'Hangman' is not worth your time

Hangman (2017)
Starring: Carl Urban, Brittany Snow, and Al Pacino
Director: Johnny Martin
Rating: Four of Ten Stars

A retired police detective (Pacino), a criminal profiler (Urban), and an investigative journalist (Snow) are drawn into a twisted game by a serial killer with ties to the past of one or more of them.

"Hangman" is a lazily written movie that stands at the intersection between the thriller, the police procedural, and the horror movie, in that it has elements of all three genres and deploys them all in a mediocre fashion. The cast gives the weak script the performances it deserves, with no one being especially good or bad... although Pacino pretty much just walks through a role he's probably played a dozen times in his career, so I suppose he gets a point for consistency and predictability if you're watching because you're a fan of his.

Although purely mediocre for most of its running time, it's the last five seconds that push the movie down from the low-end of average to just bad due to a misguided attempt to tack on a shock ending, or maybe leave the door open for a sequel. Whatever the motivation for the truly stupid final moment, it wipes away what little "Hangman" had going for it.

Unless you come across this turkey late night on cable, or you've watched everything there is to see on Amazon Prime or Netflix, you should avoid "Hangman." It is not worth your time.

'Red Riding' is a moody mystery

Red Riding: In the Year of Our Lord 1974 (2009)
Starring: Andrew Garfield, Rebecca Hall, Anthony Flanagan, Sean Bean, David Morrissey, and John Henshaw
Director: Julian Jarrold
Rating: Six of Ten Stars

A rookie crime beat reporter (Garfield) tries to discover the identity of a serial killer preying on little girls in Yorkshire, but in the process runs headlong into a dangerous and far-reaching conspiracy involving corrupt police officers, a ruthless real estate developer (Bean), and perhaps even the mother of one of the victims (Hall).

Rarely have so many great performances been featured in a film so intense and stylish added up to so little. By the time the 100 minutes of "Red Riding" have run their course, you'll have witnessed one of film history's most incompetent journalist-detectives blunder his way through a twisted maze of perversion and corruption, solve the case, kinda-sorta see justice done... and you'll find yourself wondering, "Is that it?"

Given that this is the first part in a three-part series based on a true story of a serial killer that terrorized Yorkshire in the 1970s and 1980s--and some conspiracy theorists hold that the killer may still be at large.

Based on this movie, one can easily buy into that conspiracy as the Yorkshire in "Red Riding" makes Chicago look like Mayberry by comparison. Everyone with the smallest scrap of power is tied to a corrupt political machine, and anyone who tries to challenge that machine ends up discredited or dead. In the end, it's a somewhat depressing movie, because the over-arcing message is that "evil always wins".

Part of why evil wins in this film is because good is so damn stupid. The erstwhile hero of the film is both cowardly and lazy, which makes him a very realistic character but it also makes for frustrating viewing. He makes the wrong choice at every single opportunity and ultimately becomes part of the very cover-up he is trying to unravel. Although it's probably a good thing for the series of movies that he--if not for the real-life victims of the Yorkshire Ripper--because the corrupt cops and politicians and business people in this film aren't much smarter. With the way they carry on in this film, and the messes they leave behind, their goose would have been cooked long before whatever ultimate solution will be offered to the central mystery of this film in the third film, "Red Riding: In the Year of Our Lord 1983". Unless, of course, Yorkshire really does make Chicago look like Mayberry by comparison.

While you may feel a little frustration at the stupidity of the reporter hero of this film, it is worth watching for the great acting. Sean Bean in particular puts on a good show as a menacing real estate tycoon who may or may not entertain himself on the weekends by kidnapping and murdering little girls and sewing swan wings on their backs.

At the very least, the film serves as a nice stage-setting for the next chapter in the series, which I will be watching and reviewing shortly.

The truth apparently lies in a boring place

Where the Truth Lies (2005)
Starring: Kevin Bacon, Colin Firth, Alison Lohman, and David Hayman
Director: Atom Egoyan
Rating: Five of Ten Stars

A young journalist specializing in celebrity interviews (Lohman) sets out to uncover the mystery behind the events that broke up the successful 1950s comedy team of Collins & Morris. She discovers an underbelly of the entertainment industry that is even more filthy than she had imagined.

"Where the Truth Lies" has the makings of an excellent mystery in the film noir vein. It's got the story elements--a reporter on a quest, reclusive men of riches and power with dark secrets to hide, betrayal, sex, lust, greed... everything--and it has the shells of some very interesting characters.

But the potential here remains unrealized.

The director seems to be have been more interested in showing off the film's excellent set and costume design (the film is VERY effective at evoking the two different time periods it takes place in--the 1950s and the 1970s) and trying to get as much milage out of titilation and sleaze as possible instead of giving us reasons to care about the film's characters.

