Review: Viggo Mortensen is a Kingpin in Cronenberg's "CRIMES OF THE FUTURE"

TRASH IN MY EYE No. 49 of 2022 (No. 1861) by Leroy Douresseaux

Crimes of the Future (2022)
COUNTRY OF ORIGIN:  Canada (with France, Greece, and UK); Language:  English
Running time:  107 minutes (1 hour, 47 minutes)
MPAA – R for strong disturbing violent content and grisly images, graphic nudity and some language
WRITER/DIRECTOR:  David Cronenberg
PRODUCERS:  Robert Lantos, Panos Papahadzis, and Steve Solomos
CINEMATOGRAPHER:  Douglas Koch (D.o.P.)
EDITOR:  Christopher Donaldson
COMPOSER:  Howard Shore

SCI-FI

Starring:  Viggo Mortensen, Léa Seydoux, Don McKellar, Scott Speedman, Welket Bungué, Lihi Kornowski, Nadia Litz, Tanaya Beatty, Sotiris Siozos, and Kristen Stewart

Crimes of the Future is a 2022 Canadian science fiction film from writer-director David Cronenberg.  The film focuses on a performances artist who showcases the metamorphosis of his internal organs with the help of his partner who performs surgery on him during the performance.

Crimes of the Future opens sometime in the future when humanity has experienced a number of biological changes and evolutionary changes to human physiology.  The film introduces Saul Tenser (Viggo Mortensen) and Caprice (Lea Seydoux), a performance artist couple.  Saul's body is afflicted by “accelerated evolution syndrome,” which forces his body to constantly develop new vestigial organs.  Tenser is in constant pain, and he relies biomechanical devices in order to sleep and to eat.  Using a “Sark autopsy module,” Caprice performs surgery on Saul before an audience as an act of performance art, performances which have made the duo world renown.

Saul and Caprice's performances have started to draw official, governmental, and law enforcement interest.  They meet Wippet (Don McKellar) and Timlin (Kristen Stewart), the two bureaucrats in charge of the “National Organ Registry,” which catalogs and stores newly developed and evolved organs.

Not everyone is excited about “body-growth” and consider it a “body-crime.”  Cope (Welket Bungué), a detective with the “New Vice Unit,” a governmental police agency, wants Tenser to infiltrate the worlds of evolutionists, the people that want to accept and encourage “accelerated evolution syndrome.”  After he meets Lang Dotrice (Scott Speedman), a grieving father, Saul goes so deep into the world of this new human evolution that he might discover something about himself.

Some consider Crimes of the Future to be both a science fiction and horror film, but I consider it to be only a science fiction film.  However, I do recognize how much the film travels into the realms of the genre of “body horror.”  In that, Crimes of the Future does share many similarities with David Cronenberg's last science fiction-horror film, eXistenZ (1999).  Both are set in a world where biotechnology invents new machines that can directly interface with human bodies and control those bodies.  In both films, public performances of man-machine interfaces are both popular and controversial, and a diverse group of entities:  law enforcement, fetishists, secretive agencies, rebels, dissidents, and subcultures seek to control the future and future-tech.

In Crimes of the Future, Cronenberg presents a world in which the evolutionary change is spurred on by technology and other man-made efforts.  Once this new evolution starts, it is free to do as it pleases, outside the considerations of humanity.  As in many of his films, a lead character, group of characters, and/or society and the world at large struggle to adapt to that change.  To one extent or another, they are against it, afraid of it, and some ultimately, even if reluctantly, embrace that change.

Two things hold this film together, David Cronenberg's vision and his muse, actor Viggo Mortensen as Saul Tenser.  Cronenberg and his collaborators have created a world in which biotechnological and evolutionary changes take place in drab and rundown settings.  In Crimes of the Future, Cronenberg does not need flying cars and off-world colonies in order to communicate to his audience that the world and mankind are in a future undergoing radical transformation.  True to his ways, Cronenberg is both provocative and exploitative and visionary and elegant as he executes a story of a world in which evolution forces humanity to live in the world it made.

Crimes of the Future has a number of eccentric performances.  Lea Seydoux makes Caprice grow … and evolve, and Kristen Stewart is impish and mysterious as Timlin.  However, Viggo Mortensen is both the center of this film's narrative and the outer boundaries of its ideas and ambitions.  He holds it together both as one afflicted by evolution and as an explorer of the world of evolution and new humans.  Mortensen's gift is to make people buy into the idea that he is indeed the character he plays and that what he does as that character is authentic and not a contrivance of a really talented actor.

