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Month: December 2013
INSIDE LLEWYN DAVIS
SAVING MR. BANKS
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The Best Films of 2008 or the Howies
Top Ten Movies of 2008
Best Picture: Reprise
The rest in alphabetical order
Antartica
Che
The Counterfeiters
Edge of Heaven
In Bruges
Let the Right One In
Love Songs
Tell No One
Waltz with Bashir
Honorable mentions:
The Dark Knight, Wall-E
Special mention for Documentary:
Man on Wire
Helvetica
A Special List of Movies only shown once in L.A. (at film fests, etc.) in alphabetical order:
Before I Forget
The Chaser
The Good, the Bad, the Weird
The Headless Woman
Solitary fragments
Summer hours
Special Award for Best ensemble:
Doubt (Meryl Streep, Amy Adams, Viola Davis, Philip Seymour Hoffman)
Note: I know this is cheating, but it freed up spaces on the best acting lists.
Best Actors of 2008
Best Actor:
Jacques Nolot – Before I Forget
The rest in alphabetical order
Francois Cluzet – Tell No One
Robert Downey, Jr. – Tropic Thunder, Iron Man
Karl Markovics – The Counterfeiters
Sean Penn – Milk
Honorable mentions:
Collin Farrell – In Bruges, Cassandra’s Dream
Benicio del Toro – Che
Mickey Rourke – The Wrestler
Frank Langella – Frost/Nixon
Best Actresses of 2008
Best Actress:
Melissa Leo – Frozen River
The rest in alphabetical order
Juliette Binoche – Flight of the Red Balloon, Summer Hours
Sally Hawkins – Happy Go Lucky
Maria Onetto – Headless Woman
Kirsten Scott Thomas – I Have Loved You So Long
Honorable mentions:
Angelina Jolie – Changeling
Kate Winslet – The Reader; Revolutionary Road
Best Supporting Actors of 2008
Best Supporting Actor:
Heath Ledger – The Dark Knight
The rest in alphabetical order
Josh Brolin – Milk
Ralph Feinnes – In Bruges, the Duchess, The Reader
Gilles LeLouche – Tell No One
Eddie Marsan – Happy Go Lucky
Honorable Mentions:
Michael Shannon – Revolutionary Road;
Diego Luna – Milk
Best Supporting Actresses of 2008
Best Supporting Actress:
Penelope Cruz – Vicki Christina Barcelona
The rest in alphabetical order
Kathy Bates – Revolutionary Road
Lisa Kudrow – Kabluey
Elza Lyberstein – I Have Loved You So Long
Amy Poehler – Hamlet II
Honorable mentions:
Marissa Tomei – The Wrestler
Hannah Shygulla – Edge of Heaven
Best Direction of 2008
Best Director:
Che – Steven Sodenbergh
The rest in alphabetical order
The Chaser – Hong-jin Na
The Dark Knight – Christopher Nolan
The Good, the Bad, the Weird – Ji Woom-Kin
Reprise – Joachim Trier
Honorable mention:
Jon Favreau – Iron Man
Best Screenplays of 2008
Best Screenplay:
Reprise – Joachim Trier, Eskil Vogt
The rest in alphabetical order
Antarctica – Yair Hochner
The Counterfeiters – Stefan Ruzowitzky
In Bruges – Martin McDonagh
Tell No One – Guilliame Canet, Harlan Coben
AMERICAN HUSTLE and THE PAST
DEPARTMENT OF SELF-AGGRANDIZEMENT–THE LAST TREE STANDING MOTEL
My most recent screenplay, The Last Tree Standing Motel, makes the finalists of the London Film Awards Screenplay Competition.
THE HOBBIT: THE DESOLATION OF SMAUG, CAMILLE CLAUDE 1915 and THE GREAT PASSAGE
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CONSULTATION PHILOSOPHY, FEES and TESTIMONIALS
First, I’m on Instagram. Follow me and I’ll follow back. Next, yet still another testimonial for my screenplay coverage service:
This is for my 20 pages for $20.00 level:
When you think you’ve written a good script with a good story, who do you turn to get it reviewed? Friends, Family? Most of the time they respond with “This is great!” or “Excellent Story”. Unless your friends understand screenwriting most of these accolades are pretty meaningless, in part because they are not honest reviews. I had been looking for someone to give me honest feedback. I was talking to a friend and she recommended Howard as the best person at any price. I reached out to Howard and in two days I received the best, accurate, and honest review of my short screenplay that I could have ever hoped for. If you are looking for someone to pat you on the back, I would stick with family and friends. If you are looking for an accurate, meaningful, and honest review I recommend Howard Casner.
