Tag Archives: Prison

Kiss of the Spider Woman (1985)

12 Friday Apr 2019

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D: Héctor Babenco / 121m

Cast: William Hurt, Raúl Juliá, Sonia Braga, José Lewgoy, Milton Gonçalves, Míriam Pires, Nuno Leal Maia, Fernando Torres, Patricio Bisso

During the time of the Brazilian military government, two men with very different backgrounds find themselves sharing a prison cell. Valentin Arregui (Juliá) is a leftist revolutionary who has been imprisoned and tortured because of his political activities. Luis Molina (Hurt) is a transgender woman who has been jailed for having sex with an underage boy. Luis passes the time by recounting scenes from a wartime romantic thriller, her favourite movie, and this helps to soothe Valentin’s despair at being imprisoned. An unlikely friendship begins to develop between them, and Luis, whose political beliefs are quite shallow, becomes more politically engaged. As time passes, Luis’s cinematic stories are phrased in such a way that Valentin’s lover, Marta (Braga), becomes a featured character as the mysterious Spider Woman, while at the same time, Luis’s feelings toward Valentin become more and more romantic, a development that Valentin doesn’t discourage. When Luis is unexpectedly granted parole, he agrees to pass on a message to Valentin’s revolutionary comrades. Having arranged a meeting with them, Luis finds that needing the love of a good man carries with it more risks than he could ever have expected…

Laced with a deceptive poignancy that only reveals itself fully towards the end, Kiss of the Spider Woman is a bittersweet tale of love and fantasy in the unlikeliest of surroundings. Adapted from the novel by Manuel Puig, it’s a movie that at first glance looks unprepossessing and likely to prove just as emotionally and politically shallow as Luis appears to be. But it’s actually a movie that grows in stature as it develops, stripping away its lead characters’ mannered pretensions and revealing them as flawed, struggling individuals searching – both in their own ways – for a way to maintain a meaningful connection with someone, anyone, in a place designed to take away a person’s humanity. As their friendship develops, and they find a meaningful connection with other, the beauty of this relationship is revealed in its small moments of intimacy and concern. Luis may appear at first to be a stereotypical drag queen with hysterical tendencies, but as the movie unfolds and we get to know him better, he’s revealed to be playing a role, one that’s expected of him, but which also  allows him to survive. Hurt is magnificent in the role, playing against his perceived type at the time, and slowly reveaing the various layers, many of them deeply hidden, that make up Luis’s character and motivate him.

But though Hurt gives the more bravura performance, Juliá matches him for intelligence and intensity, portraying Valentin as a revolutionary whose didacticism speaks of a man whose confidence in his own political credibility isn’t as convincing as he would have Luis – and the viewer – believe. As he becomes seduced by Luis’s fondness for romantic clichés (because they provide an escape he has no hope of finding otherwise), Valentin reveals a personal set of hopes and fears that govern his behaviour even more than his revolutionary fervour. In overturning Luis’ and Valentin’s stereotypical failings, Leonard Schrader’s exemplary script, along with Héctor Babenco’s flawless direction, creates an atmosphere governed by recognisable emotional longings and the need of each character to survive their incarceration by any means necessary. That they find love as a result makes the movie all the more poignant, and all the more affecting. That tragedy inevitably follows shouldn’t come as a surprise, but even then there are personal triumphs for both characters, and the movie ends on a grace note that feels entirely, and beautifully, in keeping with the sacrifices both men have made along the way.

Rating: 9/10 – over thirty years since its release and Kiss of the Spider Woman is still a one of a kind movie, bold in its depiction of romantic attraction, and astonishing for the breathtaking way in which it weaves threads of vibrant fantasy throughout the otherwise melancholy nature of much of its narrative; bolstered by Rodolfo Sánchez’s impeccable cinematography and Mauro Alice’s meticulous editing, it’s a movie that offers surprises throughout, and which remains as impactful now as it was back in 1985.