Once again, David Cronenberg offers a film that examines horrifying change, and he does it without nostalgia and sentiment, but with a superb score by the great Howard Shore.  Yeah, Cronenberg is a genius, and Crimes of the Future is his latest masterpiece.  The ending, which feels like a quick wrap-up, is the only reason I won't call this film perfect, but it would be a crime of the present for me to quibble about that.

9 of 10
A+
★★★★+ out of 4 stars

Thursday, August 25, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

----------------------------

-----------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

Review: Welcome "The Strangers" into Your Imagination

TRASH IN MY EYE No. 58 (of 2013) by Leroy Douresseaux

The Strangers (2008)
Running time:  85 minutes (1 hour, 25 minutes)
MPAA – R for violence/terror and language
WRITER/DIRECTOR:  Bryan Bertino
PRODUCERS:  Doug Davison, Nathan Kahane, and Roy Lee
CINEMATOGRAPHER:  Peter Sova (D.o.P.)
EDITOR:  Kevin Greutert
COMPOSERS:  tomandandy

HORROR/THRILLER

Starring:  Liv Tyler, Scott Speedman, Gemma Ward, Kip Weeks, Laura Margolis, Glenn Howerton, Alex Fisher, and Peter Clayton-Luce

The subject of this movie review is The Strangers, a 2008 horror film from writer-director, Bryan Bertino.  The film stars Liv Tyler and Scott Speedman as a young couple staying in an isolated vacation home, where they are terrorized by three unknown assailants.

The film follows Kristen McKay (Liv Tyler) and James Hoyt (Scott Speedman), who are returning from a friend’s wedding reception.  They decide to stay in a remote summer vacation home owned by James’ parents.  Instead of feeling joy, their minds are on a new complication in their relationship.  Shortly after arriving, someone shows up at the door asking, “Is Tamara here?”  Not long afterwards, Kristen and James find themselves confronting a masked trio that begins to taunt and torment them in a series of acts that grow increasingly cruel.

The Strangers is not only a horror movie, but also a mystery thriller, a suspense movie, and a crime film.  It especially recalls the scary movies of the 1970s.  Because “the strangers” (or intruders) stalk Kristen and because they use masks to hide their identities, this film often seems like a slasher movie.  It particularly bears a resemblance in tone and execution to John Carpenter’s 1978 slasher classic, Halloween.

This heady mix of mystery, thrills, and suspense entitled The Strangers maintains an effective atmosphere of creepy dread and spine-tingling anticipation.  Writer-director Bryan Bertino smartly uses sound and the interplay of artificial light and naturally-occurring darkness to enforce in the movie’s audience that something dangerous is there, unseen, but definitely there.  The Strangers has visual and thematic cues that evoke earlier movies about home invasion or with scenes depicting a home invasion, such as A Clockwork Orange, The Last House on the Left (1972), and Panic Room.

It is the suspense and terror, not the bloodshed and gore, which makes The Strangers such a good film.  The fear seems so real that it is surreal, and the movie has a dream-like quality, as if we were watching something on the edge of our consciousness, about to intrude on us as we doze off.  Ultimately, The Strangers is just fun to watch.  It is a reminder that the horror genre still has the capacity to seem fresh and new, regardless of production budgets. Even without computer-generated images and effects, horror can offer something delightfully surprising that can engage our imaginations or even blow our minds.  The Strangers is the new thing not afraid to use the old tricks that are timeless in their effectiveness to scare us.

8 of 10
A

Thursday, August 22, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

Review: "Dark Blue" Dark Indeed

TRASH IN MY EYE No. 22 (of 2003) by Leroy Douresseaux


Dark Blue (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for violence, language and brief sexuality
DIRECTOR: Ron Shelton
WRITERS: David Ayer; from a story James Ellroy
PRODUCERS: David Blocker, Caldecot Chubb, Sean Daniel, and James Jacks
CINEMATOGRAPHER: Barry Peterson
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Terence Blanchard

CRIME/DRAMA with elements of action and thriller

Starring: Kurt Russell, Scott Speedman, Michael Michele, Brendan Gleeson, Ving Rhames, Kurupt, Lolita Davidovich, Dash Mihok, Master P, and Khandi Alexander

The subject of this movie review is Dark Blue, a 2002 crime drama from director Ron Shelton (Bull Durham) and writer David Ayer and based on an original story by James Ellroy. The film was released to theatres in February 2003.

