Article: Dog Day Afternoon - Blind Watch of Dobermann

I’ve been trying to find something that would shake me out of semi-doom scrolling the socials as we enter yet another day of the Chris Rock/Will Smith Crap Joke/Stupid slap discourse that has been running since the Oscars played out on March 27. This first-time watch of Jan Kounen’s hyper-kinetic, heist actioner Dobermann was just the right thing to jolt me out of award season malaise and push me into babbling some paragraphs down on this semi disused blog. It shouldn’t take me third-party hot takes of some badly behaved actors to get me back on the blog horse. However, the fresh prince’s slap heard around the world once again reminded me of how so much of film culture is now dedicated to talking around films, but never about them. I’m sure I have my own opinions about the utter nonsense that occurred on Oscar night. But that’s far too wrapped up in my disdain for the Academy Awards themselves. I will note, however, with all the people of colour making clear gains with their wins, this was ruined by a moment of macho madness which screamed bad optics to many in the silent majority. If you think reading by reading this paragraph, you know how I feel about the whole shebang. Guess again. But thanks for helping my SEO gain marginal footfall to my lowly page.

Back to the reason for this post. Doberman. A 1997 crime flick that was recommended to me by my dear friend and Hustlers of Culture podcast co-host: Hugh David. I remember Hugh excitably telling me of this wild, French slice of madness almost 10 years ago. I purchased the out of print, Tartan Video DVD almost 5 years ago. Which highlights a point for me: If you passionately recommend a film to me, I usually put it on a list, and I do try and get around to watching it. Just don’t expect a reaction a week later.

Dobermann is a product of Dutch-born French film director Jan Kounen who is now possibly more known for his Shamanism than his films. After working in advertising and creating two critically acclaimed shorts, Kounen drummed up the clout to create this first feature. From the film's first frames in which a Dobermann saunters through a church graveyard, we are ensured that subtly is not found here.

A smattering of plot. The wild-haired Yann Lepentrec (Vincent Cassel) otherwise known as Doberman arranges a complex heist with his misfit friends and deaf girlfriend "Nat the Gipsy" (Monica Bellucci) which leads to a large manhunt by the Parisian police.  The hunt is led by Christini (Tchéky Karyo), a cop whose moral bankruptcy is as deep as a sandworm’s stomach on Arrakis. Once Christini catches a whiff of the gun-loving thief, chaos ensues, building up to a frenzied and brutal climax.

I thought Doberman would leave me shook up. My overall response was more muted than expected. It’s a film that certainly has its moments. Watching a stray Doberman run into the church and attack a criminal, leading him to throw the gun that he was holding into his crying son’s pram, is certainly a way to introduce the character of Dobermann. The film certainly enjoys trying to lob grenades of craziness into its atmosphere. Many scenes feel as if ripped out of an angry teenager’s graphic novel. Doberman excels in nailing a wild comic book style energy, despite not pushing the boat out in other needless things such as plot. I was taken aback by how lightweight the film felt overall. With the film’s eager dynamic action covering a rather ho-hum screenplay.

Perhaps with Dobermann appearing nearer the back end of the era which delivered us the birth of one Quintin Tarantino and a strain of post-modern crime flicks, the film found itself under unfortunate circumstances. Watching Doberman's dated opening titles, which features a CGI-suited dog who chomps cigars, and urinates on actors' credits all the while holding a magnum, it’s difficult not to shake off some of the film's try-hard attempts of transgression. Tarantino chopped up his narratives and made gangsters a bunch of lads who nattered about tipping waitresses and chomping burgers with Reservoir Dogs (1992) and Pulp Fiction (1994) respectively. Elsewhere, Michael Mann decided to go for all-out operatic. Pitting Al Pacino and Robert De Niro together in a long-anticipated showdown with Heat (1995). Doberman features a cameo from one Gasper Noe, one of the leading lights in the New French Extremity movement coined by Artforum critic James Quandt. Noe’s film I Stand Alone (1998) coming a year after Doberman, shows where boundaries began to get pushed. Doberman sits awkwardly in between the brash philosophies of the Americans and the aggressively nihilistic visions of directors like Gasper Noe. While Tarantino decides to cut the heist because it doesn’t matter., Doberman merely has all its characters yelling like nothing matters. But they have no interesting thematic provocations.

However, Doberman is about looking cool first and asking questions on morality much later. Best viewed as a cult curiosity, it’s the kind of lower-budgeted movie which makes use of its limited number of locations. The action sequences hold a frenzied momentum, while the film's triple-headed cast of Cassell, Bellucci, and Karyo gnaw wildly at what scenery exists. There’s a dark charm that inhabits much of the film's craft. From locking a grenade into a cop’s bike helmet while still wearing it, to a dance DJ blasting out tunes ecstatically while a full-blown gunfight is taking place beside him. Both Cassell and Bellucci enjoy themselves while being somewhat short-changed considering their talents. But it’s Karyo who fully revels in sadistic narcissism with his role of a rogue cop gone off the deep end. Like Gary Oldman’s Norman Stansfield in Leon (1994), he gets all the film's best character moments.

For the most part, Doberman serves itself well as a morbid sugar rush, which would be worth a new generation of hipster films to seek out, if they don’t mind the volume of homophobia exhibited by some of the characters. The film isn’t a crowning achievement for its well-known cast, but it’s not a bad late-night watch that would make an interesting double bill with Roger Avery’s Killing Zoe (1994) if you’re up for a little bloodshed.