Thomas Tierney, Avalon Falling
[A] very big thank you for blowing my mind with your notes on Beyond Our Skies. I am flabbergasted by your ideas and I will definitely take every one of them into consideration. For the longest time I just felt so stuck with the story and knew something was missing. You really helped point out every potential avenue I could take in resolving the issues. Thank you so much for your help! Can’t wait to send you the next script (I just have to write it first).
Bryan Mora, Beyond Our Skies
I have received a new review of my coverage services. It’s very lengthy, so I’ll share a couple of excerpts first:
“Howard was insightful and like a film encyclopedia”, “Someone bringing solutions not more confusion to the table”, “Howard’s a nice guy who knows a ton about movies and helps you come up with solutions and his prices are very reasonable.” There’s more below.
Howard was insightful and like a film encyclopedia.
Let me give you a couple examples. I gave a subtle film reference to a 1961 French Film, Lola but never said the film’s name. When I met with Howard, he said the film by name and then went into details about the Director, Jacques Demy’s and his other great film Umbrellas of Cherbourg. I was to say the least impressed, this dude knows his stuff.
Also you know how when in college you asked a professor a difficult question and they reply… that’s an excellent question, you should think more about it and yet they never answer the question. Annoying “AF” right? I have worked with some other film consultants and they’ll say, well you need to change this or that scene or here’s your screenplay’s problem. They say okay, now go think about that. They don’t help you come up with ideas. It’s annoying “AF” right and you leave more confused and further away from your goal of making a sellable screenplay than before. This is NOT a good way to walk away from a screenplay consultation.
Well the very first minute my awesome film partner (Cindy 🙂 and I met with Howard… he went right into ideas about how to fix certain holes in the story. He literally said, ok, I’ve been thinking about your opening and here’s an idea I have.
I was like Hallelujah!!!!!!!! Someone bringing solutions not more confusion to the table. Thank YOU!!!
Howard’s a nice guy who knows a ton about movies and helps you come up with solutions and his prices are very reasonable. He rolls up his sleeves with you and gets down into the dirty little details of how to make your story the best it can be. Not grand cinematic overtures but the details, big and small and that is incredibly helpful. He’s also generous and giving with his time which is huge. Not like one consultant who literally like 61 minutes into a 60 minute consult was hitting me up for more money.
Though he didn’t give my screenplay… the coveted Highly Recommend (yet, after rewrites…fingers crossed)… but I do Highly Recommend Howard. Howard really helped me and offered solutions to get me on the right track. Walking out of his consultation I felt focused and inspired. And that my friends is how it should be. Thanks Howard!!
Eric Weiss, The Friend Zone
More testimonials:
Thanks so much Howard – you make great points, and it’s very helpful! Will start doing a rewrite with these things in mind…I think your prices are amazing for your time and quality, so I will definitely refer people to you and also plan to be in touch more in the future as well!
Michelle Ehlen – Maybe, Someday
$20.00 for 20 pages service:
“Finally, I’ve found quality feedback! The notes I received on the first 20 pages of my screenplay were eye opening. It can be difficult to see what’s missing or unclear when you’re close to a project but Howard’s notes were objective, thorough, and detailed in a way that helped me to recognize the mistakes I was making before I got too far along. He even gave great suggestions on how to improve my weak areas. I highly recommend his services and will be back for full coverage when I finish my script.”
Theresa Drew – Gideon
For my regular $50.00/5-6 pg. coverage
“I am grateful for finding Howard to do coverage for me. He hones in on what works, what doesn’t and makes a ton of suggestions for improvement. He gives an honest assessment as to how marketable your screenplay might be. Since I’m writing a comedy he has also thrown a number of jokes my way. I’m still digesting his second round of comments.”