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Brawl in Cell Block 99 (2017)

03 Saturday Feb 2018

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D: S. Craig Zahler / 132m

Cast: Vince Vaughn, Jennifer Carpenter, Marc Blucas, Dion Mucciacito, Don Johnson, Udo Kier, Geno Segers, Victor Almanzar, Willie C. Carpenter, Tom Guiry, Clark Johnson, Pooja Kumar, Fred Melamed

In Craig S. Zahler’s follow up to Bone Tomahawk (2015), Vince Vaughn is Bradley (never Brad) Thomas, a man who turns to being a drug runner when he gets laid off from his job at an auto-repair shop. Eighteen months later, he and his wife, Lauren (Carpenter), are expecting a baby (their second after they lost the first), and living a pretty luxurious lifestyle; crime has been good to them. Bradley works for an old friend, Gil (Blucas), but when Gil goes into partnership with a Mexican drug boss called Eleazar (Mucciacito), their first pick up ends in a shootout with the police and Bradley causing the death of one of Eleazar’s men and incapacitating another. Despite this, he’s sentenced to seven years in a medium security prison. But Eleazar wants revenge. He has Lauren kidnapped, and through an emissary (Kier), lets Bradley know that unless he kills an inmate at a maximum security hellhole called Redleaf, his unborn baby will be “operated on”. Getting transferred to Redleaf is the easy part however, while surviving it, and the regime set up by Warden Tuggs (Johnson), is a whole other matter…

In recent years, Vince Vaughn’s career has been about relinquishing his comic persona in favour of more dramatic roles, from his appearance in Season Two of True Detective (2015) to his role in the Oscar-winning Hacksaw Ridge (2016). Now he gives his best dramatic performance yet as a drug runner with principles, the stoic Bradley Thomas, a man you can hit with a billy club and he’ll barely flinch. It’s a role that keeps him quiet for much of the picture, but with Vaughn it’s all in the eyes and the way they can convey a range of emotions with clarity and precision. You know when Bradley is angry, you know when he’s trying to keep that anger in check, and you know when he’s about to unleash that anger. This all makes Bradley something of a coiled spring, and Vaughn is a commanding physical presence in the role, expertly channelling Bradley’s propensity for extreme violence while maintaining the character’s deep-rooted humanity. Vaughn is never less than convincing, and he brings an intensity to the part that is mesmerising.

He’s ably supported by Carpenter, Kier and Johnson, but while the performances are good, the movie does suffer from a storyline that, once it picks up momentum and Bradley starts hurting people in ever more violent ways, reveals itself to be more than a little on the slight side. There’s a prologue that proves superfluous, while the stretch that leads up to Bradley’s incarceration is long-winded and could have benefited from some judicious cutting (when will movie makers learn that scenes where characters drive from place to place looking thoughtful don’t add anything to a movie?). But even when Bradley does start showing us what he’s really good at, and the movie’s pace increases, what we’re left with is a succession of increasingly violent (and cartoonish) altercations that are well choreographed and executed, but which also appear to be the movie’s sole raison d’être. With this in mind, and despite the visceral and very effective quality of the fight scenes, the movie reveals a hollow centre that stops it from being as rewarding a viewing experience as intended. Zahler is certainly a director of talent, and the movie’s visual aesthetic becomes more and more squalid as Bradley’s descent into prison hell continues. But this is that difficult second feature that doesn’t quite match the promise raised by its predecessor.

Rating: 6/10 – Vaughn’s imposing performance is the main attraction here, and while it helps elevate the material above its grindhouse ambitions, Brawl in Cell Block 99 is still a movie that doesn’t work as well as it should; overlong, and with Bradley impervious to any blows that come his way, there’s too little in the way of actual jeopardy for the character to find himself in, making this a movie where tension is ignored, and nihilism is the primary order of the day.

Mini-Review: Wilson (2017)

20 Saturday May 2017

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D: Craig Johnson / 94m

Cast: Woody Harrelson, Laura Dern, Judy Greer, Isabella Amara, Cheryl Hines, Margo Martindale, David Warshofsky, Brett Gelman, Mary Lynn Rajskub

Wilson (Harrelson) is a loner with a strong misanthropic streak. He’s dissatisfied by most aspects of modern day living, and feels that communication isn’t what it used to be, that people are too insular. In an effort to combat this he’ll often approach people that are on their own, and try to strike up a conversation with them (and to their obvious consternation and confusion). In the wake of his father’s death, Wilson gets in contact with his estranged wife, Pippi (Dern), and against her better judgment they take the first steps towards being a couple again. During this time, Pippi tells Wilson something that gives his life a renewed purpose: he has a daughter somewhere.