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Review: Hancock

Year: 2008
Director: Peter Berg
Screenwriters: Vincent Ngo, Vince Gilligan
Starring: Will Smith, Charlize Theron, Jason Bateman,

To describe Hancock? Superman on the way to mystery men, just past Arrested Development. That's how I'd describe the film in one sentence fragmented line. To say I enjoyed it? Yes. In one word. Should I say any more? Not really but fuck you as i have a laptop and the Internet.
Hancock is the story of John Hancock (Smith) a down and out, drunken superhero who "saves the world" in a way that The DC comic hero would state as "a curveball". He causes more damage than he should, he's got more than a few lawsuits up his sleeve and he is hated by the city he lives in (Los Angeles). His life however, takes an unexpected turn when he saves the life of an upbeat PR specialist (Batemen) who wishes to change the world. Hancock's world is suddenly on the up and people are beginning to like him. However why is The PR's wife (Theron) looking at him in that way?

Hancock starts well and runs at a swift pace and we are entered into his world extremely quickly. Hancock's script (competently written by little knowns Ngo and Gillian) lack of in depth origin story works as Berg direction tells us everything we need to know about our hero quickly, with no need to sidetrack us. As much as i love Spiderman, Batman et all, it's nice to see a hero film grab you from the start as Hancock does.

But what also hooked me in was how Berg decided to shoot the film with tight close ups, handheld cameras. His usage of space makes Hancock his own. The film doesn't look like just another super hero film. It's unbelievable that other directors haven't taken this approach with some of the other movies recently released. It's a film that actually feel like we invade a hero's personal space. Imagine how the Fortress of solitude would feel if directors took heed of what Berg does.

The film isn't without it's humor, It's funny to watch how others react around Hancock with everyone knowing that one wrong word could get you thrown into the stratoshpere (again watch the movie). The screenplay also has more than enough throwback lines that can bring a smile to ones face. The humor isn't a subtle but it's smart enough (I swear one character's hooked hand is a reference to a certain actors ill fated sitcom).

But while the story runs at it's breezy pace it's not without it's fault. The story suffers from one of the most predictable plot moments I've seen in a long time. Not only it's predictable but it knocks the film's enjoyment a notch mostly because the story/character dynamic changes so drastically but also because even a two year old can see it coming off a mile away. The second half alters the film from a funny, different and interesting look at a superhero to....an origin story. The film decides to take us back to square one and with that the film suddenly turns into a chance of a franchise. The film slowly starts to lose sight in what made it stand out in the first place. Big shame.

It's not all bad however. Hancock brings about some interesting commentary about race (if you REALLY want to read into it). Smith's role as the lead is more important than you might think. He is the most original black super hero (not named white hatin' coon) I've seen in a long time (if not the first). While I'd like to say more about this it would spoil aspects of the film to those who may watch the film one day.

The acting within the film is smart and tidy, Theron's role isn't too thankless, Bateman puts himself back into the Bluth suit for the good natured PR and as for Smith? Role's like this are his bread and butter. The shift in power between Smith and Tom Cruise isn't just in Cruise's rants (religious and otherwise) but because Smith is more accessible then Cruise ever was. This ties in with what I wish to say about race...but maybe for another time when everyone's seen the movie eh?

Review: I Am Legend

• Year: 2008
• Director: Francis Lawrence
• Screenwriters: Mark Protosevich, Akiva Goldsman
• Starring: Will Smith

Well this was my first visit to the cinema this year and it's safe to say I was not disappointed. I am Legend probably won't make it on to my top ten favorite films of the year. However Francis Lawrence's film is strong enough to hold a viewers attention. This is down to some well crafted art direction and a powerhouse performance by Will Smith.

Smith plays Neville, a lone survivor of a biological disease which has ravaged New York City. For the past three years as the lone survivor he spends his days with his pet dog Sam searching for a cure. However to quote the films tag line, the last man on earth is not alone. The disease has mutated those who didn't die, turning them into sub-human zombie-type creatures. Neville's life is divided into retaining his sanity during the day and staying alive during the night.

Remember the opening scenes of 28 Days Later? Well Lawrence wishes to take that isolation further. He almost makes it. For the most part, the film is an interesting exercise in isolation and loneliness. What helps is the utilization of silence which goes with the shots of human achievements. The film managed to freak me out a couple of times as we are shown shots of skyscrapers and monuments standing tall but standing for no one. Lawrence also manages some semi effective shock scares and creates some claustrophobic set pieces for two thirds of the film.

This leads me to the last third of the film, which isn't as terrible as so many has said but suffers from a soft climax and an almost abrupt ending. The films last third is jarring with what we've seen before and brings discomfort. Much has been said about the films CGI at the end of the film also. While not the greatest I've ever seen, it's a damn sight better than say....Charlies Angels 2: Full Throttle. It seems that the films problems (particularly at the end) hit hardest when the filmmakers make their most liberal alterations to the original novel.

With this said, plot wise the film is still engaging. I have yet to read Richard Matheson's original novel, but I'm sure there will be moments in the book I would have loved to see on the screen. What keeps the film so engaging however is the charm and screen presence of Will Smith. His role in the film is one of his strongest since Ali (yep seven years ago). Smith manages to take the role beyond that of a regular action hero and adds a small amount of pathos to the film. The supporting characters are nothing to yell about as all the characters apart from Neville are mostly cameos, save for the brilliant animal performance from Abby the dog who plays Sam.

I am Legend for the most part is an entertaining film which slowly begins to run out of stream before the climax. Which is a shame when you release that Smith's talent and star potential could have been used to greater effect in such a film.