Martin Bard, Flies on the Wall enterprises, LLC
And many more below:
My short film 8 Conversations in 15 Minutes 58 Seconds will premiere at STUFF, the South Texas Underground Film Festival on January 27th, 2019 http://www.stuftx.org/
RATES
My charge for script consultation is:
$125.00 – five to six pages of notes and a one hour one on one consultation
$50.00 – five to six pages of notes
$20.00 – first twenty pages
Turn around time is one week or less.
Revising, script doctoring and ghost writing beginning at $1000, depending on credit and the difficulty of the revising/doctoring.
Consultation on a regular basis: $50.00 an hour with a six hour minimum.
Check out the second edition of my e-book published on Amazon: More Rantings and Ravings of a Screenplay Reader. Only $2.99. http://ow.ly/mv1M30lUom3
PHILOSOPHY AND APPROACH
When providing coverage or script consultation, I am a firm believer in not providing feedback based on a set of rules one gets from a popular book on screenwriting. All coverage should be based on the idea of trying to make a script work on its own terms. I don’t care if a character is active, passive, or reactive, but only if the story works. I don’t care if there is a three act structure and the first act ends on page 30, but only if the story works. I don’t care if the central character has a character arc, but only if the story works. I am a great advocate of writers trying to break the rules and find new ways of communicating their visions.
I began doing script consultation in 2003 for the Slamdance Screenplay Competition. That year and for the next three years I discovered the first place winner. I quickly became one of their top readers. In addition, I have read for the Slamdance Teleplay Competition (where I discovered the first place winner the first year) and the Horror Screenplay Competition. Also through Slamdance, I originated and co-produced the Slamdance on Stage reading series in which the winners of the competitions were provided staged readings of their scripts at different legitimate theaters around town.
At the present time, I provide coverage and am a reader for the Big Break Final Draft Screenplay Competition and the various ISA (International Screenwriting Association). I have also read for Here! Networks/Regent Entertainment, Creative World Awards, the African Film Commission Screenplay Competition and been a judge for the Great Gay Screenplay Contest.
I have also ran two different writing groups in Los Angeles.
My testimonials:
Michelle Atkins, who won the Nicholls this year for her screenplay Talking About the Sky, gave me a great shout out as a script consultant in her interview with Scott Myers for Go Into the Story. Among other things she said, “What Stephen King calls your ideal reader…”. Check out the interview at http://ow.ly/733G30bKwwQ. Thanks, Michelle.
In addition, a screenplay I did coverage for is a Nicholls Finalist. Talking About the Sky, by Michelle Atkins. Congratulations, Michelle, well deserved.
I am also thrilled to announce that Thailand chose as its entry in the 2015 Oscar foreign language film category, Josh Kim’s How to Win at Checker’s (Every Time). I am proud to say that I did script consultation on this film and received special thanks in the credit.
Getting coverage from Howard allowed me as writer to step back and look at the screenplay from a wider perspective. Not only did Howard highlight problem areas, but he brainstormed ideas to help solve them. He is definitely a source I plan to come back to with future projects.
Josh Kim, How to Win at Checkers Every Time
As someone who’s written coverage, and also a winner of both Page and Fresh Voices competition, one might question my need for additional coverage of my material. The reality is that we all need it and Howard Casner is above average in his ability to evaluate material and spot deficiencies that might elude even the most experienced writers. Though I have professional representation, it is tough to find unbiased and intelligent coverage before going to market. The old joke about “My mother says my script is great!” certainly applies here. You need independent honest perspectives to grow as a writer. Mr. Casner’s coverage is about as good as I’ve seen. While no single reader’s coverage and thoughts should shape your material, his voice is worthy of a careful listen. *Highly recommended for new writers and seasoned veterans.*.
R.E. Brody – The Burning Sea
This is the third time I’ve sent something to you, and you have been incredibly spot on every time. Thank you so much. I’m revising another script at the moment and working on new one too. You can bet that I’ll be in contact with you regarding notes/feedback.
Kathy Reaume – Driver’s Training
Howard’s feedback showed a complete understanding of the world, I created. It was very helpful to me in fleshing out a stronger journey for my main character, and their relationships with other characters. His comprehensive proofreading notes are superb, and I highly recommend his services to screenwriters of all levels.
Linda Andersson, Residual Evidence
Have Howard look at your script before you send it anywhere! I was so close to my project and felt like it was more polished than it had been several drafts ago. But Howard was able to identify some key structural and plot issues that really make a difference. He’s objective, insightful, and turns it around fast. He’s a real professional, and his feedback is invaluable if you want a script that works.