Wilson soon tracks her down. Her name is Claire (Amara), she’s seventeen-years-old, and she’s a little overwhelmed when Wilson and Pippi suddenly turn up out of the blue. They try to spend time with Claire, but it’s difficult as they want to keep Claire’s adoptive parents in the dark about it all. Eventually the three of them embark on a trip to visit Pippi’s sister, Polly (Hines), and her family. The visit doesn’t go so well, and Polly works out that Claire’s parents don’t know where she is. The police are called, and Wilson is arrested on a charge of kidnapping. He winds up in prison for nearly three years. When he gets out, he finds that people are still as insular as ever, and that his life is about to take a turn for the better – probably.

Adapted by Daniel Clowes from his own graphic novel of the same name, Wilson was meant to be director Alexander Payne’s next project after Nebraska (2013), and with that knowledge in mind it’s tempting to wonder what the movie would have been like if he’d stayed on board. It’s not that Wilson is a bad movie, but it is one that can’t quite decide whether it wants to be a relationship drama, a bittersweet comedy, or something else entirely. What it is in the end, is a movie that flits back and forth between drama and comedy, and in the process fails to do adequate justice to either of them. The drama lies somewhere in the relationship between Wilson and Pippi, and the longer we see them together the easier it is to understand why she left him in the first place. Wilson bemoans how little people communicate, but doesn’t understand that the way he does it, it isn’t always appropriate.

The comedy is almost exclusively laid at the feet of Wilson himself, with said inappropriate behaviour causing all sorts of (mostly humorous) problems. But sometimes he sounds as if he’s being belligerent instead of caustic, as if between them Clowes and director Johnson have lost something of the character’s tone in translation. Harrelson gives a good performance, offering an interpretation of Wilson that ranges from manic to brash to insensitive to contemplative and all the way back to manic. Dern is also good as Pippi, a woman with “a past” that she’s trying to overcome. There are hints that Pippi has an addictive personality, and Dern reveals this added layer to good effect throughout. But the movie as a whole doesn’t make Wilson as sympathetic a character as it needs to, and the fallout from this is that Wilson the movie becomes an exercise in watching boorish behaviour being rewarded through a series of unlikely reversals and setbacks.

Rating: 6/10 – a mixed bag approach to the material – much of it lifted wholesale from Clowes’ graphic novel – means the narrative plods along in places and gives Wilson a patchwork feel that it never overcomes; the kind of movie that may well find itself ripe for reappraisal in ten years’ time, right now it’s an unconvincing look at one man’s studied ignorance of others, and his inability to recognise his own shortcomings.

Mini-Review: The Boss (2016)

19 Sunday Jun 2016

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The Boss

D: Ben Falcone / 99m

Cast: Melissa McCarthy, Kristen Bell, Peter Dinklage, Ella Anderson, Tyler Labine, Kathy Bates, Cecily Strong, Mary Sohn, Kristen Schaal, Timothy Simons, Cedric Yarbrough

Just when you thought it was safe to sit down and watch a movie featuring Melissa McCarthy – and this based on her supporting turn in St. Vincent (2014) and the refreshing change of career pace that was Spy (2015) – along comes The Boss, a throwback to the haphazard comedies she was making in the wake of her break-out turn in Bridesmaids (2011). That McCarthy has both comedic and acting chops to spare makes her decision to appear in The Boss seem like a backward step, a contractual obligation perhaps, but even though she has the ability to step up a gear when required, this sees the future Ghostbuster idling in neutral for much of the movie’s running time.

It’s a slight tale. McCarthy is Michelle Darnell, the 47th richest woman in America, a businesswoman whose foster-care childhood has made her the self-absorbed, take no prisoners, care about no one else success story she’s always wanted to be. But when she’s careless with a deal set up via insider trading, arch-rival and one-time lover Renault (Dinklage), makes sure she’s arrested. Cue a stretch in prison that does nothing to change her attitude. When she gets out she has nowhere to go, so she offloads herself on her ex-PA Claire (Bell), and Claire’s daughter, Rachel (Anderson). Financial salvation (and ultimately personal redemption) comes in the unlikely combination of Rachel’s Dandelions group, and Claire’s ability to make amazing brownies. Using the group to sell the brownies, Michelle begins to claw her way back up the business ladder, but will it be at the expense of the new-found regard for others that she’s discovered, and will she recognise at last that trusting in others brings its own rewards?

