A Law Unto Themselves

Filmed with a frenetic flair to match its oh-so-frenetic storyline, writer/director Tom Tykwer has us sprinting along with the protagonist in his 1998 hit Run Lola Run. A unique, creative and somewhat out-there premise, this German motion picture is, in a way, reminiscent of Krzysztof Kieœlowski’s Polish film Blind Chance, which was reviewed on Filmizon.com back in June of 2016. Our mind is, simply put, amazing. We make decisions in a split second, and that moment can change our life just as quickly. Dealing with this idea, Tykwer introduces us to Lola (Franka Potente), whose just received a distressing call from her boyfriend Manni (Moritz Bleibtreu). A low-level criminal that is being tested by his boss, Lola was supposed to pick him up after his shady dealings. But, bad luck rears its ugly head (as her Moped is stolen) and Manni is forced to find his own way home. Sneaking onto the subway, he accidentally leaves the one hundred thousand German Deutsche Marks he is transporting on the train, after being nabbed for not purchasing a ticket. Witnessing a homeless man (Joachim Król) picking it up, he knows all is lost. Meeting his boss in only twenty minutes, he is desperate enough to threaten to rob a store just outside of the phone booth he is making the call from.

We often think of the western as being set in the sunbaked, sand-filled deserts of the John Wayne and Clint Eastwood epics. Turning this idea on its head, Robert Altman takes us into the frontier lands of the wet and snowy northwest (filmed in and around Vancouver, Canada), an equally picturesque yet no less hostile terrain, in the 1971 film McCabe & Mrs. Miller. Riding into town with his bushy beard and no less hairy fur coat, John McCabe (Warren Beatty) is a businessman looking for his next big opportunity. He sees the tiny, half-built town of Presbyterian Church (just over one hundred people) not as a hindrance, but as the perfect location to set up a one stop saloon, gambling den and whorehouse. Hiring some local men, they get to work while he heads off to procure the working girls – purchasing some lower class ladies for the gruff, rough, and equally low class frontier men of the area.

Though today, The Hollywood Ten sounds like a modern take on a superhero movie, for those who know the film history, it has a much darker meaning. Referencing the ten filmmakers who were subpoenaed for being possible Communist dissidents, thought to be subverting the hearts and minds of the American people, they refused to answer questions directly. Focussing on one of the ten, 2015's Trumbo follows the famed screenwriter through the trials and tribulations of this tumultuous time in American history. Directed by Jay Roach (Austin Powers trilogy; Meet the Parents/Meet the Fockers), Dalton Trumbo (Bryan Cranston) is a highly intelligent yet cantankerous writer, one of the best in the film industry, circa 1947. An ardent Communist who believes in better working rights and pay for those in Hollywood (as well as many other things), he is married to Cleo (Diane Lane), who, despite her soft spoken nature, is in many ways the strong backbone of the family. They have three children.

There are certain songs that are just conducive to driving – "Baby, You Can Drive My Car" (The Beatles), "Crosstown Traffic" (Jimi Hendrix). . . or, perhaps, if you’re like those in David Cronenberg’s erotic, accident seeking film Crash, "Hit Me Baby One More Time" (Britney Spears). This is the genesis of the new 2017 movie Baby Driver – the soundtrack belongs to the young getaway driver, listening to his playlist as he puts the pedal to the metal and "Lets the Good Times Roll" (The Cars). An impressive example of music in motion, writer/director Edgar Wright (Shaun of the Dead; Hot Fuzz) develops a highly original concept that in some ways feels like a musical. A quasi-form of Mickey Mousing (when music and action match up onscreen), the film is uniformly paired with the tracks heard throughout – edited and sometimes even lip synched/danced to by the characters. Look to the examples of the tunes highlighted above, as I’ve decided to have some fun with this review and interlace the names of different songs throughout – some that are featured in Baby Driver and some that just help describe the story and action.

Perhaps the beginnings of a new sub-genre of horror, André Øvredal’s 2016 offering, The Autopsy of Jane Doe, follows up the similarly set The Corpse of Anna Fritz with another claustrophobic, morgue-centric tale. Perhaps we could drop the ‘rue’ from the classic Edgar Allen Poe tale and call them "Murders in the Morgue". With a cleverly concocted set up, the first half of the film toys with us, introducing not only the main characters, but the little threads that will come into play later on. Beginning with a gruesome murder scene (dead bodies are scattered throughout a house), Sheriff Burke (Michael McElhatton – Roose Bolton in Game of Thrones) is stymied when he discovers a half buried body of a young woman – the only one with not a thing wrong with it (seemingly). In a bizarre twist, it seems like those murdered were trying to escape the abode – and that no one broke in.