Renee Lukas, The Grim Reaper
I highly recommend Howard Casner. He has the distinct ability to hone in on particular problems areas of a script. I’ve sent him two scripts now for review. Each time he was able
to pick up on the problem areas that I needed to revise. His advice was spot on. For both scripts that he’s reviewed for me, I knew something wasn’t quite right, but I couldn’t put my finger on it. Howard was able to analyze what I wrote and let me know my strengths and weaknesses. I’m looking forward to working with him on some of the writing projects that I’m currently in various stages of writing. If you want a second eye to pick on possible problem areas or to just let you know if your idea/premise is interesting, please consider using Howard. He definitely has the right touch.
Kathleen Resume, The Pirate
I took a few days to let your script coverage sink in. I feel like I have this great moment of clarity. In a lot of ways, I feel like I grew as a writer reading through your observations and notes. From act structure to narrative through line, you helped me hone in on what I’m trying to say with this story and I’m hopeful I can elevate this premise to a new level and that is because of you. Your recommendations are also a life saver! No way would I have been able to see the potential plot twists you created, and that alone was worth the price. You gave me hope in this story and I am so rejuvenated and ready to tackle this again!
Bryan Mora, Dead Man’s Party
Thank you so much. Great coverage and great tips on how to make my story resonate more!
Jake Iorio, Being Man
I have read all the…reviews and I ditto the sentiment. I was actually a little skeptical given I had several reviews in the past with not so good results. Howard is tough, honest and clear with his review. He knows what the heck he’s talking about [re] story. I truly appreciate him and FINALLY finding someone who talks the proper language. I will run all my scripts through him in the future. I have to be honest, you are the first person who actually knows what the heck he’s talking about [re] story. I paid hundreds to others. I truly appreciate you and FINALLY finding someone who talks the proper language. THANK YOU THANK YOU!
Brenda Jellits, Wisp
I wouldn’t dare produce a screenplay without first having Howard provide coverage. He has the most uncanny ability to not only point to the issues and questions that plague my subconscious while reading or writing a script, he goes so far as to provide creative and compelling solutions for each problem. He is a most potent secret weapon. Worth every penny.
Alan Ritchson (Ludusary, The Pact, The Twelve)
Actor (Teenage Mutant Ninja Turtles; The Hunger Games: Catching Fire; Blue Mountain State; Smallville
I wanted to reach out as it has been a couple of months since you did my coverage on my TV pilot, Joe Hollywood, based on Joseph Kennedy’s time in Hollywood. I wanted to touch base and give you an update, after receiving your very though coverage and recommendations, I went back and made some important changes in the script. A few weeks ago, a lit manager reached out to me as he liked my pitch and requested my script. He really liked my pilot and asked for more scripts…that narrative throughline totally changed my script, brilliant man!
Jane Henning (Joe Hollywood)
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TESTIMONIAL For my $20.00 for 20 pages
[T}hank you howard! these are super great notes as always and has give me more ideas. [O]nce i get the full script done i’ll definitely send it over when you are free. [I]’ll keep you updated. and thank you again
Josh Kim, The Folding City
$20 is a steal for this type of coverage. Howard, you are truly THE BEST. I would NEVER even consider submitting anything you hadn’t given me feedback on… and I would NEVER consider using anyone else for coverage… EVER! Even my screenplay being shopped right now — something as seemingly minor as a synopsis. Thank you for looking it over for me.
Michael Davidson, Chasing Monarchs
Great feedback on the first twenty pages. He anticipated all the problems of the script without reading the whole thing.
Mark V. Bedard, The Haunting of Harrington House
Howard’s insights on the first 20 pages of my screenplay were very insightful and pinpointed exactly what areas I needed to work on. His words of encouragement also showed me I was on the right track.
Jordan Brandes, Into the Fire
I have gone through your notes, and I must say, they are priceless. I’ve wasted lots of time and money on some consultants that sound established, but cannot measure up with you.
Chidi Ezeibieli – Phate
Howard’s coverage brought knowledge and perspective to my romantic comedy screenplay. His suggestions made sense for structure and for plot. Learned a lot about the process — a worthwhile investment for any screenwriter.
