Always kill the devil quickly when you find him.

Dead Man Down

(2013)

The Girl With the Dragon Tattoo's Niels Arden Oplev must really like pulp fiction. He takes something as lurid and preposterous as Stieg Larsson’s novel and treats the characters and story as with tasteful restraint. Such respectfulness encourages the viewer to treat it in kind, even if instinctively it’s clear that this is all rather trashy. Dead Man Down is the kind of material that could easily have been washed up as straight-to-video fare with a Statham or a Lundgren. It’s a less than subtle script that he chooses for his first English language film but Oplev maintains a sombre, reflective tone and so makes the somewhat absurd plot more palatable. If it’s not immediately obvious why he would be attracted to it, maybe it’s the opportunity, as with Lisbeth Salander, to achieve emotional resonance where there would usually be none.

J.H. Wyman’s screenplay pulls off some neat misdirection. In particular, the first 20 minutes set the tale moving without clear bearings; it’s actually a pleasant change not to have the rhyme and reason of the characters spelt out instantly. Elsewhere, there’s little to remind one of the sterling work he turned in throughout the recently ended TV series Fringe. Perhaps a science fiction canvas allowed such excesses to seem less glaring, because no one’s going to admit that the scenario he has come up with here is very likely. Victor, Colin Farrell’s Hungarian engineer, is out for revenge against Alphonse, Terrence Howard’s crime boss. To that end, he has inveigled himself into Alphonse’s organisation. His long game takes an unexpected turn when Beatrice, Noomi Rapace’s scarred beautician, reveals evidence of him murdering an associate in his apartment. If he doesn’t kill the man who left her disfigured, she will turn it in to the police. With Beatrice breaching his defences and his criminal associates getting closer to discovering the identity of whoever is preying on them, Victor finds himself in an increasingly desperate situation.

Farrell is buttoned down, his usual expressiveness suppressed beneath an immovable mask. He's rather good, as he usually is when he's not in a blockbuster. If Rapace doesn't quite connect, it’s in part because her character is not allowed the desperation and misery she really needs to contemplate such measures. And she's not nearly uglified enough to make the insults of "Monster!" plausible. There’s also strong support from Terence Howard, Dominic Cooper, Armand Assante and the always magnificent but ever-underused F Murray Abraham.

Victor's revenge plan is too intricate to be really likely to succeed, but Oplev ensures that it plays out suspensefully (there’s an excellent, tension-filled conversation piece between Victor and Alphonse in an empty office) until we reach a ridiculously overblown climax (of all the possible outcomes I envisaged, this one was very nearly the last). Which is good fun but seems like it muscled its way in from an entirely different movie.

Paul Cameron’s cinematography evokes a rich grey melancholy. The overcast gloom and creeping darkness is a character in itself, there’s a kind of beautiful despair to the imagery, lending a feeling that none of this can end well. I can only think that producer Neal Moritz offered the directing gig to Oplev by mistake, since this couldn’t be more different in tone to his usual fare (well, until the finale). This is the guy behind the Fast & Furious franchise and I suspect he was envisaging something slicker, punchier and less introspective. Dead Man Down (terrible title, but fitting the sort of film this might have been) is ultimately let down by being very goofy, but the clash of styles ensures you’re never quite sure how this one will pan out until it’s too late.

***

I’m smarter than a beaver.

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I’m the famous comedian, Arnold Braunschweiger.

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If you ride like lightning, you're going to crash like thunder.

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Everyone creates the thing they dread.

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Death to Bill and Ted!

Bill & Ted’s Bogus Journey (1991) (SPOILERS) The game of how few sequels are actually better than the original is so well worn, it was old when Scream 2 made a major meta thing out of it (and it wasn’t). Bill & Ted Go to Hell , as Bill & Ted’s Bogus Journey was originally called, is one such, not that Excellent Adventure is anything to be sneezed at, but this one’s more confident, even more playful, more assured and more smartly stupid. And in Peter Hewitt it has a director with a much more overt and fittingly cartoonish style than the amiably pedestrian Stephen Herrick. Evil Bill : First, we totally kill Bill and Ted. Evil Ted : Then we take over their lives. My recollection of the picture’s general consensus was that it surpassed the sleeper hit original, but Rotten Tomatoes’ review aggregator suggests a less universal response. And, while it didn’t rock any oceans at the box office, Bogus Journey and Point Break did quite nicely for Keanu Reev

I think it’s pretty clear whose side the Lord’s on, Barrington.

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Just because you are a character doesn't mean that you have character.

Pulp Fiction (1994) (SPOILERS) From a UK perspective, Pulp Fiction ’s success seemed like a fait accompli; Reservoir Dogs had gone beyond the mere cult item it was Stateside and impacted mainstream culture itself (hard to believe now that it was once banned on home video); it was a case of Tarantino filling a gap in the market no one knew was there until he drew attention to it (and which quickly became over-saturated with pale imitators subsequently). Where his debut was a grower, Pulp Fiction hit the ground running, an instant critical and commercial success (it won the Palme d’Or four months before its release), only made cooler by being robbed of the Best Picture Oscar by Forrest Gump . And unlike some famously-cited should-have-beens, Tarantino’s masterpiece really did deserve it.

This entire edifice you see around you, built on jute.

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Poetry in translation is like taking a shower with a raincoat on.

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Your Mickey Mouse is one big stupid dope!

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Now In Full Color, with a Happier Ending

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