The Boss - scene1

If you have to think about the answer to that question then… where have you been, and wherever you were, what were doing all this time? This is a riches to rags to riches movie that plays fast and loose with its stitched together screenplay, and seems content to make Michelle as brainless/obtuse/horrible as possible before she experiences the usual road to Damascus moment required in movies such as this and turns into a loveable, and loving, heroine. You’ve seen this kind of movie too often for it to offer anything new, and to be fair to McCarthy and her co-screenwriters, Falcone and Steve Mallory, it doesn’t once try too hard to be anything but what it is: a so-so comedy that offers occasional laughs while its cast tries to make more out of it than is on the page (which results in one of Dinklage’s worst performances for some time, and Labine reduced to cuddly man-child duties as Claire’s potential boyfriend). If you’re a fan of McCarthy’s previous movies, such as Tammy (2014) and Identity Thief (2013), then you’ll be amused. But if not, then this will be a hard slog indeed.

Rating: 5/10 – a by-the-numbers comedy that relies too much on its star being objectionable for no real reason, The Boss also features some awkward scenes that go on for far too long in their efforts to make the viewer laugh – the scene where McCarthy plays with Bell’s breasts being a good case in point; it’s no earth-shaker to be sure, but when even the star isn’t trying too hard, then you know this is just filler before the next, hopefully more rewarding project.

Mini-Review: Get Hard (2015)

15 Wednesday Apr 2015

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Get Hard

D: Etan Cohen / 100m

Cast: Will Ferrell, Kevin Hart, Craig T. Nelson, Alison Brie, T.I. “Tip” Harris, Edwina Findlay, Ariana Neal, Paul Ben-Victor, John Mayer, Greg Germann, Ron Funchkes

Hedge fund manager James King (Ferrell) has it all: a beautiful home, a beautiful fiancee (Brie), a recent promotion to partner in his future father-in-law Martin’s firm, and all the money he needs for a dream lifestyle. But it all comes crashing down when he’s arrested for embezzlement. In court, the judge sentences him to ten years in San Quentin, but allows him thirty days to get his affairs in order. In the wake of this, Alissa dumps him, Martin vows to find the person really responsible for the embezzlement, and James faces the prospect of prison by trying to run away to Mexico. But when he bumps into Darnell Lewis, who runs the car wash business at his place of work, he makes the assumption that Darnell has been in prison because he’s black. Asking for Darnell’s help in surviving on the inside, Darnell agrees to help him for $30,000.

Darnell does his best to toughen up James and prepare him for prison life, but James proves a less than able pupil. In the end Darnell decides James needs to be protected on the inside and hooks him up with his cousin, Russell (Harris), who has his own gang, the Crenshaw Kings. James makes a good impression on Russell but Russell decides he needs protection from a white gang instead and sends him to see the Allegiance of Whites gang, but the meeting ends in disaster, and both he and Darnell barely escape with their lives. At this point, Darnell realises that James really is innocent, and together they look for the real crook. But finding and keeping the evidence to convict that person proves to be another matter entirely.

Get Hard - scene

Whatever your feeling about mismatched buddy comedies, or indeed any movie starring Will Ferrell or Kevin Hart, chances are that this will appeal to a broad audience base, and entertain accordingly. If the movie lapses too often into the kind of farcical schtick that seems to underpin this particular comedy sub-genre, then it shouldn’t be a surprise that it lacks even the requisite number of belly laughs. This isn’t to say that Get Hard isn’t funny – it definitely has its moments – but what holds it back is that it doesn’t try hard enough to make its intended audience really laugh out loud (though a couple of one-liners come close). What it does is present situation after situation that allows Ferrell to trot out his idiot man-child persona one more time, and with little or no variation from any other comedy he’s made in the last ten years. James is a role tailor-made for him, but the problem is that it doesn’t stretch Ferrell as an actor, and for large stretches he coasts along in the role, hitting his mark but without any appreciable effort.

