Posts Tagged ‘Ed Harris’

Pain and Gain (2013)

pain and gain

Pain and Gain (2013) takes us back to 1995 in Miami-Dade and long before Lieutenant Horatio Caine made this a safe place to live. That means people like Daniel Lugo (Mark Wahlberg) roam free to work their mischief (as the film repeatedly tells us, this is based on a true story). Such men may enhance their bodies through hard work lifting weights and the occasional injection of steroids, but big muscles on the outside do not make big brains on the inside. The set-up shows us a man on the run from the police who obviously had a get-rich-quick scheme that went wrong. When we move back six months in time and hear his sales pitch for what makes America so great, we know why it went wrong. This body-building narcissist lives in a fantasy land where his heroes are drawn from the cinema and the associated mythology of successful criminals. He watches a lot of movies so has an infallible plan to kidnap Victor Kershsaw (Tony Shalhoub). To make this plan work, he recruits Paul Doyle (Dwayne Johnson) who has a veneer of Christian values spread over the stinking pile of moral weakness underneath, and Adrian Doorbal (Anthony Mackie) whose excessive investment in steroids has left him seriously challenged in the sex department.


From this brief introduction, you will understand this is probably intended as a comedy and may well have pretensions to social commentary. When I mention the director is Michael Bay you can express surprise at the lack of anything SFnal or supernatural. We even get to the end without any explosions (although there’s a reasonable amount of violence if that’s what gets you through the door of the cinema). It’s actually impressive to see a man who has made his money with big screen action films make something on a smaller scale. Unfortunately, with an idea this dumb, he should have been a don’ter not a doer.

Anthony Mackie, Dwayne Johnson and Mark Wahlberg managing to cross the road

Anthony Mackie, Dwayne Johnson and Mark Wahlberg managing to cross the road


To be honest, I don’t usually go to American comedies (assuming that’s what this is). As my age has advanced, I’ve been finding the cultural gap on transatlantic humour harder to cross. To say that my decision to watch this is an example of optimism prevailing over intelligence is therefore an understatement. After sitting through it, the question I’m left with is why we’re supposed to think kidnapping, robbery, and attempting to and actually murdering people is funny. Let’s pause for a moment and go back to Ruthless People (1986) in which two less than competent criminals kidnap Bette Midler to extort money from Danny DeVito. I recall this as mildly amusing and, at ninety-three minutes, it knew exactly how long a joke can be spun out before it loses its edge. At 129 minutes, this pile of amoral entertainment makes the case that it’s no big deal to rob Victor Kershaw because he’s a cruel and unsympathetic man. The police have no interest in his story. None of his neighbours missed seeing him around. His employees are relieved he no longer comes in to abuse them. Only retired private detective Ed Du Bois (Ed Harris) even vaguely believes Victor’s claims and, in the first instance, it’s only because he’s so bored, he will seize any excuse to get out of the house.

Ed Harris looking cool and competent

Ed Harris looking cool and competent


As to our “heroes”, they think they’re home free after their first team crime. Adrian Doorbal gets married — the drugs to restore his erections are now affordable, Daniel Lugo becomes a pillar of the local neighborhood watch, and Paul Doyle rediscovers cocaine and the high that comes from having cops shoot at you after a failed robbery. Then when the fact of one-man pursuit penetrates their thick heads, they decide to double down. Not for them the pussy way of running away. They’ll do it again. Hell, yeh! Well, we all know how that’s going to go. By this time, I’m beyond despair. The divergence from the plan proves significant and the jokes (if that’s what they’re intended to be) get progressively more sick — chainsaws and BBQs come into play. Frankly, I see nothing even remotely funny about any of this. To dignify it as “dark comedy” or a social commentary would be absurd. Are we really supposed to accept the ideal route to realising the American dream is through crime? I know there have been some spectacular examples of fraudsters hitting it rich and accept that, in a country where being rich excuses many minor and some major faults, it’s possible to tell an entertaining story about such people. But no-one here looks good (apart from the retired detective and his wife). It doesn’t matter whether it’s the girl on the complaints desk at a hardware store or the wealthy neighbours Daniel Lugo inherits, everyone is shown as massively indifferent to notions of social responsibility at best or actively into lust, drugs and anything else sinful or criminal they think they can get away with. What we see is a society in decline.

Tony Shalhoub thinking life is sweet

Tony Shalhoub thinking life is sweet


Under normal circumstances, I might look the other way. It’s just another of these offensive films about life in the decadent West. But here we’re repeatedly told this is based on real-world events: the exploits of the Sun Gym Gang in the 1990s as told by Pete Collins. So taking this as a true story of three bodybuilders and the incredible failures of the Metro-Dade police force, I’m left with one final question. Where’s the film-makers’ disapproval of these idiotically dangerous criminals and of the dangerously incompetent police officers? I might have come away with a better opinion of this film if I’d felt the director and scriptwriters were holding these people up as exemplars of what not to do. Instead we have deranged heroes in what’s intended to be a comedy running rings around brain dead police officers. We’re obviously intended to laugh at their pathetic efforts to kill Victor Kershaw. What message is that sending to the audience? When they later accidentally kill people, we’re intended to laugh at their efforts to dispose of the bodies. I find this implicit approval of their actions to be profoundly offensive. Matching the film, the fact that the real-world Daniel Lugo has still not been executed is a testament to the pathetic way the American justice system works. If you have the death penalty and you have a deserving candidate, you dismiss the appeals and carry out the sentence. If you don’t, what’s the point of having capital punishment? What message is this sending to other potential kidnappers and killers? Even if you do get caught, America can’t kill people when they deserve to die. At every level, both as fiction and as a reference to real-world events, Pain and Gain is not just film with a moral vacuum at its core. From the fact of its production and the way in which it’s marketed, we’re being inviting to see this story of out-of-control predators as entertaining. The failure of the film-makers to take a moral stance against the events being shown makes this worse than Arbitrage and I thought that was bad.


