John Wick Review

Rated R (Strong and Bloody Violence Throughout, Language and Brief Drug Use)

Running Time: 1 Hour & 41 Minutes

Cast-

Keanu Reeves-John Wick

Michael Nyqvist-Viggo Tarasov

Alfie Allen-Iosef Tarasov

Dean Winters-Avi

Willem Dafoe-Marcus

Adrianne Palicki-Ms. Perkins

Ian McShane-Winston

Lance Reddick-Hotel Manager/Charon

John Leguizamo-Aureilo

Bridget Moynahan-Helen Wick

David Patrick Kelly-Charlie

Randall Duk Kim-Continental Doctor

Omer Barnea-Gregori

Toby Leonard Moore-Victor

Daniel Bernhardt-Kirill

Clarke Peters-Harry

Thomas Sadoski-Jimmy

Directed by David Leitch and Chad Stahelski

Keanu Reeves is back in action mode in "John Wick."

Note: Screened on Wednesday, October 22, 2014 at AMC Loews Village 7.

'People keep asking if I'm back. Yeah, I'm thinking I'm back!' Keanu Reeves makes that declaration loud and clear in the surprisingly entertaining action thriller "John Wick" directed by David Leitch and Chad Stahelski, who are both making their feature debuts here. In a recent interview with Eric Kohn from Indiewire, Reeves admitted that he hasn't 'been getting many offers from the studios.' His last big-budget studio film was the production-troubled "47 Ronin," released last December. Although it grossed over $150 million worldwide, the Universal picture still failed to break even, making it the second most expensive box office bomb ever when adjusted for inflation. The terrible reviews (14% on Rotten Tomatoes) didn't exactly help either. Prior to "47 Ronin," there was the 2008 remake of "The Day the Earth Stood Still," which also received negative reviews but was at least a box office success. In between those five years, Reeves kept himself busy by starring in a number of independent films while working on his directorial debut "Man of Tai Chi," which was released last year through video-on-demand, along with a limited theatrical release. It received a largely positive reception (70% on Rotten Tomatoes). Regarding the lack of offers from studios, the fifty-year-old actor candidly spoke with Kohn that 'it sucks, but it's just the way it is.' Fortunately, he's maintaining a positive outlook and is genuinely excited to promote "John Wick." The guy even did an 'Ask Me Anything' on Reddit! Stylishly directed, and featuring wall-to-wall action and a wicked sense of humor, "John Wick" proves that Keanu Reeves is back and he's going to kill everyone that messes with him…and his dog.

A highly-skilled assassin for the Russian mafia, John Wick (Keanu Reeves) walked away from the killing game when he married the love of his life, Helen (Bridget Moynahan). Over five years of wedded bliss comes to an end when she tragically passes away from an unspecified fatal illness. Not wanting her husband to spend the rest of his life alone, Helen gives John a parting gift: a dog so that he would have something to love and care for. Although his grief is still fresh, the arrival of this dog—an adorable Beagle named Daisy—gives John a sense of renewed hope and purpose. Unfortunately, a run-in with Iosef (Alfie Allen) at a local gas station one morning shatters John's already-fragile world when his classic 1969 Boss Mustang catches the sadistic thug's eye. Unaware of his target's legendary reputation amongst the criminal underworld, Iosef and his goons break into John's home to steal the car, beating the former assassin unconscious and leaving Daisy for dead. Upon learning that his idiot son has awakened a nigh-unstoppable killing machine, ruthless Russian kingpin Viggo Tarasov (Michael Nyqvist) puts a $2 million hit on John's head. Assassins like Marcus (Willem Dafoe) and Perkins (Adrianne Palicki) attempt to collect on the bounty. However, when John Wick is set off, he will not be stopped. 

Adrianne Palicki stars as Perkins, one of the assassins sent to claim the bounty on John Wick's head.

Eighty-four—that's the number of anonymous thugs that John Wick kills with a brain-splattering headshot over the course of the film's one hour and forty-one minute running time, according to co-directors David Leitch and Chad Stahelski. That's strange because I could've swore that number was much higher, but I'm not about to argue with their tally considering they're the ones who directed said film. "John Wick" is something of an anomaly nowadays. It's an R-rated, old-school, no-holds-barred action thriller, released during a time when such action thrillers usually star actors hitting or in their sixties (e.g. Liam Neeson) and are rendered toothless with shaky, indecipherable camerawork and a teen-friendly PG-13 rating. Frankly, it's a breath of fresh air, especially for action aficionados who have been forced to get their fix overseas with films like Gareth Evans' "The Raid: Redemption" and its bigger, bolder, and better sequel. Written by Derek Kolstad, the story in "John Wick" is patently silly as the titular character essentially goes on a murderous rampage after a spoiled brat, who happens to be the son of a Russian mobster, steals his vintage car and worse, kills his dog. Fortunately, the first act efficiently sets up why this dog is so important to John, as it was a parting gift from his late wife. Leitch and Stahelski make sure to clearly establish the main character's still-fresh grief during an emotional scene where John openly weeps after reading the note that came with the dog, discovering that his wife was still thinking of him even when she knew her time was near. It also helps that the dog is immediately endearing to the audience, with the directors making full use of the canine's limited screen-time by frequently focusing their camera on its adorable face. This also makes the villains appear even more monstrous. You want John Wick to end their lives because they cruelly took away the one thing his wife left him.

And end their lives he will because once the action in "John Wick" kicks off, it never lets up. Leitch and Stahelski's extensive background in stunt work comes in handy here as they create one fantastic set-piece after another. Eschewing the shaky camerawork that plague many action films today, the directors utilize plenty of wide shots in conjunction with Elísabet Ronaldsdóttir's precise editing. The long and fluid takes, combined with the graceful fight choreography, almost makes it look like you're watching a ballet. One particular shootout is set in a nightclub gleaming with saturating neon lights and pulsating trance music. It's a visually impressive sequence that highlights Keanu Reeves' strengths as an action performer. The actor's movements are so exact that his character's weapons become physical extensions of himself, creating a spectacular, eye-popping whirlwind of death and destruction. However, it's not just the action that's good; it's also the subtle world-building. After dispatching a dozen of Viggo's armed thugs, John disposes of the bodies by making a 'dinner reservation,' which is actually code for an appointment with a clandestine clean-up crew led by a man named Charlie (David Patrick Kelly). John later takes up residence at a swanky hotel called 'The Continental,' where various assassins—both male and female—rest and relax. There's even an on-call doctor, played by the Keymaker himself, Randall Duk Kim. These elements give the film a more tangible quality, a sense of richness in what would've been a generic action thriller. Despite the copious amounts of violence, "John Wick" never takes itself too seriously, with the humor often arriving from the most unexpected places. When a cop shows up at the former assassin's house to investigate a noise complaint, he can't help but notice the dead bodies strewn across Wick's living room floor. 'Are you, uh, working again?' the cop mildly asks. 'No,' John nonchalantly replies, 'I'm just sorting some stuff out.' The cop, Jimmy, then smiles and wishes John a good night.