It’s the same for Hart, giving us the same manic portrayal he’s given us in Ride Along (2014), The Wedding Ringer (2015) and others. With nothing to shake up the performance, it looks tired already. Add to that an increasingly bizarre series of situations where James has to “man up” – including giving a blow job to a stranger, easily the movie’s most uncomfortably plotted moment – and a criminal plot that has all the originality of of a photocopy, Get Hard is lazy, opportunistic and, at times, unbelievably crass.

Rating: 4/10 – not the absolute worst way to spend ninety-four minutes of your time, but certainly not the best either, Get Hard wastes the talents of its two stars, and plays it all by numbers; save your money and wait for it to become available for free in whichever way you can access it.

Starred Up (2013)

24 Sunday Aug 2014

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Starred Up

D: David Mackenzie / 106m

Cast: Jack O’Connell, Ben Mendelsohn, Rupert Friend, Sam Spruell, David Ajala, Peter Ferdinando, Anthony Welsh, David Avery, Mark Asante, Raphael Sowole, Ryan McKenna, Tommy McDonnell, Sian Breckin

Eric Love (O’Connell) is a young offender transferred to an adult prison.  With a huge chip on his shoulder and an uncompromising attitude, it’s not long before he’s antagonised one of the other inmates, Jago (Sowole), and earned the enmity of Deputy Governor Haynes (Spruell).  When a misunderstanding with a fellow inmate leads to violence, Eric is forcibly removed from D Wing and moved to solitary.  On the way he tries to avoid being beaten and finds an ally in voluntary therapist Oliver (Friend), who intervenes.  Against the advice of Haynes, and with the agreement that if Eric causes even one disturbance in his group he’s banned from any further attendance, the prison Governor (Breckin) agrees to let Oliver try and help Eric deal with his anger issues.

Matters are further complicated by the presence on the same wing of Eric’s father, Neville (Mendelsohn).  Neville is an enforcer for the wing’s top dog, Spencer (Ferdinando), and is instructed by him to make sure Eric doesn’t cause too many problems with his attitude.  Neville tells Eric to keep his nose clean and do what he’s told but he’s a poor role model, and soon becomes envious of the relationships Eric makes with Oliver and the other group members.  His resentment hinders Eric’s progress in the group; meanwhile Jago gets another inmate, O’Sullivan (McKenna) to try and kill Eric, but some of the therapy group intercede and the plan fails.  Later, when an altercation within the group happens, Haynes uses it as an excuse to have Eric removed under the terms of the agreement (even though Eric wasn’t directly involved).  O’Sullivan makes another attempt to kill Eric but is overpowered and he gives up Jago.  When Eric confronts Jago, he gives up Spencer.

This leads to Eric assaulting Spencer and Neville having mixed loyalties.  As he struggles to come to terms with being a true father for the first time, Neville discovers that Spencer has arranged for Eric to “commit suicide” while in solitary, and with Haynes’ cooperation.  With little time to lose, Neville must try and persuade Spencer to change his mind, but if he won’t, to stop his son from being killed.

Starred Up - scene

Based on screenwriter Jonathan Asser’s own experiences as a voluntary prison therapist, Starred Up is a brutal, compelling prison drama that is uncompromising, often savage, and disturbingly realistic in its portrayal of institutional abuse carried out both by prison staff and the prisoners themselves.  It’s a movie that makes no attempt to pull its punches, and it’s this determined approach that keeps the movie both gripping and horrific to watch in equal measure.

As a modern day descent into Hell, Starred Up – filmed mostly in Belfast’s notorious Crumlin Road gaol – is a harsh, merciless look at how violence begets violence and how macho posturing is as much a currency in prison as it is a state of mind.  Thanks to Asser’s impressive script, the movie is chilling in its matter-of-fact depictions of anger-fuelled bloodshed, as well as the mental cruelty prevalent (and on occasion, encouraged) within the prison system.  The worst part of it all is the complicity on both sides, with only Oliver and the inmates in his group willing to try and change things, if only for themselves.  Without this one ray of hope, the movie would be even more challenging to watch, its in-built nihilism being even more devastating to watch.

