Robbing BlindApparently, some people have been complaining about some other critics out there making a blasphemous comparison. Most of these critics who complain are rather old school, and do not appreciate such comparisons made to an artist that they have adored for decades. The two parties involved in this comparison: Ben Affleck and Clint Eastwood. I understand why some people would be upset, but I happen to agree with. In fact, when I reviewed Affleck's first directorial effort, I ended with that comparison. I enjoyed that first effort. This one falters heavily on some story elements which makes it not quite as recommendable.
Based on the Chuck Hogan novel Prince of Thieves, the centerpiece is on Charlestown, an area in Boston that claims to have a huge amount of bank robberies every year. There's a rag-tag groups of thieves here, that's headlined by Ben Affleck as Doug MacRay. Their most recent robbery, which opens the film, ended with them taking a hostage, a woman played by Rebecca Hall. To keep tabs on her, MacRay visits her and eventually a relationship starts to bloom. But some aren't too pleased about it, mainly being his best friend James (Jeremy Renner) and the FBI agent (John Hamm) who comes down hard on trying to pinch the gang in the act.
With his sophomore effort behind the camera, Affleck makes an even stronger case that his career as a director is one that must be seriously considered. Affleck handles the tension and quiet emotions of scenes quite well. The robberies are well staged and tight in execution, and the emotional moments are allowed the breathing room to develop in a realistic way. Unfortunately, as strong as Affleck's directorial efforts are, those efforts are undercut by a painfully pedestrian and predictable story. The curves in the plot are incredibly easy to spot and the characters exist in predictable types that limit any amusement to watch them on screen. Affleck tries his best to work with this material, but it's very sluggish and makes building up any momentum to be quite a difficult task.
I've always said that Affleck is an actor who isn't bad, just limited. It's another case here. I think he's able to carry himself quite well in the role, but there's always something to his performance that just misses the step of total believability. It might be the surface level complexity of his character that puts a wall behind the acting, but it's happened enough during Affleck's acting career for it to take notice once again. It seems like John Hamm is trying to become a movie star, and he shows potential in this role, but he feels a bit too antagonistic to really register in the film. Renner, probably the best actor in the film, is unfortunately sidelined with the worst, flattest character in the film, and Hall, while good, feels limited. The only one who feels really used well is Blake Lively as MacRay's girlfriend. The role of the limited supporting actress with questionable morals has appeared in both of his films, and both times they have been the best aspects. Here, she's entertaining and convincingly sad and most exciting to watch.
I wish I could say that Affleck's second film is better than the last, but I can't really say that. Even his first film was just an okay outing that was really pushed over the edge because of Amy Ryan's Oscar nominated performance. Lively can't work quite the same magic here, and the film's sloppy story crushes a lot of the good will that the film builds up for itself. I think the cast does a good enough job to work through the limited material, and Affleck as director carefully crafts the best scenes he can, and for much of it he succeeds. I don't think I can flat out recommend the movie, but I enjoy seeing what Affleck can bring to the table with each new film and look forward to a masterpiece I know he can one day deliver on, just like our old pal Clint Eastwood.
B-
Hell to Pay
Everyone knows that, sometimes, you have to rely on certain names in order to sell films in the marketplace. However, one name in particular has conjured up so many conflicting emotions that it might be better just to leave his name off. That name, of course, is M. Night Shyamalan. It's tricky to market a film with this name, particularly since his last film was an absolute critical bomb and certainly nowhere near a financial success. I do think it would have been a smarter decision to leave his name at least out of the advertisements. However, as it stands, this is probably the best thing with his name attached since Signs.
This is the first of a series of films that have been promised "from the mind of M. Night Shyamalan." This one's about a group of strangers that get trapped in an office elevator and soon discover some frightening things about each other. As the title suggests, they begin the guessing game as to which one of them is Satan incarnate while the police and other outside forces try to free them before they all perish.
I do think this is the best thing with Shyamalan's name attached in close to eight years, and the main reason for that is probably because he didn't direct or write the screenplay for this one; he is credited only for the story and producing. The writer and director here are Brian Nelson and John Erick Dowdle, respectively. Each have had only mild successes in the past, but with some standouts. Dowdle has handled mokumentaries like Quarantine and The Poughkeepsie Tapes, and while they aren't really great films, they are quite measured attempts in crafting a somber tone in tension and horror. He puts those skills to good use, and sets a quick tone that indulges in all the right moments that make it entertaining. Nelson's script doesn't overstay its welcome, and spins this "Twilight Zone" premise into a nice show.
Ensemble pieces in thriller/horror films usually don't give you quite as much to hold onto, but I'll admit that many players did pull me in. Chris Messina has been a reliable actor in smallish roles, and here he gets to shine a bit as the detective in charge of the situation. He infuses a lot of charm and legitimate concern that's good for the straight man in this type of situations. Among the victims, the standout is going to be the gravely voiced, tough guy mechanic played by Logan Marshall-Green. None of these performances are going to be gaining Oscar attention, but Marshall-Green is given the most to grow as an actor, and he does a serviceable job with it.
I'm going to try not to oversell this film. It's quick (the running time is eighty minutes) and dirty, and when it's over you probably won't be thinking about it for too long. However, as a small horror/thriller, it does the job quite well. It adds the right amount of tension and suspense, and I think the light ambitions it sets out to accomplish are done well. It's kinda forgettable, but at least not while you're watching it, and it provides an entertaining time at the show. Between the film with Shymalan's name and the one Affleck's name, I liked the former more. The devil must be working his magic this week.
B
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