This is what happens when you set John Wick off!

Much of the success of "John Wick" lies with Keanu Reeves. The man isn't the most emotive of actors but his charismatic screen presence remains undeniably strong, which greatly helps his performance considering the titular character is depicted as a vengeful force of nature. As I mentioned before, the material he's working with here is inherently silly but Reeves commits to it wholeheartedly. When his character says he's going to kill you, you know he's serious! The actor is surrounded by an eclectic supporting cast. Michael Nyqvist (Mikael Blomkvist from Niels Arden Oplev's "The Girl with the Dragon Tattoo") is appropriately menacing and oddly quirky as Russian kingpin Viggo Tarasov. There's a scene where he asks car shop owner Aureilo, played by John Leguizamo, why he struck his son Iosef. Upon hearing the answer, Viggo simply replies with 'Oh,' which drew laughs from the audience. Iosef similarly responds with an 'Oh' when he learns of John Wick's reputation as a killer from his father. Speaking of Iosef, Alfie Allen (Theon Greyjoy from HBO's "Game of Thrones") seems to be carving out a niche for himself by playing overly arrogant and smug characters. Willem Dafoe, Adrianne Palicki, Ian McShane, and Lance Reddick are given only minor roles but they make the most of their limited screen-time, their performances lending the world of "John Wick" a rich and lived-in feeling. Palicki in particular has an excellent fight sequence with Reeves at one point. The only cast member to get short shrift is Bridget Moynahan, who's reduced to playing 'the dead wife' and is shown only in flashbacks.

Released on October 24, 2014, "John Wick" has received surprisingly positive reviews with 86% on Rotten Tomatoes. Praising it for being 'stylish, thrilling, and giddily kinetic,' critics concluded that the film 'serves as a satisfying return to action for Keanu Reeves—and what looks like it could be the first of a franchise.' Unfortunately, strong reviews don't always equal a strong opening weekend as "John Wick" is currently set to debut with around $14 to $15 million. While that's not a terrible result, part of the problem is due to the fact that Lionsgate has failed to really market the picture toward women. Still, it's not all doom and gloom since this is the type of film that audiences will likely discover on home video. Keanu Reeves may not be as big of a star as he was ten years ago but the man can still kick copious amounts of ass. As an old-school action film, "John Wick" delivers the goods…and more.

Final Rating: 4 out of 5

"People keep asking if I'm back. Yeah, I'm thinking I'm back!"

For those of you who own "Payday 2" on Steam, Starbreeze Studios has released free DLC allowing you to play as John Wick. 

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Fury Review

Rated R (Strong Sequences of War Violence, Some Grisly Images, and Language Throughout)

Running Time: 2 Hours & 14 Minutes

Cast-

Brad Pitt-Sergeant Don 'Wardaddy' Collier

Logan Lerman-Private Norman Ellison

Shia LaBeouf-Technician Boyd 'Bible' Swan

Michael Peña-Corporal Trini 'Gordo' Garcia

Jon Bernthal-Private Grady 'Coon-Ass' Travis

Jason Isaacs-Captain Waggoner

Jim Parrack-Sergeant Binkowski

Brad Henke-Sergeant Davis

Kevin Vance-Sergeant Peterson

Scott Eastwood-Sergeant Miles

Laurence Spellman-Sergeant Dillard

Xavier Samuel-Lieutenant Parker

Anamaria Marinca-Irma

Alicia von Rittberg-Emma

Directed by David Ayer

The crew of the Fury.

Note: Screened on Wednesday, October 15, 2014 at AMC Loews 34th Street 14.

William Tecumseh Sherman—a general in the Union Army during the American Civil War—famously coined the phrase 'War is Hell.' It's a harsh truth that director David Ayer repeatedly beats viewers over the head with in his latest film "Fury," set during the waning days of World War II. With over sixty million casualties (and that's only a rough estimate), World War II remains by far the deadliest military conflict in human history. However, this destructive global clash is routinely portrayed through rose-tinted glasses as a 'good war.' It's an overly idealistic myth that has been regularly 'reinforced in countless motion pictures, on television, by teachers, in textbooks, and by political leaders.' Ayer sets out to tear down this myth in "Fury," which follows a five-man M4 Sherman tank crew over a twenty-four hour period. There's a particularly brutal, nasty streak running through Ayer's work (especially in his most recent film, the action/crime thriller "Sabotage"), which often depict manly, masculine men in physically and emotionally stressful situations that push them toward the breaking point. This approach unfortunately robs some of his films of nuance and subtlety, which is the main issue that prevents "Fury" from joining the ranks of great World War II movies like Steven Spielberg's "Saving Private Ryan" and Terrence Malick's "The Thin Red Line." Ayer's latest boasts an uncanny attention to period detail and fine performances from its lead cast but the film ultimately feels muddled with its one-note themes and thin characterization.

April, 1945. The Allies have entered Germany and although victory seems all but assured, the Nazis continue to fight back with 'fanatical resistance.' Following a devastating battle that leaves his whole platoon and assistant driver dead, Sergeant Don 'Wardaddy' Collier (Brad Pitt) and his remaining tank crew—Technician Boyd 'Bible' Swan (Shia LaBeouf), Corporal Trini 'Gordo' Garcia (Michael Peña), and Private Grady 'Coon-Ass' Travis (Jon Bernthal)—limp back to base in their barely held together M4 Sherman tank dubbed Fury. While his men refuel and resupply the tank, Collier is confronted by a fresh-faced recruit named Norman Ellison (Logan Lerman), who informs the sergeant that he's just been assigned to his crew as their new assistant driver. Collier's men are none too happy about the situation and are immediately dismissive of Ellison, who's only been in the army for eight weeks and has had no tank training whatsoever. Prior to his reassignment, he was a mere typing clerk. Collier attempts to harden the young man during a rescue mission but the terrified recruit can't bring himself to kill. The horrors of war that Ellison experiences soon convince him that the battlefield has no place for idealism. 

"Ideals are peaceful, history is violent."

David Ayer has built a career on telling stories revolving around the LAPD (both the corrupt and honorable kind) but "Fury" represents a change of pace for the writer/director. It's a bid for respectability, with Ayer's aspirations for the coming awards season being made plainly obvious with the subject matter he's chosen here. Graded on its technical merits alone, Ayer's latest easily earns top marks. However, the film stumbles with a narrative that is unsure of what kind of point it wants to make. Logan Lerman's character, Norman Ellison, is meant to be a proxy for the audience as he's thrown into this hellish world that he wants absolutely no part of. In fact, his first order is to jump into the tank and clean up the gruesome, bloody remains of his predecessor. "Fury" primarily focuses on the relationship between the young recruit and Brad Pitt's Don 'Wardaddy' Collier, who puts Ellison through a savage baptism of fire by forcing him to kill a Nazi soldier who's already surrendered. Yea, I'm pretty sure that's a war crime, Mr. Ayer. At first, "Fury" appears to question whether Collier's harsh tactics are justified in a time of war but it soon becomes apparent that the director actually agrees with the character. I understand that these are people who are all damaged beyond repair. However, it's hard to sympathize with what Collier and his men are going through because they all appear to be sociopaths who seem to enjoy the act of killing. Sure, the people they're killing are Nazis yet these are human beings all the same. Before being shot dead, the soldier that Ellison is forced to kill shows pictures of his wife and children while begging for mercy. Now I'm not saying that the Nazis were in the right as they most definitely weren't but not every soldier who served was evil like Hitler, a point which is proven in the last few minutes of the film.

