My weekly movie reviews. You can also read these on letterboxd.

This week focuses on four new crime films, released during 2024.

 

REBEL RIDGE (2024)

Rating: 2.5 out of 5 Stars

I’m an outlier here but I did not find REBEL RIDGE to be one of Jeremy Saulnier’s finest moments. In fact, it is barely better than his dull, flawed HOLD THE DARK from several years ago and is one of this year’s most disappointment efforts.

First, the script is bloated. The overlong and needlessly complicated narrative goes on and on. It would have been simple enough to pit the protagonist against a corrupt sheriff’s department and show us the fireworks but instead Saulnier weaves a complex, yet uninteresting, multi-layered conspiracy. To explain this plot, the middle of the film is taken up by scene after scene of exposition. Some are comparing this to FIRST BLOOD. No. That film has an extremely simple and effective narrative, focuses on a handful of characters, and packs a punch. REBEL RIDGE is not Rambo nor is it even as good as a film like James Garner’s 80s one-man-versus-corrupt-sheriff movie TANK. It also contrasts Saulnier’s previous works from MURDER PARTY to BLUE RUIN to GREEN ROOM which has incredibly basic plots but blew our minds. The indulgent screenplay, wanting to be smart when it just needed to be sharp, ultimately detracts from what does work in REBEL.

The two elements I did enjoy in this film: 1. The action is often well-blocked and shot. Some of it even feels original, especially the hand to hand combat. 2. And I did like Don Johnson’s performance, reminding me of when he was even better in BRAWL IN CELL BLOCK 99. But another thing ruins REBEL RIDGE for me and that’s the political angle. No, it’s not overtly political but it is. It has something to say about both race and law enforcement, painting a pretty biased, one-sided view of the latter. I’d be curious to hear what most of my cop friends would think about this movie, one that barely has a single ethical police character besides a black woman who sits at a desk most of the film. I won’t dissect any more of the representations here but will end this write up by asking why this film needed any kind of color casting? It could have had a mix of all races on both sides, good and bad, honorable and corrupt duking it out. Instead, Saulnier went for woke-light and came up short.

Watched on Netflix.

 

COUP DE CHANCE (2024)

Rating: 3.5 out of 5 Stars

Woody Allen’s latest (and perhaps last) is neither the comeback that some claimed or a dud. I didn’t expect it to be either, nor did I even hope for a masterpiece. For years now, I’ve enjoyed Allen’s consistent output, a work ethic I’ve tried to emulate in my own career, and looked forward to his films whether they were hits, misses, and occasionally masterpieces.

COUP DE CHANCE falls in the middle ground. It bares resemblance to CRIMES AND MISDEMEANORS and MATCH POINT though it feels fresh. In fact, without his credit and style of credits I probably couldn’t tell Allen directed this film. I would have assumed it was by a French filmmaker and a much younger one. COUP is light on its feet, not grim like CRIMES or MATCH nor is it as powerful but it is fun to watch. The characters are the kind you can relax with, regardless of the subject matter, and the acting is quite good, especially Melvil Poupaud as the husband.

I think Allen missed an opportunity with the ending, which I won’t ruin. I wish he’d taken it in a more Coen-esque direction but that kind of dark violence isn’t really his jam. But those of us who know his work and love it won’t be surprised or disappointed by most of COUP DE CHANCE. If this is really Allen’s last film then he has given us one more movie to enjoy in one of the best careers of American cinema.

Watched on Amazon

 

KNOX GOES AWAY (2024)

Rating: 3 out of 5 Stars

Michael Keaton’s critically-praised directorial effort is a watchable yet unremarkable crime thriller.

It had me thinking from beginning to end why Keaton decided to not only lead this picture but direct it as well. The movie’s script isn’t great. First off, it drags, struggling to create suspense or even a base-level tension that makes us feel like Knox or his son are in trouble. The whole thing has a relaxed, easy going vibe, which might work for a shaggy dog caper but it doesn’t work for a dramatic story about a hitman with dementia. That medical condition is also a problem in the movie because it’s used by the writer for convenience, whenever it’s needed as a story device. I found myself often thinking, “Wow this guy sure is capable until he suddenly isn’t at the most perfect moments for the filmmaker.” That did not work for me, ruining the film’s credibility.

Michael Keaton’s performance is solid but didn’t draw on my emotions. Al Pacino’s appearance in the movie reminded me how little it now means when he shows up on screen whereas twenty years ago it was a big deal. Everyone does a serviceable job here but that’s just it, the movie serves as a watchable crime story that mostly entertains for two hours. There’s nothing to write home about.

P.S. I found the woke commentary from the cops to be out-of-place and annoying.

Watched on Max.

 

LOVE LIES BLEEDING (2024)

Rating: 2.5 out of 5 Stars

Every now and then, I like to check in with modern movie culture to see these movies the critics are praising and see if they live up to the love. Spoiler alert: LOVE LIES BLEEDING does not.

Featuring a cast a very talented actors, especially Kristen Stewart and Ed Harris, and a sexy, pulp story, LOVE should kill but instead it fizzles. I blame that mostly on the director who takes a good crime plot and has to stuff it full of unnecessary BS including an absurd ending. If this same material had been approached straight (no comment there on the characters’ sexual preferences), not trying to be better than pulp but just embracing the story and characters in their murky world without all the body horror elements and indulgent style choices, it could have been the best crime thriller of the year.

Watched on HBO Max.