In the Loop may be a comedy, but it’s also one of the most depressing movies of the year. It’s political in a way only the British usually are—bitter, brittle and more bitchy than Noel Coward (House of Cards anyone). It’s also a study of contrasts between how the British get things done and how the Americans get things done. In England one bullies and threatens, at times becoming physically violent. To survive an assault, one simply stands up to it and refuses to let anyone get a leg up (a friend of mine says it’s all the outcome of British private schools and there are times you can almost hear someone say, “Sir, may I please have another”). In the U.S., one is manipulative and sneaky, dancing around everything, outfoxing someone while trying to find their weak spot. The only thing the two groups have in common is the number of four letter words they use. The story is all about the events leading up to a declaration of war between the U.S. and the Middle East. Though the country is never mentioned by name, it’s ridiculous not to realize the target is Iraq. Because of this, the movie begins to resemble French playwright Jean Giraudoux’s The Trojan War Will Not Take Place, in which a valiant Hector tries his best to stop a war that will not be stopped. In the end, even though there comes a moment when you think the good guys will win, it becomes clear that conflict is a foregone conclusion because the war with Iraq indeed did take place. The comedy then gives way to tragedy. The ensemble cast is first rate with Peter Capaldi the foul mouthed stand out doing his role of mid-level bureaucrat one better than the one he played in the terrific TV series, Torchwood: Children of Men. The script (by Jesse Armstrong, Simon Blackwell, Armando Iannucci—who also directed, Ian Martin and Tony Roche) is bollocksy brilliant, full of poetic vulgarities. The only problem here is that the script is so brilliant, it sometimes seems so carried away with itself, that one loses track of the some of the characters’ motivations. Somewhere along the way, I became a bit unclear just why some in England wanted to go to war and join forces with the U.S. and why others didn’t. See this as a double feature with Dr. Strangelove.
In the Informant! (with an exclamation point—excuse me), Matt Damon as Mark Whitacre joins the great sociopathic liars of the silver screen like Harriet Craig (Craig’s Wife), Stephen Glass (Shattered Glass), and Mary Tilford (The Children’s Hour). Not a bad group to be a member of. The story is about an FBI investigation into price fixing in the corn industry, but the real suspense is not if the FBI will make their case—the real suspense derives from how long Whitacre can keep up the lying and how often he can dig himself out of whatever hole he’s crawled into. I’m not sure it’s a brilliant performance. Damon is good, but there is a certain flatness to his performance. At the same time, there’s a certain flatness to everything: the cinematography, the bland 1970’s décor, the dated music by Marvin Hamlisch (though this last rises above the flatness). Of course, the 1970’s was a bland decade and director Steven Soderbergh seems to make the most of it and though I’m not sure how, it does seem to add something to the proceedings. The supporting cast also has that somewhat 1970’s look about them as well with the Smothers Brothers perhaps the most recognizable. It’s a well written entertainment (script by Scott Z. Burns) with perhaps its major flaw being the character of Ginger Whitacre, Whitacre’s wife, played by Melanie Lynskey. The author either couldn’t, or even worse, couldn’t be bothered, to try to understand what made Ginger tick. What little character she has is provided by Lynskey’s lovely, lilting voice. But the actress deserved better.