Vincent Paterno – Stand Tall
Yes, I just took the 20 for 20 Casner Challenge. Very pleased with the results. Howard’s got a keen eye for detail.”Michael Arturo, How Ignatious Fumbo became a Rock Star in 2048
Other Testimonials
Thank you so much for your great notes. It’s one of the best coverage I have ever gotten. I do appreciate it. I would like to use your service again in the near future.
Shintaro, The Girls Who Wait for God
I want to thank you for your incredible “Spot-on” review of my script. Every issue you brought to my attention was extremely helpful in pointing out the flaws the writer (myself) may not see until someone else reads the script…I will absolutely call on you again for your services. I appreciate that you explain the flaws and give suggestions on how the fix the issue. I’m not looking for a pat on the back when I pay for a review. I’m more interested in the problems the script may have and how to correct them. You are extremely talented when it comes to showing an alternate view without trying to tell me how “you” would write the script.
Chris Roberts-The Courier
Howard’s notes were fabulous: shrewdly analytical while offering a great mix of creative suggestions. He really works his tail off and, as a writer himself, definitely knows how to communicate with fellow scribes.
Guy Francisco-Granny Land
What I have learned from Howard Casner’s consultation has proven itself to be invaluable. I truly believe that his skill and honesty has made me a better writer. Believe me when I say I mean every word of it. I will be asking for more consultations in the future.
Ferris E. Jones, Published Author and Screenwriter, Last Weekend in L.A.
Howard was the fresh pair of eyes that my script needed. It’s clear that he has a passion for what he does, and gift for it. Thanks to his notes and comments, I find myself re-energized, with a clear understanding of what needs to be done to take my story to the next level.
Keith Gillum, Sweet Warrior
I got some notes from Howard Casner on my unfinished screenplay that helped me reboot the effort. I like what I got but I am (and thus the story) pulled in too many directions. Howard’s notes should help my focus. Now I just have to remember to take it in bits and not be overwhelmed by whole … which wasn’t whole anyway.
Tim Lane, Peanut and Cracker Jack
Howard’s coverage is everything that you would expect from an experienced writer and script reader, and then more. Not content with simply exposing the issues that undermine a story’s potential, his perspicacious feedback is both constructive and challenging, compelling the writer to reassess the quality and content of the script. In one word, professional.
John Hӧrnschemeyer, Baring All
Howard is true to his word, he judges a screenplay on the merits of the story it wants to tell. I would recommend for anyone who wants to write films that risk going beyond the Hollywood three-act structure.
Bryce Richardson, Zero Bucks a Night
Howard really knows his stuff….he gives valuable and specific suggestions…insightful and constructive. I’m really glad I used his services and I will use them again for my next script. Thanks
Dimitrios Kafidas, WHO LAUGHS BEST, LAUGHS FIRST
Great coverage Howard. Way more than I expected. Thoughtful, intuitive and very detailed. You picked up on nuances I hoped to make, and others I perhaps could have. I am now finally fired up for rewrite. Loved your service. So very worth it.
David Graham, The Wardrobe
Just got my script notes from Howard Casner Script Consultation back for 101 Ways to Survive the End of the World and they are fantastic! Very helpful without being heartbreaking. If you are looking for professional coverage, I can not recommend him enough!
Thanks to Howard’s very helpful notes and rapid turn around, I just optioned my screenplay, 101 Ways to Survive the End of the World!
Tracee Oles Beebe, 101 Ways to Survive the End of the World
I recently sent a script to Howard for coverage and I had a short deadline. He responded with promptness and professionalism. I received the coverage in three days and he was spot with many of his notes. He provided ideas to improve the script all tidied up in an 8 page report. We also spoke by phone for about an hour. Very responsive. I am currently implementing 3 or 4 of those ideas and hope to submit the script in the next couple of days. I will use and recommend Howard for future coverage. Thanks Howard.
Charles Pisaeno, Byer’s Bog
Thank you for your precise and professional notes on my screenplay “Among Thieves.” You’re right: it took a lot of work to get it right but I’m very proud of the results.
Doug Winningham, Among Thieves
I just received feedback from Howard, and I must say, I was thrilled. He is thorough, honest, and insightful, and supplied 8 pages of detailed and valuable notes. Not only does he pinpoint a problem, he gives suggestions as to ways to solve them, and offers a fresh perspective on the work! I will definitely be using Howard again.