It’s a tribute both to Asser’s script and Mackenzie’s controlled, rigorous direction that the movie doesn’t descend entirely into loosely controlled anarchy, and that the relationships that develop, particularly between Eric and Neville, are as well-defined and credible as they are.  The father-son bond, so tenuous as to be almost invisible at first, slowly becomes more important to both characters, and there’s an unspoken need between them that inevitably leads to a violent confrontation.  But thanks to two remarkable performances from O’Connell and Mendelsohn, this confrontation acts as a cathartic breakthrough for both men, and allows them both to move on as the family they should be.

These two lead performances are nothing short of spectacular, O’Connell like a coiled spring, Eric’s barely suppressed anger almost threatening to consume him, but thanks to the group something he learns to control rather than be controlled by it.  It’s a breakthrough performance, an alarming, expressive, startling portrayal of a young man struggling to keep his anger and his reputation within the system from defining him.  And then there’s Mendelsohn, making Neville a chilling, rage-fuelled monster of a man, a berserker with little regard for others, a wellspring of bile, racism and thuggish behaviour who can barely contain the fury inside him.  It’s a masterful performance, and when Mendelsohn’s on screen, you can’t take your eyes off him; you just don’t know what he’s going to do next.

Ably supported by Friend as the therapist with as many issues as the men he’s trying to help, and Spruell, whose permanent sneer suggests a man who would be equally at home on either side of the fence, as well as group stand-outs Welsh and Ajala, Starred Up boasts a cast that doesn’t put a foot wrong throughout.  It’s such an accomplished ensemble that Mackenzie doesn’t seem to be directing them; instead it seems as if he’s just positioning the cameras and then sitting back (though that probably wasn’t the case).  And the camerawork is just as impressive, with several hand-held tracking shots as Eric roams around D Wing making the oppressive environment seem less confining, less restrictive.  It’s a gloomy set of interiors but the photography by Michael McDonough is richly detailed and on several occasions, beautifully framed despite the prison settings.  The editing by Nick Emerson and Jake Roberts is equally impressive: there’s not one scene that outstays its welcome, or where each element of a scene is given its due significance.

Rating: 9/10 – an effortlessly superior prison drama, Starred Up features a confident, uncompromising script, remarkable, assured direction, and a couple of lead performances that are nothing short of extraordinary; despite its grim backdrop, the movie succeeds in offering hope out of adversity and is complex, challenging viewing and all the better for it.

Need for Speed (2014)

02 Wednesday Apr 2014

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Need for Speed

D: Scott Waugh / 132m

Cast: Aaron Paul, Dominic Cooper, Imogen Poots, Michael Keaton, Scott Mescudi, Rami Malek, Ramon Rodriguez, Harrison Gilbertson, Dakota Johnson, Nick Chinlund

At one point in DreamWorks’ Need for Speed, Julia (Poots) comes out of a gas station restroom and sees Officer Lejeune (Chinlund) in the next aisle.  Immediately she ducks down and tries to sneak her way out.  It’s possibly the stupidest moment in the whole movie – and there’s plenty of others – and makes you wonder if anyone actually read George Gatins’ half-baked, semi-developed script before they committed to filming it.  (The answer is clearly: no.)  Another question that springs to mind is: are the car chases going to be enough to help the movie make its money back?  (Ahh… we’ll get to that.)

Tobey Marshall (Paul) has inherited his father’s auto shop but there are mounting debts he can’t pay, so when old rival Dino Brewster (Cooper) offers him a chance to make $2.7 million on a private race involving Tobey, Dino and Tobey’s friend Little Pete (Gilbertson), he can’t turn it down. But Little Pete is killed in the race, forced to crash by Dino.  With Dino denying any involvement, and hiding the car he was driving, Tobey ends up  spending two years in prison.  Two years later, Tobey is released on parole, and promptly arranges for a car so that he can travel from New York to California and a) take part in a race arranged by mysterious philanthropist Monarch (Keaton), and b) have his revenge on Dino.  Dino is taking part in the race, but Tobey needs a way in as its by invitation only.  With car dealer Julia along for the ride as the car owner’s representative, Tobey gets the car and himself noticed enough times that Monarch gives him a spot in the race.  All he has to do is reach San Francisco within forty-eight hours, avoiding the police and anyone who takes up Dino’s offer of a bounty if Tobey is stopped from getting there.