What really killed the film for me was the second act, which goes on for far too long and exhibits an unsettling rapey vibe. After liberating a small German town, Collier and Ellison invite themselves into the home of a middle-aged woman and her teenage niece. They're obviously no threat so there's no reason for the two soldiers to stay but Collier orders them to make them meals and otherwise wait on them. Now he does this politely yet it's clear that the two women have no choice in the matter since they're implicitly being held at gunpoint. Ellison notices their piano and sits down to play. The niece, named Emma (Alicia von Rittberg), is charmed by the young recruit and sings with him. It's a sweet moment that represents a brief respite from the ugliness of war. And then Collier says, 'If you don't take her in that bedroom, I will.' The audience laughed at his remark. I was uncomfortable. To be clear, there is mutual consent between Ellison and Emma, and the two seem to have enjoyed their intimate moment judging from the smiles on their faces after. However, Ayer never questions what would have happened if Emma simply refused. She says yes but you have to keep in mind that she and her aunt are basically being held at gunpoint. We're never privy to what these two are actually feeling in this scene. The situation takes a disturbing turn when the rest of Collier's crew shows up, with Grady's behavior practically one-step away from being a rapist. One can only imagine what would happen if Collier wasn't there to control him. Scott Mendelson from Forbes describes this sequence as being 'both the best and worse scene in the film,' and I agree. Ayer mines the tension for all its worth but it doesn't change the fact that this scene is just icky to watch.

The battle sequences are viscerally intense but "Fury" never resonates as strongly as it should.

"Fury" certainly impresses on the action front, particularly during a tense tank vs. tank showdown that closes the second act but the graphic violence can border on being pornographic at times. One battle even reminded me of "Star Wars" as the Allies and Nazis trade fire with each other across a field, with the ammunition given a colored, laser-like effect. The film closes with an obligatory 'last stand' moment, with Collier and his tank crew facing off against a battalion of SS soldiers. It's a visceral, expertly-directed sequence thanks to Ayer's impeccable attention to period detail yet it ultimately comes off as emotionally hollow due to his script's thin characterization. Despite spending over two hours with these men, you don't feel like you really know them. The cast do what they can with the material they're given and deliver fine performances all around. Brad Pitt's Sergeant Don 'Wardaddy' Collier is essentially a toned-down version of Lieutenant Aldo Raine from Quentin Tarantino's "Inglourious Basterds," released back in 2009. Although Collier may not go around scalping Nazis with an oversized Bowie knife, he does share Raine's intense hatred of them. Through his restrained performance, Pitt shows that his character is a man who's been through hell and back, and it's only through sheer force of will that he hasn't broken down into a mess. Logan Lerman is great as well, with the young actor taking care to portray Ellison as vulnerable but not a coward. The rest of the supporting cast unfortunately doesn't receive the same amount of attention due to their underwritten roles and are there to fill the usual archetypes in war movies. Shia LaBeouf is the devout Christian, Jon Bernthal is the loose cannon, and Michael Peña is, well, the Latino. Again, their performances aren't bad. However, they never resonate as strongly as they should because Ayer often saddles these characters with clunky and repetitive dialogue about whether God is watching over them or not. Although I hate to admit it, it frankly feels like a waste of their talents.

Released on October 17, 2014, "Fury" has received largely positive reviews with 80% on Rotten Tomatoes. Critics noted that it was a 'well-acted, suitably raw depiction of the horrors of war that offers visceral battle scenes' but admitted that it 'doesn't quite live up to its larger ambitions.' Given Brad Pitt's superstar status, Ayer's film easily took the top spot at the domestic box office with $23.5 million and its success overseas is pretty much guaranteed. The bigger question here is its awards prospects. As I mentioned before, "Fury" is fantastic from a technical standpoint so it should garner a few nominations in those categories. The acting is suitably strong as well but the writing just isn't up to par. Still, Columbia Pictures/Sony could conceivably make an awards push if the film continues to do well financially. I really wanted to like "Fury" as it's Ayer's most ambitious work to date. From its intense battle sequences to the A-list cast, the film gets a lot right yet feels oddly one-note and distant, with the story circling around the 'War is Hell' theme over and over again and offering little else. A director with a subtler touch could've worked wonders for this picture.

Final Rating: 2.5 out of 5

"Ideals are peaceful, history is violent."

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Gone Girl Review

Rated R (A Scene of Bloody Violence, Some Strong Sexual Content/Nudity, and Language)

Running Time: 2 Hours & 29 Minutes

Cast-

Ben Affleck-Nick Dunne

Rosamund Pike-Amy Elliott-Dunne

Carrie Coon-Margo Dunne

Kim Dickens-Detective Rhonda Boney

Patrick Fugit-Officer Jim Gilpin

Tyler Perry-Tanner Bolt

Neil Patrick Harris-Desi Collings

Lisa Banes-Marybeth Elliott

David Clennon-Rand Elliott

Casey Wilson-Noelle Hawthorne

Emily Ratajkowski-Andie Hardy

Lola Kirke-Greta

Boyd Holbrook-Jeff

Missi Pyle-Ellen Abbott

Sela Ward-Sharon Schieber

Scoot McNairy-Tommy O'Hara

Leonard Kelly-Young-Bill Dunne

Cyd Strittmatter-Maureen Dunne

Directed by David Fincher

Smile for the camera!

Note: Screened on Wednesday, October 1, 2014 at AMC Loews 34th Street 14. There are no outright spoilers in this review but I do vaguely reference certain plot elements.

David Fincher's latest film "Gone Girl" opens with a view of the back of Amy Dunne's head resting peacefully on the stomach of her husband, Nick Dunne, while he slowly strokes her blond hair. We hear Nick's thoughts out loud: 'When I think of my wife, I always think of her head.' It seems like he's about to think of something romantic but his next thought takes a sharp, disturbing turn: 'I picture cracking [open] her lovely skull, unspooling her brain, [and] trying to get answers.' He continues, 'The primal questions of a marriage: What are you thinking? How are you feeling?' Amy turns around to look up at her husband—her eyes trained directly at the camera. Nick's final thought before the scene fades to black: 'What have we done to each other?' When it comes to Hollywood directors, David Fincher is in an entirely different league. The man is notorious for shooting crazy amounts of takes but the consistently high quality of his work speaks for itself. Fincher can take the most mundane scene—that of two people simply talking—and turn it into something dramatically riveting and visually distinct. He's never made a bad film either. People may rag on the production-troubled "Alien 3" but I believe it's an underrated gem. Based on the best-selling 2012 novel of the same name by Gillian Flynn, who wrote the screenplay as well, "Gone Girl" is one of the best films of the year—a stylishly directed, darkly comic, and fascinating examination of gender roles and the falsity of romance and marriage.