Describing Ron Shelton’s Dark Blue is not an easy task. Even if I only dealt with the surface issues, I’d still have a hard time defining the film. What I can say is that it is brutal and unflinching in its display of violence, corruption, and human frailty. Shelton, who usually writes his own screenplays, has a devil of script in this one with which to work. James Ellroy, the mack daddy of American crime fiction and the novelist of L.A. Confidential, wrote the story and David Ayer, the writer of Training Day and The Fast and the Furious, wrote the script; thus, the pedigree of the story is one of immense power and frank honesty when dealing with the Los Angeles on a street level and in its darkest corners.

Set in the Los Angeles Police Department (LAPD) on the eve of the 1992 riots after the “Rodney King Beating Trial” verdict, the film focuses on a hardnosed cop with a penchant for shooting suspects, Sgt. Eldon Perry, Jr. (Kurt Russell) and his youthful partner Bobby Keough (Scott Speedman), whom Perry is training to follow in his tough footsteps. Perry is sometimes a kind of hit man and troubleshooter for his boss Jack Van Meter (Brendan Gleeson), who is also Bobby’s uncle. Van Meter’s web of deceit has drawn the attention of an ambitious deputy chief (Ving Rhames), who closes in on the corruption as the city awaits the verdict of King trial.

Dark Blue isn’t just about police corruption although that seems to be its central focus. The film has so much going on around the central character Perry that it’s hard to zero in on any particular issue. It’s about how people get drawn into the darker side of the law and remain there despite their misgivings. It’s about the ends justifying the means and about doing whatever you want to do or believe you have to do regardless of the cost to others.

More than anything, Dark Blue reveals how a select group of men treat the LAPD like their own personal boy’s club where they can live the most selfish and hedonistic lifestyle they want to live and the public pays the their club dues. Dark Blue makes it quite plain and matter of fact that quite a few cops look the other way when it comes to corruption and that some “officers of the law” are as bad or worse then the criminals they supposedly fight. Even the good guys are tainted. In fact, after seeing this, I have my doubts that bad cops actually only make up a very small percentage of police departments. Corruption is the cancer, but material gain is the alluring scent that draws them to the sickness. Of course, a lot of policemen look the other way because they know how easy it is to cross the line.

It takes a good cast to carry off a film like this, one that deals with difficult and angry subject matter in such a frank manner. Kurt Russell continues to affirm his status as a great male star in the tradition of the great tough guys, and he can act. I could read the drama in his face and see the character’s turmoil and conflict; Russell didn’t have to say a word. He only had to act. Scott Speedman plays the youthful and slowly corrupted Bobby with a charm that engages us to him especially when he’s trying to be a bad boy. Ving Rhames and Brendan Gleeson are fine character actors; they always bring something of themselves, their own personal style, to their characters, which gives those characters flavor.

Dark Blue may be an L.A. story, but its elements and themes are universal. The same issues that plagued the men and the bureaucracy of law enforcement in 1992 before the riots still bother them today. It’s good that Ellroy, Ayers, and Shelton can turn this disease into a big messy film full of ugliness, making us confront the mean streets and the even meaner men who play on it.

Dark Blue isn’t slick entertainment, and it does drag at times. Like Michael Mann’s Heat, it takes its time building up steam before it blows up in our faces. Good. Some things about “the law” need to gut punch America if the country’s going to pay attention. Shelton builds the tension slowly, but the audience needs the set up to get the payoff. If the ending seems confused, it’s the only appropriate one for a movie so deeply involved in the drama of life. I like having an important movie be this rough, crime drama (heck, I just like a good crime drama) that craps on the gloss of Hollywood. The art of drama doesn’t have to be pretty.

7 of 10
B+

NOTES:
2004 Black Reel Awards: 2 nominations: “Best Supporting Actor” (Ving Rhames) and “Best Supporting Actress” (Michael Michele)

"Underworld: Evolution" Also Slick, Sexy and Cool

TRASH IN MY EYE No. 14 (of 2006) by Leroy Douresseaux


Underworld: Evolution (2006)
Running time: 105 minutes (1 hour, 45 minutes)
MPAA – R for pervasive strong violence and gore, some sexuality/nudity, and language
DIRECTOR: Len Wiseman
WRITERS: Danny McBride; based upon a story by Danny McBride and Len Wiseman (based upon characters created by Kevin Grevioux and Danny McBride and Len Wiseman)
PRODUCERS: Gary Lucchesi, Tom Rosenberg, and Richard Wright
CINEMATOGRAPHER: Simon Duggan
EDITOR: Nicolas De Toth

