanoids and other beings jovially convey pivotal plot points.

The Lorax‘s  ecological urgings are a bit heavy handed at times, which has already drawn criticism from some. But as the Lorax himself states, “A tree falls the way it leans. Be careful which way you lean.” Take such advice with an open mind and you’re likely not to lean too far in either direction. Somehow I think Seuss would be happy to know his message is still being spread, especially since this movie is being released on the 108th anniversary of his birth.

Dr. Seuss’ The Lorax. Directed by Chris Renaud and Kyle Balda. Starring Danny DeVito, Zac Efron, Taylor Swift, Ed Helms, Rob Riggle, Betty White and Jenny Slate. Rated PG. www.theloraxmovie.com.

Review by Jonathan Williams

Paul Rudd and Jennifer Aniston find themselves in “Wanderlust”

It's more than just the nudist tendencies of Wayne (Joe Lo Truglio) that George (Paul Rudd) is avoiding in "Wanderlust"

Sometimes it’s good to just get away from it all. Especially after you suddenly find yourself out of a job and unable to afford the tiny New York City apartment you just purchased with your wife, whose documentary about testicular cancer in penguins simply isn’t drawing any studio interest. But in Wanderlust it seems like things are going to work out just fine for George (Paul Rudd) and Linda (Jennifer Aniston) when George’s brother Rick (Ken Marino, who also co-wrote the script) gets him a job in Atlanta.

George and Linda pack their car and hit the road for a comically unnerving road trip that gives the couple enough alone time to open up about some of their frustrations with each other. Just when this road trip from hell reaches it’s breaking point, the couple happens upon Elysium, a free-spirited retreat where the first person they encounter is a nudist (Reno 911!‘s Joe Lo Truglio) who inadvertently causes George to flip his car over while trying to find his own retreat. Once they get past his free-flapping schlong, the couple ends up having a great time with the quirky characters that populate this Eden-like commune.

The couple somewhat reluctantly leaves for Atlanta the next day because they couldn’t possibly abandon their comfy city lifestyle for a place like this, right? After spending one night in the spaciously uncomfortable home of Rick and Marisa (a dolled-up Michaela Watkins, who masks her misery with margaritas and medication), George and Linda return to Elysium in hopes that they can find true happiness by living off the fat of the land with that free-loving bunch.

George (Paul Rudd) isn't quite as willing to drink Seth's (Justin Theroux) Kool-Aid as is Linda (Jennifer Aniston) in "Wanderlust"

Though it takes some getting used to, they soon feel like part of the Elysium family. But that comes with strains of its own as Elysium doesn’t believe in things like doors and privacy but does believe in things like swapping sexual partners. And when a woman like Malin Åkerman is nonchalantly saying things like, “Think about being inside of me,” the temptation is strong. And Seth (Justin Theroux), the unofficial (and somewhat Manson-esque) leader of this comical cult-like unit, proves that douchebags are douchebags, whether in a suburban Atlanta McMansion or in a hippie commune in North Goergia, as he aggressively pursues Linda while passive-aggressively belittling George.

These pressures eventually tear George and Linda apart, with Linda choosing to stay at Elysium while George returns to his depressing job at his brother’s portable toilet company. It doesn’t take him long to smell the proverbial shit, however, and he goes back to Elysium to win Linda back (despite her many shortcomings and relationship-destroying mistakes). And eventually everyone finds true happiness by attaining a balance between the comforts of city life and the freedom of their primal spirits.

Wanderlust. Written and directed by David Wain. Starring Paul Rudd, Jennifer Aniston, Justin Theroux, Malin Åkerman, Kathryn Hahn, Lauren Ambrose, Ken Marino and Alan Alda. Rated R. www.wanderlustmovie.net.

Review by Jonathan Williams

Woody’s walls crumble in “Rampart”

Dave Brown is the type of cop that makes people hate cops. He’s spent more than two decades playing fast and loose with the rules and abusing his authority, but is able to rationalize any of his actions as finding true justice. But in the wake of the Rampart scandal of the 1990s, in which dozens of officers were scrutinized for similar misconduct, Brown’s attitude is about to get him into serious trouble.

Stepping away from the comedic role he normally plays (his irreverent and endearing sarcasm is even present when he’s playing a serial killer or other such dramatic role), Woody Harrelson portrays Brown in Rampart in much the same way Denzel Washington played the bad cop in Training Day. Brown is, in many ways, like a cross between Washington’s Training Day persona and Michael Douglas’ Falling Down character. Brown’s ability to do heinous things while convincing himself he is justified in doing so is chillingly convincing thanks to Harrelson’s ability to immerse himself in the role without letting many of his Harrelsonisms shine through as they usually do.

But Brown’s dysfunctions aren’t exclusive to his profession. He has two daughters by two women who happen to be sisters, making the children siblings and cousins. And they all live in the same house, which is yet another example of Brown’s complexity. He’s a chain-smoking womanizer who, when questioned about his racism by another cop played by Ice Cube, contradicts his obvious racism with the fact that he has had sex with black women. Yet he’s charming enough that the mothers of his daughters (Anne Heche and Cynthia Nixon), for example, don’t object to living as one big unhappy family under the same roof. It all makes sense in his mind and he can usually make those around him go along with his rationalizations as well.

After another car unexpectedly smashes into Brown’s car while he’s on patrol, he is caught on tape giving the other driver a relentless Rodney King-like beatdown. The ’90s political landscape caused by Rampart isn’t the only blemish on Brown’s reputation as he is also known as “Date Rape” Dave after the death of serial sex offender was attributed to him a few years earlier (though never proven). All of this is used against him after the beating tape surfaces and the structured life Brown has manipulated for himself starts to unravel.

Things only get worse for him when his teenage daughter (Brie Larson) becomes increasingly defiant and his significant others tire of his negligence and kick him out of his own house. In Brown’s mind, everyone is out to get him. But in reality, he has brought all of this on himself and everything just happens to be imploding simultaneously. Though he plots a pretty effective strategy to get himself out of his bigger dilemmas, it seems that everyone has finally wised up to his conniving ways and his plans continuously backfire.

Despite his many shortcomings, it is ultimately his stubbornness that proves to be his biggest flaw. Even as he watches his personal and professional lives crumble before his eyes, Brown refuses to turn his frustrations inward in order to find the true source of his problems. Once a hero in his own eyes, Brown makes himself a victim to help him cope with the reality of what is happening. Sadly, he will never see that he is a victim, but of his own actions, which is what makes him a convincingly flawed character rarely examined as thoroughly as is done in Rampart.

Rampart. Written and directed by Oren Moverman. Starring Woody Harrelson, Ned Beatty, Ben Foster, Anne Heche, Ice Cube, Cynthia Nixon, Sigourney Weaver, Robin Wright and Steve Buscemi. Rated R. www.rampartmovie.com.

Review by Jonathan Williams