July 5th, 2012: the day after Independence Day and the morning of Nick and Amy Dunne's (Ben Affleck and Rosamund Pike) fifth wedding anniversary. Following a visit to a local bar, which he co-owns with his twin sister Margo (Carrie Coon), former Manhattan writer-turned-Missouri college professor Nick Dunne returns to his suburban North Carthage home to find his wife missing, with his living room bearing signs of a recent struggle. Concerned, he immediately calls the police. Detective Rhonda Boney (Kim Dickens) and her partner, Officer Jim Gilpin (Patrick Fugit), arrive to inspect Nick's home. Finding a small trace of blood spatter on the kitchen cabinets, what initially seems like a simple missing-persons case quickly turns into a full-blown criminal investigation. When word gets out that Amy—who was the inspiration for her parents' best-selling Amazing Amy children's book series—has vanished, the media descend upon the town like a hungry swarm, their cameras constantly aimed at Nick while reporters poke and prod his life and behavior, all for a sensationalistic headline. With questions of infidelity and a troubled marriage surfacing, Nick is forced to hire hotshot New York City attorney Tanner Bolt (Tyler Perry) to help clear up his public image. However, one question still remains: did Nick Dunne kill his wife?

Ben Affleck's Nick Dunne finds himself under close scrutiny in the wake of his wife's disappearance.

"Gone Girl" is a whopping two hours and twenty-nine minutes long but because Fincher's film is such an absorbing experience from the very first frame, the lengthy running time just flies by. You won't find an ounce of fat here thanks to Kirk Baxter's pitch-perfect editing. The first act plays out like a classic 'whodunnit' as Detective Boney and her partner comb through Nick's house for any clues that might shed light on his wife's disappearance. Nick is obviously concerned. He calls the police immediately and fully cooperates with them but his behavior is a bit…off. When asked about Amy's blood type and whether she had any friends, his answer is the same: I don't know. In fact, Nick seems rather indifferent and nonchalant about the whole thing. He doesn't even alert Amy's parents of their daughter's disappearance until Boney tells him to. Worse, the guy smiles while standing next to a missing person poster of his wife during a press conference. As the police and the town's citizens search for 'Amazing Amy,' flashbacks—narrated by Amy via voiceover—reveal her first meeting with Nick in New York City and how he proposed to her. However, their marriage did not produce the 'happily ever after' ending they were expecting. Something happened to them and just when we think we've figured it all out, Fincher and Flynn throw a huge curveball that turns the film into an entirely different beast altogether.

From the ravenous media to the damaging effects of the economic recession, "Gone Girl" casts a wide net with its targets but what the film is really about is the falsity of marriage. At one point, Nick lashes out at his wife and says 'All we did was resent each other and cause each other pain.' Amy chillingly retorts, 'That's marriage.' Rather than love and companionship, the story positions marriage—and romantic relationships in general—as being built on lies and hidden agendas. In a way, this is true. When men and women court each other, they pretend to be something they're not. Even I've done this before. You may view it as being your 'best self' but it's exhausting and unsustainable. Sooner or later, the mask will slip off. It's pretty much inevitable. Given what happens in the film, many have accused it of being misogynistic while others have praised it for being feminist. The truth is, both viewpoints are correct and it's what makes "Gone Girl" so fascinating to watch. There's a scene where Amy goes on a long rant and reveals her extreme disdain for what she dubs the 'Cool Girl.' Simply put, the 'Cool Girl' is a type of girl who pretends to like what men like in order to attract attention—and she's always hot. In the character's own words, she's someone who 'never [gets] angry; they only smile in a chagrined, loving manner and let their men do whatever they want.' It comes off like the ravings of a mad lunatic and it's easy to mistake the film for siding with Nick but he's just as complicit in enabling the stereotype of a 'Cool Girl' by embodying it's equivalent, the 'Charming Guy.' Yes, he's not 'evil' like Amy. However, his male privilege, his inattentiveness, his violent outbursts, and his infidelity make Nick just as unsympathetic.  

One of the most interesting aspects of Fincher's film is the way the media intermingles with gender politics. Led by the Nancy Grace-like Ellen Abbott (played by a scene-stealing Missi Pyle), the cable television host whips the public into a frenzy and practically accuses Nick of murdering his wife without any solid evidence, solely because he is a man. If the same circumstances happened in real life, the husband is almost always a suspect, if not the prime one. However, what if he didn't do it? What if Amy isn't truly the victim here? That's the brilliance of "Gone Girl," the story twists and subverts our expectations, not just with thriller tropes but in the way men and women are depicted in fiction. Male characters are often rich and complex. The same cannot always be said for female characters. Flynn mentions on her website that 'the one thing that really frustrates [her] is this idea that women are innately good, innately nurturing.' Of course, you can't go too far to the other extreme either, or else she's a 'dismissible person.' The fact that Fincher and Flynn dared to bring to life a monstrous woman that rebels against what society expects of her due to her gender is what makes the film feminist. Her actions are without a doubt despicable but we understand her motivations.

"What are you thinking?"

Given its dialogue-driven nature, "Gone Girl" could've easily been a cinematic disaster without the right cast. Fortunately, that's not the case here. Ben Affleck is a great director, 2012's "Argo" proved that, but he's never been the most…expressive actor. In fact, he's often criticized for giving 'wooden' performances. That is actually to Affleck's advantage here since the character of Nick Dunne comes under suspicion due to his aloof behavior on-camera. It's a very 'meta' way of casting a role and is a stroke of genius on Fincher's part. The real revelation is Rosamund Pike, who delivers a career-best performance as Nick's wife Amy. Even when the actress is not on-screen, you feel her presence. The character is a monster of a woman but what makes her so compelling to watch is the way she contorts society's expectations of her to write her own narrative. She essentially becomes the 'Amazing Amy' her parents immortalized in their children's books. Carrie Coon is fantastic as well as Nick's twin sister Margo. She's the only character that can be called 'good' thanks to her levelheadedness. Tyler Perry surprisingly shines as hotshot New York City attorney Tanner Bolt, relishing in the role and delivering some wildly unexpected laughs. As Amy's former flame Desi Collings, Neil Patrick Harris turns up the creep factor to eleven while Kim Dickens' Detective Rhonda Boney makes for a great audience surrogate, asking all the right questions and playing devil's advocate. I would be remiss if I didn't mention Jeff Cronenweth's exquisitely sharp cinematography. Trent Reznor and Atticus Ross craft another mesmerizingly unnerving and uncomfortable score that perfectly captures the moody grey area that Fincher's film inhabits.