FANTASY/ACTION/HORROR with elements of sci-fi

Starring: Kate Beckinsale, Scott Speedman, Tony Curran, Bill Nighy, Derek Jacobi, Shane Brolly, Michael Sheen, and Steven Mackintosh

After the chaos at the end of Underworld, the war between the vampires and the lycans (werewolves) has taken a backseat to unlocking the secrets to the beginnings of the ancient feud. Vampire heroine, Selene (Kate Beckinsale), a Death Dealer (one who hunts lycans), and Michael Corvin (Scott Speedman), the human who became a lycan/vampire hybrid, have found their quest to unlock the secrets of their bloodlines hampered by the reawakening of Marcus (Tony Curran), the first vampire – also a powerful hybrid.

Marcus is hunting for the crypt where his brother William, the first werewolf, has been imprisoned for eight centuries. That also means Marcus must uncover the machinations of Viktor (Bill Nighy), the vampire lord who imprisoned William and who was killed at the end of the first film. [Viktor only appears in this film via flashbacks). Marcus is willing to kill anyone who stands in his way, including Selene, Michael… and Alexander Corvinus (Derek Jacobi), who is Marcus and William’s father and the man who was the first immortal.

Underworld: Evolution, as a sequel, is like Superman II to Superman and Star Trek 2: The Wrath of Kahn to Star Trek: The Motion Picture, more kick-ass than the original. I would call Evolution better than its predecessor. Although this film is even more of an action flick than the first, the two films are different. Whereas the first could be seen as some kind of riff on the Blade films with a twist of Goth style and music video cool, Underworld: Evolution has the explosiveness of a Lethal Weapon movie or a Michael Bay film (say, The Rock or Bad Boys II). It’s a fantasy mini-epic, but more video game fantasy than Tolkien.

The acting is as good as before. Kate Beckinsale is as magnetic and as alluring as the sexist action babe or femme fatale, and she can give a beat down that would make Charles Bronson proud. Scott Speedman is a solid leading man, and he plays second fiddle to Ms. Beckinsale without disappearing; he actually makes us miss him when he’s off screen. The music is better, and there is a nice addition to the costumes in the form of the vampire war armor. The film’s hues are warmer than in the first film – the better to fit Evolution’s hot passions and blood feuds.

But the architects of the film’s success remain director Len Wiseman and screenwriter Danny McBride; they seem to hit all the right notes. Here, it’s the fabulous and intricate back-story of the vampires and lycans that engages the viewer as much as the visual pyrotechnics and theatrics that Wiseman pumps into the film. If there is any reason for this franchise to continue, it’s certainly to see the twists, turns, and surprises that McBride and Wiseman may have in store. In the meantime, Underworld: Evolution simultaneously satisfies and whets the appetite. It will only take a few minutes of this excellent entertainment to make the viewer want to invest himself in the wild ride.

8 of 10
A

Saturday, January 21, 2006

"Underworld" Still Slick, Sexy and Cool

TRASH IN MY EYE No. 145 (of 2003) by Leroy Douresseaux


Underworld (2003)
Running time: 121 minutes (2 hours, 1 minute)
MPAA – R for strong violence/gore and some language
DIRECTOR: Len Wiseman
WRITERS: Danny McBride, from a story by Kevin Grevioux, Danny McBride, and Len Wiseman
PRODUCERS: Gary Lucchesi, Tom Rosenberg, and Richard Wright
CINEMATOGRAPHER: Tony Pierce-Roberts
EDITOR: Martin Hunter
COMPOSER: Paul Haslinger

HORROR/FANTASY/ACTION

Starring: Kate Beckinsale, Scott Speedman, Shane Brolly, Michael Sheen, Bill Nighy, Erwin Leder, Sophia Myles, Danny McBride, and Kevin Grevioux

Underworld is a 2003 action/fantasy film about a war between vampires and werewolves (called Lycans). I believe that this film exists in a fantasy world that looks so good and convincing on screen because of modern cinematic technology.

Quite a few people have come to believe that computers generated special effects have elevated what was once traditional Hollywood B-movie material (science fiction, fantasy, horror, etc.) to A-list status. Once upon a time quality story telling was king because even the best that special effects could do no more than make an obviously fake flying saucer look like an obviously fake flying saucer. Now, special effects can convincingly create fantastic worlds, outlandish creatures, and bizarre scenarios. A plain old movie drama pales next to some two-and-a-half hour vampire, car chase, kung fu, and alien invasion action movie.