The end result is a very hollow feeling movie, and a movie that starts to feel boring and overlong when it should drawing the viewer in with suspenseful anticipation. Because we don't really care about the characters, we are barely interested in the mystery at the film's core at the end than we were at the beginning. By the time it enters into its second half, the dominating feeling is "get on with it!" instead of an anticipation of what happens next.

"Where the Truth Lies" is a very pretty film, but that's not enough to make it worth sitting through. I saw this film while sitting in a hotel room with nothing better to do but watch it, and I kept grabbing books to flip through. Even the hawt lesbian nookie (although gorgeously filmed) was not enough to stave off my growing boredom and irritation with the fact the film wasn't getting to its conclusion.

A political comedy that was dated on release

Silver City (2004)
Starring: Danny Huston, Chris Cooper, Richard Dreyfuss, Maria Bello, Daryl Hannah, and Billy Zane
Director: John Sayles
Rating: Three of Ten Stars

A press opportunity and campaign commercial shoot for dimwitted gubernatorial candidate Dickie Pilager (Cooper) is disrupted when a dead body is discovered. Take-no-prisoners campaign manager Chuck Raven (Dreyfuss) hires burned-out-reporter turned private detective Danny O'Brien (Huston) to investigage possible links between the Pilager family and the corpse so he can institute damage control if he needs to. O'Brien uncovers far more than anyone had expected, and he drawn into a high-stakes political conspiracy involving billion dollar real estate development deals and illegal alien smuggling.


That summary of "Silver City" maikes it sound far more interesting than it is. This 2004 movie is so heavy-handed in its political messages (Republicans/Conservaitves ALL bad and evil and corrupt and stupid, Democrats/Liberals ALL good and pure and civic-minded and brilliant); the satire not even approaching clever or insightful, but merely recycled George Bush jokes that were old in 2001; and the mystery that Danny O'Brien investigates is drap and ultimately of a "so what"? variety. (But, it mostly becomes that due to the unrelenting, hackneyed political screeds that passes for the script and plot in this piece of junk.)

This is a film that was stale and dated when it was released in September of 2004, and it's only gotten more-so as George W. Bush's presidency slips away into history. Who could have guessed that so many talented actors could be so blinded by their politics so as to not recognize this film for a piece of garbage when they read the script?

This could have been a decent political thriller with satirical overtones if it hadn't been helmed by what I can only assume are a bunch of frothing fanatics. "Silver City" is the political equivilant of a third-rate drama airing late at night that Christian cable channel--if you're a True Believer, you'll think it's thrilling and funny. If you're even the least bit able to see that politics and politicians is far from a black and white game, and that no one rises to the top by being an idiot, and that no one is pure evil or pure sweetness and light, you will find this film to be a total waste of your time.

The only positive thing I can say about "Silver City" is that the cast all turn in excellent performances. I particuarly enjoyed Danny Huston, Billy Zane, and Daryl Hannah. I might even have liked Chris Cooper if his character had been just a tad more original and better written... but he did what he could with the unfunny crap he was working with.

I think the many glowing and fawning reviews this movie--which stinks worse than the corpse that ruins Dickie Pilager's film shoot--can be used as evidence for right-wingers who like to cry about liberal media bias. Only someone who is so severely brainwashed they're a mind-numbed robot could give this film anything approximating a positive review.

'Perfect Stranger' should remain unknown

Perfect Stranger (2007)
Starring: Halle Berry, Giovanni Ribisi, and Bruce Willis
Director: James Foley
Rating: Three of Ten Stars

An investigative reporter (Berry) goes undercover at a top ad agency to prove that its face man Harrison Hill (Willis) murdered her best friend. But can the truth be discoverd when the investigation is mired in hidden agendas?


"Perfect Strangers" is a thriller that is completely devoid of tension, partly because the viewer is never convinced that the supposed murderer is all that dangerous and partly because we're not given a reason to like any of the characters enough to care whether they too get poisoned with an overdose of belladonna.

To add insult to injury, the films lazily written--to the point where every character on screen even sounds alike--and it's got one of those annoying, unnessecary twist-endings that in a desperate attempt to breathe some life and excitement into the film only manages to underscore how haphazard and badly executed it is. (I will grant that it's an ending better supported by what has gone before than in other films, but it's still false, hollow and a bit of a cheat. It's made more of a cheat because of the audience-manipulating flashbacks that appear throughout the film; I despise this movie even more for its refusal to play fair with the viewer and provide ligitimate clues so we can "play along" in solving the mystery at its core and instead feeding us distortions.