Released on October 3, 2014, "Gone Girl" has received fantastic reviews with 87% on Rotten Tomatoes. Critics noted that it played to 'director David Fincher's sick strengths while bringing the best out of stars Ben Affleck and Rosamund Pike,' resulting in a film that was 'dark, intelligent, and stylish to a fault.' The bigger question now is whether it has a chance in picking up some golden statues at next year's Academy Awards. The film will most likely get a few nominations and win in some technical categories but no, I don't see this winning Best Picture. The Academy tends to lean toward 'feel-good' pictures and "Gone Girl" leaves its audience, particularly couples, in an uncomfortable state. Its dark subject matter is not something meant to be 'enjoyed.' Still, the film is already guaranteed to be a box office success and serves as a reminder that adult dramas can do well if the story is compelling enough and is backed-up by a director who is well-respected. "Gone Girl" represents David Fincher at the top of his game. This is a lurid, nasty piece of work that shines a light on all the skeletons we keep in our closet in regards to marriage, romance, and gender roles. It is a picture that will stay with you long after you leave the theater.

Final Rating: 5 out of 5

"I'm the cunt you married! The only time you liked yourself was when you were trying to be someone this cunt might like. I'm not a quitter...I'm that cunt."

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Annabelle Review

Rated R (Intense Sequences of Disturbing Violence and Terror)

Running Time: 1 Hour & 38 Minutes

Cast-

Annabelle Wallis-Mia Gordon

Ward Horton-John Gordon

Tony Amendola-Father Perez

Alfre Woodard-Evelyn

Eric Ladin-Detective Clarkin

Kerry O'Malley-Sharon Higgins

Brian Howe-Pete Higgins

Ivar Brogger-Dr. Burgher

Tree O'Toole-Thin Woman/Annabelle Higgins

Keira Daniels-Young Annabelle Higgins

Directed by John R. Leonetti

Annabelle is watching you...

Note: At AMC Loews 19th Street East 6.

James Wan's critically-acclaimed horror hit "The Conjuring" opens with an extreme close-up shot of a creepy, wide-eyed porcelain doll with a rather sinister smile. Three college roommates come to believe that this doll is possessed when they begin noticing some strange occurrences. At first, it was small, like a hand or leg in a slightly different position but one day, the doll inexplicably appeared in a completely different room, as if it was moving around by itself. One of the roommates contacted a medium, who reveals that a seven-old-girl named Annabelle Higgins had died in their apartment. She was lonely and had taken a liking to the doll. Being sweet, nurturing types—two of the roommates were studying to be nurses—they gave the spirit permission to enter the doll. Turns out that was a very big mistake as things soon got out of hand for the roommates, forcing them to enlist the help of famed paranormal investigators Ed and Lorraine Warren. It's barely five minutes long but the opening scene in Wan's film, which wasn't even related to the main plot, scared me sh*tless and left me gripping the armrests on my seat in terror. Made on a production budget of $20 million, "The Conjuring" grossed over $300 million worldwide and received wildly positive reviews with 86% on Rotten Tomatoes. Because everything has to be a franchise nowadays, Warner Brothers and New Line Cinema quickly green-lit a spin-off revolving around the infamous 'Annabelle' doll. With Wan busy on Universal's "Fast and Furious 7" (he remains as a producer), directing duties were handed off to fellow cinematographer John R. Leonetti, whose previous credits include…"Mortal Kombat: Annihilation" and "The Butterfly Effect 2." The appropriately titled "Annabelle" is an obvious cash-grab but it's a cash-grab that at least preserves the integrity of its well-regarded predecessor, even if it doesn't entirely escape its shadow.

Set in the late-1960s in Santa Monica, California, a young married couple—Mia (Annabelle Wallis) and John Gordon (Ward Horton)—are anxiously preparing for the birth of their first child. Wanting to help complete his wife's doll collection, John presents Mia with a rare vintage doll that she had been searching for a long time but had given up hope on finding. The Gordons' quiet life in the suburbs is shattered when a pair of satanic cultists gruesomely murders their next-door neighbors (Brian Howe and Kerry O'Malley) and then invades their home. One of the cultists wounds Mia before being shot dead by the police. The other one—revealed to be their neighbors' brainwashed daughter (Tree O'Toole)—commits suicide while clutching onto one of Mia's dolls, the vintage one gifted by her husband. The couple tries to move on from the tragedy. However, spooky unexplained occurrences almost instantly befall them. Following a mysterious fire and the birth of their baby daughter Lea, the Gordons move to an apartment in Pasadena, where John begins his medical residency. All seems well, until the strange occurrences that haunted their previous home begin anew. Mia soon comes to suspect her vintage doll to be responsible and finds her suspicions confirmed when she learns that a soul-sucking demonic entity has latched onto it.

It doesn't reach the level of "The Conjuring" but "Annabelle" remains a solid horror flick.

If I had to describe "Annabelle" in one word, it would be 'derivative.' Director John R. Leonetti liberally borrows from James Wan's previous work, mixing the old-school, slow-burn 1970s horror that characterized last year's "The Conjuring" with the jump-scare fest of his "Insidious" films. There are echoes of "Rosemary's Baby" given that the majority of Leonetti's spin-off is focused on a new mother who's often left alone in her own apartment (the Gordons even bear the first names of that film's lead actors, Mia Farrow and John Cassavetes) but Gary Dauberman's script, which briefly flirts with parental anxiety and postpartum depression, lacks the sophistication of Roman Polanski's 1968 magnum opus.

"Annabelle" fortunately makes up for its absence of inspiration by being legitimately scary. Although it revolves around a haunted doll, the film avoids turning into a rerun of 1988's "Child's Play, which is a good thing considering it borrows so much from other horror flicks already. With the exception of one scene, the doll never actually moves. Instead, Leonetti utilizes extreme close-ups and out-of-frame/focus shots to suggest its sinister power. The cinematographer's previous collaborations with Wan has certainly helped his direction here as he knows how to properly build suspense, particularly in one scene that finds Mia watching television and sewing while popcorn pops on a stove that was turned on by an unseen force. Distracted by a soap opera, her finger inches closer and closer to the plunging needle as the loud whirring of the machine prevents her from hearing the sound of popping corn, and soon enough, roaring flames. However, the best moments are the ones where it takes a few seconds for your brain to register what exactly it's seeing. Pursued by a demonic apparition in her basement, Mia runs to the elevator and manages to close the doors but when they open, she's still in the basement! Seeing the exit sign down the hall, she rushes toward it and dashes up the stairs in terror. Of course, Mia trips along the way (you can't have a horror film without someone tripping at least once) and when she turns around…well, I'll leave it to you to discover what she sees. "Annabelle" isn't without its flaws, with the film lacking the exquisite period detail of "The Conjuring" due to its limited production budget. Although the running time is only a mere ninety-eight minutes, Dauberman's script still feels like its spreading itself too thin, with the story falling into a repetitive cycle of 'John leaving Mia at home alone while something terrifying happens.' As far as blatant cash-grabs go, this spin-off remains pretty solid, especially considering Leonetti's previous director credits include the 1997 abomination "Mortal Kombat: Annihilation"!