I’d like to believe that Underworld, with its straight-forward tale about a centuries-long blood feud between werewolves and vampires, could still be very entertaining without the aid of computer generated effects (CGI) or any kind of SFX, for that matter. There’s no doubt that the movie proudly wears its B-movie heritage on its sleeve, and the creators sold the studio on the movie by pitching the idea, “Romeo and Juliet with vampires and werewolves.” Truthfully, very little about Underworld vampire/werewolf conflict makes much sense. The feud only seems a reason for Vampires to walk around in fancy and expensive leather gear and shoot hundreds of rounds of ammunitions. For the werewolves, or Lycans as they called in this film, the conflict gives them a reason to hide in the city’s underbelly, crawling around like low-rent thugs and thieves and engage in homoerotic intra clan feuds, as there are apparently no female Lycans.

Selene (Kate Beckinsale) is a death dealer, a Vampire warrior who hunts the Lycans. The Lycans were supposed to be on the run ever since their great leader Lucian (Michael Sheen) was killed six centuries prior, but the war never ended. Selene’s people are clan of secretive, modern sophisticates, as much dilettantes as they are vampires, and she alone seems to hold a hard line against the Lycans. Now, Selene has found the werewolves tracking a handsome young human man named Michael Corvin (Scott Speedman), and she is determined to discover why, even as she suspects her clan leader Kraven (Shane Brolly) is involved in a great conspiracy that could endanger all of her kind.

Visually, Underworld resembles The Matrix films, and stylistically the story is quite similar to the Blade films (maybe even a bit of The Crow), but director Len Wiseman and his cohorts create their own crazy dish from the various sources they raided to concoct Underworld. It’s by no means a great movie, and the acting is as much unintentionally funny as it is dreadfully serious. It’s oh-so-dark and oh-so-seriously gothic and Goth, and the dialogue is so stiff and formal that I can almost swear that no character spoke one word of contraction.

Still, though this film is ponderous and painfully derivative, I couldn’t take my eyes off it. I found Underworld to be quite good, and I’ll see it again. I can’t imagine that many fans of genre films would not see it, though many may actually not like it. For me, it’s one of those “ultimate” popcorn flicks – horror, fantasy, and action all put together and filmed as if it were a very, very, very long music video. It’s gloriously and hilariously dark eye candy for the comic book and sci-fi geeks. The nitpicker in me might sneer, but the film geek in me wants more. I’ll take it warts and all.

7 of 10
B+

Review: "Underworld: Unrated Extended Cut" is For Hardcore Fans (Happy B'day, Kate Beckinsale)

TRASH IN MY EYE No. 17 (of 2005) by Leroy Douresseaux

Underworld (2003)
2 Disc Unrated Extended Cut – May 25, 2004
Running time: 134 minutes (2 hours,14 minutes)
DIRECTOR: Len Wiseman
WRITERS: Danny McBride; from a story by Kevin Grevioux and Danny McBride Len Wiseman
PRODUCERS: Tom Rosenburg, Gary Lucchesi, and Richard Wright
CINEMATOGRAPHER: Tony Pierce-Roberts, BSC
EDITOR: Martin Hunter

ACTION/DRAMA/FANTASY/HORROR/THRILLER

Starring: Kate Beckinsale, Scott Speedman, Michael Sheen, Shane Brolly, Bill Nighy, Erwin Leder, Sophia Myles, Robby Gee, Wentworth Miller, and Kevin Grevioux

In the 2003 film, Underworld, there has been a war between the Vampire and Lycan (Werewolf) clans for about 1000 years. The film focuses on Selene (Kate Beckinsale), a young vampire warrior known as a Death Dealer. The Death Dealers are the ones who hunt, track, and kill Lycans. During a hunt at the beginning of the film, she discovers two Lycans following a young American medical intern, Michael Corvin (Scott Speedman). Michael is the key to the Lycan leader, Lucian’s (Michael Sheen), plot to unite the two warring species, but Selene discovers that Michael is also advertently a link to a centuries-old conspiracy between Lucian and the Vampire’s current leader, Kraven (Shane Brolly). As the web of conspiracy broadens, Selene must use her resourcefulness and martial skills to save her clan and Michael.

Underworld (2 Disc Unrated Extended Cut) contains 12 minutes of extra footage, which amounts to more backstory on Michael Corvin and the Lycans, a new battle scene at the end, and a subplot involving the sexy and catty, Erika (Sophia Myles). There is also 11 minutes of recut or “replacement footage.” According to Wiseman’s commentary, this is not a “director’s cut,” because he cut the 12 minutes in the original film for pacing, and as he says, you’ll hardly notice the difference, as I didn’t.