Joanne Wannan, Honeymoon in Rome
I’m so glad I found Howard Casner. His feedback for my screenplay was the best I’ve ever received. He shined a light on what worked, but more importantly, on what didn’t. His notes were thorough, pointed, and his vantage point clearly addressed problem areas in my script. Some of which I knew existed, and others that I didn’t see.
It’s apparent he has a wealth of knowledge and a true talent for processing a story, then verbalizing how to elevate it. You get the sense that he truly enjoys providing feedback and isn’t just going through the motions, and that is priceless. After reading his coverage, I was inspired to immediately dive back in for rewrites to see where this story can go. That’s exactly where you want to be after receiving feedback.
With murky waters out there when it comes to getting professional coverage, it’s exciting to know that such a resource is available. I’ll definitely use Howard again and I highly recommend his services to anyone wanting a unique, honest and insightful angle on your project. Thanks Howard!
Adam Franklin, Vandals
OUT OF THE FURNACE and AFTERMATH
I had a friend who once worked in a dive hotel in Chicago. It was a pretty wretched place to be employed, but he revealed a universal truth to me that he learned during his time there: no matter how bad things are, you can always find someone or something to look down on. In his particular case, no matter how awful working at the hotel was, my friend and his fellow employees would tell themselves, well, at least we’re not working at the *, a hotel down the street that God only knows how was even one step lower than the one he was at.
I thought of that as I was watching Out of the Furnace, the new action/thriller written by Brad Inglesby and Scott Cooper and directed by Cooper. Only a few weeks before, I had seen Nebraska, another film about an under the weather America. But no matter how bleak and despairing the situation was for the Grant family in that first film, at least they didn’t have the problems of the brothers Russell and Rodney Blaze (played by Christian Bale and Casey Affleck respectively). The Grants could always tell themselves that at least they didn’t have to deal with “inbreds” (or who we called hillbillies when I was growing up—though the Clampetts these people are not).
The world of Out of the Furnace is far, far bleaker than the one inhabited by Bruce Dern. And to add insult to injury, …Furnace is in full color (no romantic distancing of the subject matter here). The economy of the working class neighborhood in …Furnace is not the best (and a little odd—Russell tells Rodney in one scene that he can give him a future by getting him hired at the local steel mill, while in the next scene, he tells his Uncle the mill’s going to close soon with the jobs being sent to China). The weather looks overcast even on the most summery of days. And everybody’s eyes reflect deep depression and/or despair, no matter how wide their smiles are.
And on top of it all, there’s those creepy, crawly sociopathic inbreds (which in this movie is pretty redundant), headed by the psychopathic Harlan DeGroat (played by Woody Harrelson, which also might be a tad redundant). Like cockroaches, they’ve come to the big cities (or bigger cities) to spread their filth and disease.
Out of the Furnace is a well made movie in many ways. The cinematography paints a depressing world of a working class with little hope. The sets all have that remarkably realistic lived in look. The costumes feel store bought or taken out of a closet. There is a patina of sincerity and hard work by everyone involved that colors the whole thing. It’s difficult to just dismiss it.
But it never quite works. There are a couple of reasons for this. The first is that it is structurally wobbly. The movie ultimately is supposed to be about the relationship of the two brothers. But too much of the film (especially the first third), almost solely focuses on Russell, his relationship problems and what happens when he drunkenly hits another car killing a little boy and ends up behind bars. None of this really has anything to do with the siblings, and I was never quite sure why the writers went there.
But this unbalanced emphasis leads to other problems. First, by not fully dramatizing Rodney and his issues, Rodney never comes to life like he should (at one point, he has a big speech about how awful Iraq was and what it did to him and how it made him the reckless person he is now; but so little time has been devoted to Rodney, he sounds more like he’s offering excuses rather than convincing reasons).
Second, it robs the story of a solid build. For quite a long time, the story just doesn’t seem to be going anywhere and it takes a bit too long for it to really get started. The authors try to get around that by having DeGroat arbitrarily show up in a couple of early scenes, but it doesn’t really do the trick. The movie just seems to meander along with no real purpose for far too long.
