The Last Lullaby (2008)
Here's a film that reinvigorates the true moody, classic, slightly low-budget intensity of film noir. It's not latecomers like "Chinatown," Blood Simple," or "Mulholland Drive," which are strong movies on their own terms (and often waved as recent film noirs). "The Last Lullaby" survives and penetrates on the essence of a good noir--a leading protagonist who is lost in the world, a mysterious set of forces out to take him down, a leading female with dubious intentions, and gloomy dramatic filming to create a mood of uncertainty and, frankly, dark elegance.
This is a kind of masterpiece that I think will grow over time. Like some of the great noirs (to keep this theme going for just another thought), the first impression might be flawed, as if there is something too forced and stylized and sometimes even clunky going on. But this is part of what makes for style, and style is what makes for a lasting, unique movie. Think of "The Big Heat" or even "Double Indemnity." (For some reason, "Point Blank" with Lee Marvin comes to mind as as somewhat newer parallel).
Tom Sizemore makes the movie. He's a hit-man seemingly drifting out of the business, but having nowhere to go or nothing to do with himself. And then his skills get called into play, almost by instinct. Sizemore manages laconic better than anyone. He's not weary, exactly, but indifferent because of a long violent life. (The actor might be remembered best for his terrific role in "Natural Born Killers," a good pedigree for this movie.) And of course he meets a woman in an unlikely way, and the plots twists and twists.
But it doesn't spin out of control thanks to Sizemore's steady and yet expressive and really subtle performance. And the woman, played by Sasha Alexander (tons of television, including 20 episodes of "Dawson's Creek"), who has more depth and restraint than you'd expect in this kind of role. In fact, part of the whole thrill of the movie is the way the two leads, who make up nearly every scene, are so low key even as the events are bloody and out of control in their violence.
The cast, crew, writers, and so on are all relatively new, or coming from modest careers. That they all collide and make something this special happen is one of the thrills of collaborative artmaking--movies, above all, with so many components to go wrong, or to go right. You might not find this to your taste, but if you do, it might be one of the great surprises of the year. It was for me.
Here's a film that reinvigorates the true moody, classic, slightly low-budget intensity of film noir. It's not latecomers like "Chinatown," Blood Simple," or "Mulholland Drive," which are strong movies on their own terms (and often waved as recent film noirs). "The Last Lullaby" survives and penetrates on the essence of a good noir--a leading protagonist who is lost in the world, a mysterious set of forces out to take him down, a leading female with dubious intentions, and gloomy dramatic filming to create a mood of uncertainty and, frankly, dark elegance.
This is a kind of masterpiece that I think will grow over time. Like some of the great noirs (to keep this theme going for just another thought), the first impression might be flawed, as if there is something too forced and stylized and sometimes even clunky going on. But this is part of what makes for style, and style is what makes for a lasting, unique movie. Think of "The Big Heat" or even "Double Indemnity." (For some reason, "Point Blank" with Lee Marvin comes to mind as as somewhat newer parallel).
Tom Sizemore makes the movie. He's a hit-man seemingly drifting out of the business, but having nowhere to go or nothing to do with himself. And then his skills get called into play, almost by instinct. Sizemore manages laconic better than anyone. He's not weary, exactly, but indifferent because of a long violent life. (The actor might be remembered best for his terrific role in "Natural Born Killers," a good pedigree for this movie.) And of course he meets a woman in an unlikely way, and the plots twists and twists.
But it doesn't spin out of control thanks to Sizemore's steady and yet expressive and really subtle performance. And the woman, played by Sasha Alexander (tons of television, including 20 episodes of "Dawson's Creek"), who has more depth and restraint than you'd expect in this kind of role. In fact, part of the whole thrill of the movie is the way the two leads, who make up nearly every scene, are so low key even as the events are bloody and out of control in their violence.
The cast, crew, writers, and so on are all relatively new, or coming from modest careers. That they all collide and make something this special happen is one of the thrills of collaborative artmaking--movies, above all, with so many components to go wrong, or to go right. You might not find this to your taste, but if you do, it might be one of the great surprises of the year. It was for me.