I liked the film the first time I saw it and I like it even more the second time. The movie is a blend of Blade, The Crow, and The Matrix. Conceptually, it borrows from the Blade franchise, but visually, it’s takes from The Crow and absolutely leans on and loots The Matrix. However, it is a superbly made bit of fluff that is divinely tasty eye candy. Although the concept and script are full of holes, it’s kind of like a gorgeous looking high-concept music video with much more story than music video normally have. By the way, “unrated” doesn’t mean we get to see skin from Ms. Beckinsale. This is a must-have for hardcore fans of the film, even if it means dumping the first DVD edition.

7 of 10
A-

NOTES:
DVD includes a 48-page Underworld comic book and a 16-page production sketch booklet, which contains several storyboard-to-screen comparisons. Disc 1 contains the extended cut of the film with (1) director and cast (Ms. Beckinsale and Speedman) commentaries; (2) outtakes; (3) the American Movie Classic (AMC) television special “Fang vs. Fiction”; (4) two TV spots; (4) and previews of four (then) upcoming movies distributed by Sony Pictures. Disc 2 has several features including a music video by the band Finch (“Worms of the Earth”) and several looks at designing the look and sounds of the film.

-------------------------

Review: Giamatti, Hoffman Golden in "Barney's Version"

TRASH IN MY EYE No. 58 (of 2011) by Leroy Douresseaux

Barney’s Version (2010)
COUNTRY OF ORIGIN: Canada
Running time: 134 minutes; MPAA – R for language and some sexual content
DIRECTOR: Richard J. Lewis
WRITER: Michael Konyves (based upon the novel by Mordecai Richler)
PRODUCER: Robert Lantos
CINEMATOGRAPHER: Guy Dufaux
EDITOR: Susan Shipton
COMPOSER: Pasquale Catalano
Academy Award nominee

DRAMA/COMEDY

Starring: Paul Giamatti, Dustin Hoffman, Rosamund Pike, Scott Speedman, Anna Hopkins, Jake Hoffman, Minnie Driver, Bruce Greenwood, Rachelle Lefevre, Thomas Trabacchi, Clé Bennett, Saul Rubinek, Mark Addy, and David Cronenberg, Denys Arcand, and Atom Egoyan

Barney’s Version is a 2010 Canadian film based upon the 1997 novel of the same title by Mordecai Richler. A comedy and drama, Barney’s Version looks at three decades in the life of a picaresque character and his three wives.

Impulsive, irascible, and fearlessly blunt with a foul mouth, Barney Panofsky (Paul Giamatti) is a Jewish Canadian television producer who drinks hard, smokes too many cigars, and is a rabid hockey fan. He owns Totally Unnecessary Productions, which produces a long-running soap opera, “Constable O’Malley of the North.”

At the age of 65, Barney looks back on his life. There is success and wealth, but there are also many mistakes and failures. Underlying his story are three wives: Clara “Chambers” Charnofsky (Rachelle Lefevre), a free-spirit who loves free love (and Barney’s friends); the second wife, Mrs. Panofsky (Minnie Driver), a talkative, self-centered Jewish princess; and Miriam Grant (Rosamund Pike), the love of his life who gives birth to his children. Also part of Barney’s life story is Bernard “Boogie” Moscovitch (Scott Speedman), a drug addict and failed writer who gets Barney in trouble with the law.

Barney’s Version is marked by some good performances, and, in particular, a topnotch lead performance by Paul Giamatti, who won a Golden Globe for his portrayal of Barney Panofsky. Dustin Hoffman, as Barney’s father, Izzy Panofsky, gives one of those robust, fragrant supporting performances that stand out from the other supporting performances. Like many films that make extensive use of flashbacks, however, Barney’s Version ends up looking like an interesting highlight reel rather than a fully developed story that is, in turn, about something or that is built around a solid thematic structure.

I’m not saying that Barney’s Version is not a good movie, but simply that it seems like no more than bits and pieces of a larger story about one of those great fictional characters that grab a hold of our imagination. By the end of Barney’s Version, I thought, “This is good, but there is more. Something is missing.” Still, movie lovers who love character dramas will want to try Barney’s Version.

7 of 10
B+

NOTES:
2011 Academy Awards: 1 nomination: “Best Achievement in Makeup” (Adrien Morot)

2011 Golden Globes: 1 win: “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Paul Giamatti)

Friday, July 08, 2011

------------------------