"May God have mercy on your soul!"

Despite the script's stilted dialogue, the cast—led by the ironically named Annabelle Wallis and Ward Horton—deliver adequate, if unremarkable, performances. The two have a playful chemistry with each other even though they're not entirely convincing as a married couple. Wallis screams and cries with the best of them, earning our sympathy as a beleaguered mother who only wants to protect her newborn baby from whatever supernatural force that is haunting them. Horton is somewhat bland as Mia's husband John but remains likable in the role with his good-natured demeanor. While his character may not be at home to witness the strange occurrences that Mia experiences, he at least supports his wife and doesn't actively question her claims, which is a nice change of pace. Tony Amendola, who has a reoccurring role as Geppetto on the ABC television show "Once Upon a Time," exhibits warmth and wisdom as Father Perez, as does as Alfre Woodard's kindly book store owner Evelyn.

Released on October 3, 2014, "Annabelle" has received largely negative reviews with 30% on Rotten Tomatoes, a far cry from its well-received predecessor. Critics noted that Leonetti 'borrows unabashedly from better horror films, content to leave viewers with a string of cheap jolts that fail to build on the far more effective The Conjuring.' Despite the less-than-stellar reception, "Annabelle" is still on track for a $30+ million opening weekend, which is a huge success considering the production budget is estimated to be a paltry $5 million. There's no denying the fact that "Annabelle" is a cynical, uninspired cash-grab but I still enjoyed it, even if it doesn't quite work on the same level as James Wan's film.

Final Rating: 3 out of 5

"I like your dolls."

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The Equalizer Review

Rated R (Strong Bloody Violence and Language Throughout, including Some Sexual References)

Running Time: 2 Hours & 11 Minutes

Cast-

Denzel Washington-Robert McCall

Chloë Grace Moretz-Teri/Alina

Marton Csokas-Teddy

David Harbour-Frank Masters

Melissa Leo-Susan Plummer

Bill Pullman-Brian Plummer

Johnny Skourtis-Ralphie

Haley Bennett-Mandy

David Meunier-Slavi

Alex Veadov-Tevi

Vladimir Kulich-Vladimir Pushkin

Anastasia Mousis-Jenny

Directed by Antoine Fuqua

Denzel Washington--the epitome of badassery.

Note: At AMC Loews 34th Street 14.

There's a scene in Antoine Fuqua's latest film "The Equalizer" where the main character, Robert McCall, coolly walks away from a massive explosion in slow motion. It's an action movie cliché that's been done to death already but I have to admit, it looks extremely badass, especially when said character is played by the venerable Denzel Washington. The two-time Academy Award-winning actor, who's just a year away from hitting sixty, seems to love starring in action thrillers as much as weighty dramas. While Washington may not be the biggest movie star in Hollywood, he's by far the most consistent as his films almost always open with $20+ million debuts at the domestic box office, with the occasional $30 million (2010's "The Book of Eli") and $40 million debut (2007's "American Gangster" and 2012's "Safe House") sprinkled about. The man has just about done it all over the past forty years but one thing he's never done is star in a sequel. Well, that's about to change with "The Equalizer," loosely based on the CBS television series of the same name, which starred British actor Edward Woodward and ran for eighty-eight episodes across four seasons between 1985 and 1989. Columbia Pictures/Sony is obviously gunning for a new franchise here. In fact, the studio is already developing a sequel after this one apparently scored through the roof during a test screening back in February. Normally I don't approve of such bullish moves in Hollywood but now that I've seen Fuqua's film, I have to say, I'm excited for a sequel. Although it doesn't exactly break the mold as far as vigilante-themed action thrillers go, "The Equalizer" remains a riveting, stylishly-directed film that's elevated by a fantastically badass performance from Denzel Washington.

Robert McCall (Denzel Washington), a widowed, unassuming middle-aged man with a mysterious past, has settled into a quiet life in Boston, Massachusetts, where he works as a stockperson at a big-box home improvement store by day and voraciously makes his way through his late wife's unfinished reading list by night. A chronic insomniac, McCall regularly stops by a local twenty-four hour diner, where he enjoys a hot cup of tea, reads his book, and makes friendly small talk with teenage prostitute Teri (Chloë Grace Moretz). She reveals that her real name is Alina and that she dreams of becoming a singer one day. Unfortunately, such aspirations remain out of reach as long as she is under the controlling thumb of the Russian mafia, led by local mob boss Slavi (David Meunier). When Alina ends up in the ICU after being savagely beaten, McCall dusts off his professional combat training and dispenses brutal justice against Slavi and the other Russian thugs that follow him. His actions trigger the wrath of powerful Moscow-based mafia boss Vladimir Pushkin (Vladimir Kulich), who sends his top enforcer Teddy (Marton Csokas) to take care of McCall. The former government operative must now stay one step ahead as the sociopathic Teddy and the corrupt cops that follow him slowly closes in for the kill.

Marton Csokas plays a sociopathic Russian enforcer on the hunt for McCall.

Working from a script written by Richard Wenk ("The Expendables 2," "The Mechanic"), Antoine Fuqua's "The Equalizer" is something of an atypical action thriller due to its low-key approach and while it's not a superhero film in the traditional sense, it might as well be since it plays out like an origin story of sorts. The opening act takes it slow and is spent by establishing who Robert McCall is as a person, as well as his friendship with teenage prostitute Teri/Alina. Audiences are first introduced to McCall while he's shaving away the white film of hair that has sprouted on his head overnight. Hopping on the crowded MBTA bus, he then commutes to his job at a big-box home improvement store called Home Mart. The idea of a deadly government operative putting his violent past behind him and leading a quiet, anonymous life is nothing new but McCall isn't the usual tortured hero who keeps everyone at arm's length. He's a genuine people person, frequently joking around with his co-workers (when asked about his past, McCall tells them he used to be one of Gladys Knight's Pips and even shows off some slick dance moves) while also helping out his friend Ralphie (Johnny Skourtis) train and lose weight so that he can become a security guard. Some of McCall's dialogue can be rather clunky, like something out of a cheesy motivational poster ('Progress, not perfection') but it's refreshing to see what is essentially a B-grade movie take the time to develop its main character. There's a great scene where McCall tells Alina about his late wife's love of reading and his determination to pay tribute to that by going through all the literary classics. Character moments like this are often a rarity in most action thrillers of this type as they're frequently preoccupied with shoving in as many action set-pieces as its running time would allow. Such an approach can quickly grow monotonous so I'm glad of Fuqua's restraint in the first act.