Naturally, Tobey has help along the way from fellow mechanics and friends Benny (Mescudi), Finn (Malek), and Joe (Rodriguez).  Benny is also a pilot and keeps stealing planes and helicopters in order to provide Tobey with eyes in the sky along the route.  Finn and Joe help refuel the car while it’s in motion, and generally follow along the route Tobey takes in case of back up (which is eventually needed when Tobey reaches San Francisco).  Monarch provides a running commentary on Tobey’s progress, and acts as commentator when the race starts.  Julia provides the inevitable romantic interest, and Dino is the sneering villain we all want to see crash and burn like Little Pete does.  Which leaves Tobey, the mostly silent but determined underdog who should win the race but only if he watches out for dastardly Dino and his habit of running people off the road.

Need for Speed - scene

If it seems a little predicable so far, then that’s because it is.  Need for Speed is a movie without an original thought under its bonnet, a handful of barely convincing performances, and lines of dialogue that prove impossible to give credibility to.  It’s movie-making by cliché, a string of ill-thought out scenes and low-key characters whose combined motivations couldn’t power a light bulb.  Once again, it’s the fault of the script, a horrible concoction that almost screams, “Rush job!”  This is Gatins’ first produced screenplay, and it’s ironic that he was an associate producer on a movie called You Stupid Man (2002); he gets hardly anything right.  This leaves the cast to deal with mountains of trite and terrible dialogue, third-rate plot contrivances, scenes so laughable they should be included in a training scheme for aspiring writers – at random: Benny in a military jail asking for an iPad and being allowed to follow the race on it… and all the while the guard holds it up for him to watch – and some of the most perfunctory dialogue this side of a script by George Lucas (have I mentioned the dialogue enough yet?).

With director Scott Waugh unable to breathe any life into the movie when there’s no chase going on, Need for Speed has to depend on its action scenes to gain any brownie points or gold stars.  Much has been made already of the fact that CGI hasn’t been used in the car chase sequences, and that all the smash-ups were done for real.  And so they should be.  But while Paul and Cooper may have spent time learning how to race so they could seen behind the wheel as much as possible, what the filmmakers have failed to realise is that, racing, in and of itself, is only really interesting or attention-grabbing when something goes wrong.  So yes, the car chases are exciting, but only if you find the idea of a car going really fast in competition with another car, and (inevitably) on a deserted stretch of road, to be truly exciting.  On this evidence, it’s almost exciting, but what’s missing is a real sense of danger.  When Tobey is in Detroit and he’s being chased by the police, there’s never the slightest doubt that he’ll get away (and yes, I know that’s obvious, he’s the hero, after all) so the movie drops down a gear or two and makes his escape both a high point and, from a technical viewpoint, a bit of a let-down.

This is the highly regarded “two-lane grasshopper” manoeuvre, where Tobey accelerates up an embankment and powers his car over two lanes of traffic to land safely in a third and drive away without being followed any further – at all.  It sounds like a great stunt, and on paper it is, but in the movie it’s a short sequence made up of five or six different shots (one of which is a long shot of the car in mid-flight), that doesn’t let the viewer see it happen in one fluid take (unlike, say, the bridge jump in The Man With the Golden Gun (1974).  It’s like the scene in Speed (1995) where the bus has to jump the gap in the freeway; it was done for real, but the way it’s cut together leaves you thinking it wasn’t.  Sadly, it’s the same here.

There are some positives, though.  Keaton – on a bit of a roll at the moment – reminds us just how exciting a performer he can be, and lifts the movie out of the doldrums whenever he’s on screen.  The crashes, when they happen, are spectacular and thrilling, and a testament to the creative abilities of the stunt team; they all look suitably life-threatening.  Paul and Poots, reunited after appearing together in A Long Way Down (2014), have a chemistry that helps their scenes immeasurably, and the location photography ensures the movie is nothing less than beautiful to look at in places.

Rating: 4/10 – fans will disagree but Need for Speed doesn’t have that kinetic charge that would have elevated it above other chase movies; the script’s deficiencies hurt it tremendously, too, and no matter how fast Messrs Paul and Cooper may try, that’s one (very major) problem they can’t outrun.