And the authors depend a bit too much on clichés. Rodney is going to do that one last fight that will pay off his debt and then he will do whatever his older brother tells him, settling down and working at the mill. The last fight twist is so reminiscent of every other western, police drama and boxing movie, it’s hard to see it as anything but the authors’ struggling for some sort of teary-eyed empathy from the audience. And it’s not remotely believable. There is no way, based on the movie up until then, that I’d believe Rodney will settle down if this fight goes right. His character hasn’t been set up for that.
How much you like …Furnace will probably depend on how much you like the acting. It’s basically divided into two camps, the very, very, very methody approach (very) of Bale and Affleck (I mean, they meth all over the place). Most people have loved their performances, but for me, they were hit or miss (with a few cringe worthy moments), with expressions and line readings that call attention to themselves and often throw the rhythms of their dialog and their relationship off.
Because of this, for me the acting honors are actually stolen by two supporting characters who simply relax into their characters and never push it: Sam Shepard as the brothers’ uncle and Tom Bower as a bartender who doesn’t want any trouble, but finds it anyway.
The ending is also a bit too ambiguous. It’s understandable in many ways that Russell decides to take the law into his own hands (his frustration at the way the authorities handle his brother’s death is convincing). But by doing so, it leads to the demise of someone totally innocent. So how are we supposed to feel about Russell’s final success in avenging Rodney’s murder? Russell may not have killed the character DeGroat did, but he’s just as responsible and nearly as guilty for it. But the writers chose to turn this second victim into chopped liver and I wasn’t sure how I was supposed to feel about that.
Aftermath, the new Polish film written and directed by Wladyslaw Paskikowksi (who also wrote the great Andrzej Wajda’s powerful Katyn), has reviews from 11 top critics on rottentomatoes.com. Meanwhile, All is Lost has 42, Philomena has 39 and the aforementioned Out of the Furnace has 40. Why is a mystery to me, since this film is easily as good, or far better, than those three, as well as many, if not most, other films playing right now. In fact, Aftermath seems to have snuck into town with no fanfare to herald it, ignored by one and all in the critic biz. And it’s a shame.
Of course, I have no right to cast stones here. It had been playing a month, bouncing from one art house theater to another, before I got around to seeing it, and kudos to the audience who has been keeping it alive. Because Aftermath is a powerful and moving film about how two brothers are affected by a dark secret involving their small Polish village and their family during World War II.
The story basically resolves around Franciszek Kalina who is returning to his home town of Gurowka after not having been back for twenty years (one reason is that he didn’t dare return while the country was still under Communist control). He’s back because his sister-in-law and nephew suddenly showed up on his doorstep in Chicago and he wants to know what his brother, Jozef, did to send them packing. And it soon turns out that Jozef has somewhat of an unusual obsession—after a rain storm has washed away enough mud to reveal that a road has been paved with gravestones from a Jewish cemetery, Jozef has been moving the stones to one of the fields in the family farm. But his actions are not supported by the town. And why is the central secret driving the story.
Franciszek is played by Ireneuz Czop and Jozef by Maciej Stuhr and they both give strong and empathetic performances. They have rather typical character arcs. At the same time, they are just unusual and interesting enough to be compelling. Francizek is very anti-semitic (he calls Jews Yids and blames them for the problems he has getting ahead in Chicago in the construction business—they control it all, you see) and he thinks that Jozef is ridiculous in what he’s doing. Meanwhile, Jozef, for reasons he doesn’t fully understand, feels guilty over what happened in the village and feels the need to make amends (even though he doesn’t know what the amends are for and anyway, he wasn’t even alive at the time).
As the story goes on and deeper secrets are revealed, the brothers change places. Francizek becomes the one who is obsessed with revealing everything and getting those gravestones into that field. At first it’s for no other reason than when people keep telling him not to do something, he’s the sort of person who just has to do it. But eventually, it’s the horror of what happened that takes over and he soon feels compelled to do what is morally right.
Meanwhile, as the deeper truths are uncovered, it’s more horrifying than Jozef ever imagined, and he becomes the one who now wants to stop, to not dig any deeper, to keep what happened in the past in the past. But some things can never be forgotten and the sins of the father sometimes have no choice but to be visited on the sons.
Aftermath is not an easy film to watch, but it’s a worthy one.
OUT OF THE FURNACE and AFTERMATH
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