Of course, when the action hits, it hits hard. When McCall sees Alina lying helplessly in the ICU after being savagely beaten by local Russian mob boss Slavi, something snaps within him. A line has been crossed and he cannot sit idly by while doing nothing. However, he doesn't burst into Slavi's place of business with guns blazing. McCall instead tries to negotiate by handing over $9800 in cash in an attempt to buy Alina's freedom. However, Slavi is insulted by the offer and rebuffs it. That proves to be a very unwise choice for him and his band of thugs. What follows is a slow-burn cat-and-mouse game between McCall and the ironically-named Teddy, a sociopathic enforcer sent from Moscow. It's highly entertaining to watch, with Fuqua capturing the former government operative's uncanny ability to quickly assess a dangerous situation by slowing down time and going into what the production notes call 'Equalizer Vision,' similar to what Guy Ritchie did in his "Sherlock Holmes" films. McCall has a brutal yet cleanly efficient fighting style, with the man coming off as practically superhuman at times as he shrugs off bullet wounds and turns every household object into a lethal weapon. Hell, the final act plays like a gritty, R-rated version of "MacGyver"! Set in the spacious Home Mart at night, McCall methodically stalks Teddy's gun-toting men and picks them off one by one in an increasingly gruesome manner while Harry Gregson-Williams' thumping score plays in the background. Fuqua knows what kind of film he's making yet rarely does the end result look so stylish thanks to Mauro Fiore's moody, evocative cinematography. Sam Woolf from We Got This Covered sums it up best in his own review: 'Any hack can just [shoot] a guy getting hung from a barbwire noose; real pros can make you think there's poetry in it.'

It's a B-movie through and through but "The Equalizer" is elevated by Washington's performance and Antoine Fuqua's confident direction.

If you were to look up the definition of 'badass' in the dictionary, you would simply see a picture of Denzel Washington's face. The critically-acclaimed actor previously worked with Fuqua on 2001's "Training Day," for which he won his second Academy Award for his role as crooked detective Alonzo Harris and it's clear the two have an easy rapport with each other. While I'm lukewarm on some of his films (like 2012's "Flight"), Washington has never given anything less than a solid performance. As I mentioned before, this is B-grade material yet he treats the role with the utmost seriousness, taking care to convey Robert McCall as a redemptive man who only wants to do good. The character's innate decency shines through in scenes depicting his everyday acts of heroism, with Washington making it clear that although McCall can kill you faster than you can blink, he only resorts to violence when all other options are exhausted. One of the best scenes in the film is when his character confronts the sociopathic Teddy at a Russian restaurant and matter-of-factly states that if he doesn't stop hunting him, there will be dire consequences. Marton Csokas is perhaps a little too over-the-top as the central villain but his scenery-chewing is never less than captivating as his character grows increasingly frustrated at failing to capture his prey. Despite receiving second billing, Chloë Grace Moretz only appears in the first act and the last five minutes. Fortunately, she makes the most of her limited screen-time in her scenes with Washington, with their characters exhibiting a pseudo-father/daughter relationship. Finally, David Harbour, who was fantastic as sleazy serial killer Ray in "A Walk Among the Tombstones," brings surprising depth as corrupt Boston cop Frank Masters. Melissa Leo and Bill Pullman also show up in minor roles as former CIA allies of McCall.

Released on September 26, 2014, "The Equalizer" has received lukewarm reviews with 58% on Rotten Tomatoes. Critics found it to be 'more stylishly violent than meaningful, but with Antoine Fuqua behind the cameras and Denzel Washington dispensing justice, [the film] delivers.' Audience reception appears to be extremely positive and given Washington's near-consistent record at the domestic box office, it's pretty much guaranteed to have a $30+ million debut over the weekend. The executives at Columbia Pictures/Sony must be happy with this news. While "The Equalizer" isn't original in regards to its premise, the film remains a highly entertaining watch. It's also refreshing to see a picture that's not ashamed of its hard R-rating and wears it proudly like a badge of honor. I think it's safe to say that this won't be the last time we'll be seeing Robert McCall 'equalizing' someone.

Final Rating: 4 out of 5

"When you pray for rain, you gotta deal with the mud too."

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A Walk Among the Tombstones Review

Rated R (Strong Violence, Disturbing Images, Language and Brief Nudity)

Running Time: 1 Hour & 53 Minutes

Cast-

Liam Neeson-Matthew Scudder

Dan Stevens-Kenny Kristo

Boyd Holbrook-Peter Kristo

Brian 'Astro' Bradley-T.J.

David Harbour-Ray

Adam David Thompson-Albert

Sebastian Roché-Yuri Landau

Danielle Rose Russell-Ludmilla 'Lucia' Landau

Ólafur Darri Ólafsson-James Loogan

Mark Consuelos-Reuben Quintana

Laura Birn-Leila Alvarez

Razane Jammal-Carrie Kristo

Marielle Heller-Marie Gotteskind

Maurice Compte-Danny Ortiz

Directed by Scott Frank

Liam Neeson stars as ex-cop Matthew Scudder in Scott Frank's "A Walk Among the Tombstones," based on the 1992 Lawrence Block novel of the same name.

Note: Screened on Wednesday, August 27, 2014 at AMC Loews 34th Street 14.

I used to live in a less-than-savory neighborhood in the Bronx when I was a kid. A common sight that I would see upon coming home from pre-school were these thuggish-looking teenagers who sat on the apartment staircases getting high on marijuana, or some other drug that my young mind couldn't yet fathom. My mom would repeatedly warn me that they were 'bad people' and that I must keep my distance from them at all times. Were they actually bad? I'll never really know, but what I do know is that there's always someone worse lurking about, as exemplified in Scott Frank's slow-burn crime drama "A Walk Among the Tombstones." An adaptation of Lawrence Block's 1992 novel of the same name and the tenth installment in the popular Matthew Scudder book series, Frank fast-tracked the project at Universal following his Academy Award nomination for his script for Steven Soderbergh's "Out of Sight" in 1999 but it unfortunately languished in development hell for over a decade. Harrison Ford was initially set to portray Scudder, with Joe Carnahan—fresh off his 2002 breakthrough "Narc"—as director. However, Ford apparently 'chickened out' due to the source material's edgy content, resulting in Carnahan exiting the film as well. D.J. Caruso was in talks to direct in 2011 but Frank, tired of seeing his passion project repeatedly fall through, decided to just take over the reins himself. The casting of Liam Neeson, who's currently experiencing a career renaissance as an action star, finally gave the long-gestating film adaptation the necessary push it needed to move forward. Less "Taken" and more "The Grey," Frank's "A Walk Among the Tombstones" is old-fashioned to a fault yet it manages to overcome its genre clichés with a compelling mystery and an even more compelling performance from Neeson.

