Note: Originally written in May 2015
With certain actors, one doesn't mind seeing them doing the same kind of things they do with all their roles time and again. Also, quaintly enough, there is a certain thrill in watching these actors do the same stuff in a role which is radically opposite to the ones they're known for. This sums up Richard Gere's excellent outing in this flick. He is seen courting and having sex with multiple women, yet he is not the affably handsome gentlemen that he is with some of his more popular roles. He is a corrupt cop who is sly, cunning, borderline manic, perverted and deliberately ruthless. Deliberate enough to take his time, feel the sadness and then choke his best buddy to death. The screenplay and the narrative itself has a similar evil yet charming character. There's so many pauses in the narrative before the eventual violence or doom, so many moments of sexual tension, so many episodes of nail biting waiting before something terrible happens. The writer, Henry Bean and the man at the helm, Mark Figgis, deliver a terrific crime noir drama which is way more than the plot; it is actually a circus filled with fiery, stubborn, delicate and menacing characters perfectly topped off by Gere's calm slyness and Garcia's temperamental obsession. Nancy Travis and Laurie Metcalf are worth recounting about for their thorough supportive roles. There is almost a criminal level of strong character, narration and grit to this flick!
Catch more on the film at IMDB and Letterboxd.
Call me by your name
If paths were to align, there is passion and love, a hurried cascade of affection for the other one
A Quiet Place
What deserves dwelling upon is how the film works as a Rube Goldberg machine, a wonderful contraption