Gone Baby Gone (2007)

October 28, 2011 Leave a comment

Watching this film prompts the question of why we watch films. It would be too easy to start and stop with the idea that films are something we find amusing or diverting. This would pitch the expectation at a level equivalent to something relatively light and frothy. While it would not deny the possibility of some intellectual weight, the “intelligence” of the script or the performances would be less than obvious, perhaps something we might only pick up in the post mortem when the other ideas had been fully explored. Yet Gone Baby Gone manages the clever trick of being a very sophisticated exploration of a moral dilemma and entertaining, i.e. it has people investigating a kidnapping and shooting at each other (or into the air at one point). So, in the conventional sense, it’s pandering to an audience that likes thrillers while inviting them to look beyond the superficial action and see something more interesting to talk about in the pub afterwards.

Casey Affleck and Michelle Monaghan consider whether to take the case


As an example, let’s take a brief look back at a previous morality tale. The Accused (1988) has Sarah Tobias (Jodie Foster) raped by multiple attackers. The point of the film is to explore the gray area of liability for spectators who cheer on the rapists. If the original producers were to make a sequel, they might suppose Sarah is pregnant and proposes to have an abortion. Relying on his religiously inspired moral stance against abortion, one of the rapists asserts his paternal rights and petitions the court for an injunction to prevent the abortion. Well, we all know the action would fail. While the child is still a part of the mother’s body, it’s her right to determine what should happen. Fathers have no status when it comes to deciding the fate of their potential children. This is not to say there may be local laws controlling the legality of the abortion but, for the purposes of our potential drama, let’s assume that the victims of rape are allowed to abort.

Ed Harris and John Ashton try to get the truth out of Amy Ryan


If someone were to make this sequel, it would run the risk of being preachy on an inflammatory issue. In many countries, abortion is highly controversial and no matter what line the script took, it would upset one side of the polarised debate. So, coming back to Gone Baby Gone, it invites the viewers to consider a simple question. Assuming kidnapping a child is always a crime, are there circumstances in which the commission of this crime would be in the best interests of the child? This is a film based on the book of the same name by Dennis Lehane. It’s the fourth in the series featuring Patrick Kenzie (Casey Affleck) and Angela Genaro (Michelle Monaghan). The couple operate as private detectives, specialising in finding those who have disappeared. Against her better judgement, they take the case and immediately find themselves pitched into a difficult family situation. It’s immediately obvious the mother, Helene McCready (Amy Ryan) is a hopeless addict who cares nothing for her daughter. As more evidence emerges, it appears this mother may have been involved in various criminal activities during which she came into possession of a large sum of money. A criminal interested in recovering this money would have a motive for kidnapping her daughter.

Morgan Freeman, the ever reliable performer


Once our private detectives get on the trail, they find two senior police officers more than helpful: Ed Harris and John Ashton. Their boss, Jack Doyle (Morgan Freeman) also seems to mellow as the investigation proceeds. A second child then goes missing and a tip comes to Patrick Kenzie identifying the possible abductor. This results in more co-operation with the police, but the outcome is not what Patrick might have hoped for. Since private detective heroes must always be competent, they eventually find the girl but must then decide what to do about it. If you take the view the interests of the child are the first and paramount consideration, you might condone the crime and leave her where she is. But if you trust the system, you might call in the police, send the kidnappers to jail, and wait for the state to declare the mother unfit and find a good foster home. Except who would trust the state with something as important? Only someone self-righteous who would always want to uphold the letter of the law. Which is why I mentioned the abortion issue. One side assets its right to impose its morality on the mother in the belief it knows best. Here our two private detectives get to decide what’s best for the child. For those of you who like to follow loose ends, the question of what happened to the kidnapped child is explained by Dennis Lehane in Moonlight Mile, published in 2010.

Dennis Lehane, author of Gone Baby Gone, Shutter Island and Mystic River


Gone Baby Gone is elegantly adapted for screen and directed by Ben Affleck making an auspicious debut behind the camera. Although there’s not a little nepotism in the casting of Casey Affleck as Patrick Kenzie, the result is impressive. Similarly, Ed Harris puts in one of his better performances, the two actors standing out in what is otherwise an ensemble cast — sadly, Michelle Monaghan is not given much to do as Angela Genaro. This is more at the brain food end of the entertainment scale but, by my standards, that make it one of the better films of the last decade. It should also be said that Dennis Lehane is a consistently impressive author and, if you have not already done so, you should read his books.


For a review of another film directed by Ben Affleck, see Argo.


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