The year is 1991. NYPD detective Matthew Scudder (Liam Neeson) walks into a local bar that's friendly with the boys in blue and orders his usual: two shots of whiskey with a side of coffee. While reading the paper, two armed thugs suddenly burst into the bar, intent on robbing the place. They shoot the bartender dead, rousing Scudder into action despite his drunken state. He manages to kill one of the thugs but the second escapes with a third accomplice, who was waiting nearby in a car. Scudder kills the driver and after a short pursuit, takes down the final thug. Eight years later, a retired—and sober—Scudder makes ends meet as an unlicensed private investigator. A fellow AA member named Peter Kristo (Boyd Holbrook) approaches him at a diner one night about a potential job from his brother Kenny (Dan Stevens). Scudder meets with Kenny at his home and learns that the man's wife (Razane Jammal) had been recently kidnapped and killed. He offers $20,000 to Scudder to find the people that took her but the ex-cop, deducing that Peter's brother is a drug trafficker, refuses to help. Scudder later finds Kenny waiting at his apartment door. The widower reveals that a ransom was requested, which was promptly paid but the kidnappers killed his wife anyway and sent her back in pieces, just for kicks. After listening to a disturbing tape recording of Kenny's wife being murdered, Scudder agrees to take the case. While researching similar incidents in the Brooklyn area, the unlicensed P.I. befriends a homeless teenager named T.J. (Brian 'Astro' Bradley), who begins tailing the retired cop in order to become more like him. Scudder's investigation comes to a head when he discovers that the kidnappers have taken a thirteen-year-old girl (Danielle Rose Russell), forcing him in a race against time to save her.

Between this and the wickedly entertaining "The Guest," British actor Dan Stevens has been having a very good 2014.

All right, let's make this clear: "A Walk Among the Tombstones" is not another "Taken." I was seriously concerned that this would be the case since the trailer made it seem like a retread of the 2009 Luc Besson-produced film. In fact, the only scenes in Frank's film that comes across as "Taken"-like is the prologue, where Liam Neeson's Matthew Scudder singlehandedly takes down three thugs despite being drunk on whiskey shots, and when he threatens one of the kidnappers over the phone. Neeson's latest is a largely subdued affair compared to his more action-packed offerings as it hews closer to the hardboiled detective flicks of old with its retro, film noir vibe. Through the lens of cinematographer Mihai Malaimare Jr., New York—specifically Brooklyn—is shown in a less glamorous light. The script, written by Frank, is rather straightforward as far as storytelling goes. There are echoes of David Fincher's "Se7en" with its serial killer plot but don't expect any surprise twists like that film. While some viewers will find the deliberate pacing too slow, the joy of watching "A Walk Among the Tombstones" comes from the investigation itself and the strange assortment of characters that Scudder encounters. One such highlight involves a tense exchange between the ex-cop and a cemetery groundskeeper named James Loogan, played by a subtly creepy Ólafur Darri Ólafsson. Suspecting him of knowing more than he lets on, Scudder breaks into Loogan's shed at an apartment rooftop. The groundskeeper shows up, knife in hand and ready to attack, but rather than disarm him, the unlicensed P.I. calmly remarks that he can easily take the knife away and 'stick it in [his] neck.' Loogan quickly gives up without protest. It's one of the film's best scenes, helped in large part by Neeson's wry delivery. However, there are moments of cheese, mainly stemming from Scudder's interactions with homeless teenager T.J. He meets him at a local library and enlists his help in using those newfangled computers and internet. T.J.'s inclusion is meant to show Scudder's concealed humanity and have him confront his past but it doesn't really work due to the way Frank writes the teen. His smart-aleck personality comes across as more irritating than charming.

The script's real strength lies in its themes, which is perfectly encapsulated in the film's tagline, 'People are afraid of all the wrong things.' This is manifested in "A Walk Among the Tombstones" in two ways. First, the year the story takes place in is 1999, right in the midst of the infamous Y2K scare. Of course, we all know that Y2K turned out to be a much-ballyhooed non-event but the bitter irony is that only a year later, 9/11 happened. Second, the people who kidnapped and killed Kenny's wife—minor spoiler here—turn out to be two schmoes that you wouldn't even give a damn about if you were to walk past them on the street. During his first meeting with Kenny, Scudder correctly deduces that the man makes his money through drug trafficking and being a former cop, he refuses to help him. However, Kenny convinces the P.I. that he did love his wife and that swift justice for her is the only thing he lives for now. Despite his criminal profession, he's actually not an evil person and the same goes for Yuri (Sebastian Roché), whose thirteen-year old daughter is taken when the kidnappers notice her while she's walking her dog on the street (the scene is creepily set to Donovan's 1968 pop song Atlantis). We just assume they're evil because of what they do. In a city full of thugs and drug traffickers, it's rather ironic that they across as saints when compared to the kidnappers, whom Frank describes in the film's production notes as 'a harbinger of things to come and nobody was paying attention.'

David Harbour and Adam David Thompson deliver impressive performances as sadistic kidnappers Ray and Albert.

Of course, the most compelling aspect of "A Walk Among the Tombstones" is the presence of Liam Neeson. The sixty-two year old Irish actor always gives 110% in his performances and it's no different here despite the role not being all that different from all the gruff, no-nonsense characters he's played in the past five years. Neeson does a fantastic job conveying Scudder's regret and world-weariness but there's also a sense of playfulness to his portrayal, as evidenced by the aforementioned tense exchange between the ex-cop and Loogan. While he may not be battling Albanian thugs or going head-to-head with wolves, Neeson still engages in a fair amount of badassery. Equally impressive are David Harbour and Adam David Thompson, who portray the sadistic kidnappers. Thompson's Albert is the quieter of the duo with his stone-cold stares while Harbour's Ray is the more talkative. I have to say, Harbour's performance made me sick to my stomach, and I mean this in the best way possible. The character is a sexual deviant yet is also sickeningly charismatic. The film never attempts to understand the kidnappers because there's nothing to understand. That's what makes them so frightening. The rest of the supporting cast are solid, with Dan Stevens (who's also currently starring in the wickedly entertaining "The Guest") further distancing himself from his role on "Downton Abbey" as repentant drug trafficker Kenny Kristo.

Released on September 19, 2014, "A Walk Among the Tombstones" has received mildly positive reviews with 66% on Rotten Tomatoes. Critics noted that it 'doesn't entirely transcend its genre clichés, but it does offer Liam Neeson one of his more compelling roles in recent memory, and that's often enough.' While Neeson has been a pretty strong box office draw as of late, his latest film debuted with only $12.8 million and fell short of Universal's modest projections. Given its $28 million production budget, it's not a total disaster, although prospects appear dimmer when the film goes up against Denzel Washington's "The Equalizer" in its second weekend of release. The lower-than-expected opening doesn't necessarily mean audiences are tiring of Neeson as Frank's crime drama was always going to be tough sell with its deliberate pacing and icky subject matter. The script sticks close to genre conventions but the central mystery, Neeson's strong performance, and the director's fearless exploration of the darkest recesses of the human soul makes "A Walk Among the Tombstones" well worth a watch.

Final Rating: 3.5 out of 5

"Let her go or you'll be looking behind you for the rest of your worthless life!"

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