It’s kind of rare for rambunctious actors like Samuel L. Jackson and Milla Jovovich to sit still for something as dramatic and dialogue heavy as Bob Rafelson’s No Good Deed, but it’s nice to see. This is a thriller of sorts, but it’s more low key than that and ends up being a chamber piece about two characters getting to know each other that just happens to take place against a criminal backdrop. Jackson plays a police detective on a routine investigation who turns up at the wrong place at the wrong time and gets drawn into a weird bunch of felons all hiding out and planning a bank job. Stellan Skarsgard is Tyrone, their volatile, violent leader, Jovovich is his quiet but intuitive and underestimated girlfriend, left alone to watch Jackson, now their hostage. This leaves acres of script space for Milla and Samuel to play, manipulate each other, bicker, banter, become close and twist the situation to both their ends while gradually catching feels for each other. It’s interesting that Rafelson casts these two because they’re usually to be found in action heavy stuff, shooting guns, swinging swords and tasked with stylized dialogue. Here they are laid back, oddly but nicely paired and the most quiet I’ve ever seen them, and it… kind of works. Skarsgard is mean and nasty, which he’s always been great at, journeyman oddball Doug Hutchison plays another lowlife in their gang, while Joss Ackland and Grace ‘Sarah Palmer’ Zabriskie play the senior faction of the crew, a strange husband wife duo who can still wield a shotgun when the situation calls for it. This is based on a Dashiell Hammett story which probably means it was sitting in someone’s desk drawer for decades before being found and reworked for this century. Rafelson gives it the pacing of something by Elmore Leonard and eccentricities to spare. It’s not a super memorable thing or a great film by any standards but works well enough as a sleepy, romantic crime thriller. Oh yeah, this is the legendary Rafelson’s final feature film before apparent retirement, so it’s worth checking out for that reason too.
Moscow Zero is a chilly little subterranean ghost story, and a favourite for me. It god critically shredded by the few people who did see it, and quickly forgotten. I think this may be because of odd marketing,and the cultural rifts in different areas of both the world, and cinema. It was marketed in North America as a supernatural shocker starring Val Kilmer, which was a cheap shot to fans and in fact false advertising. Kilmer is in it, for maybe ten minutes, and is very good, but the story isn’t his. It’s also supernatural, but in a far more subtle, ambiguous and inaccessible way that the ADHD-ridden audiences over here just aren’t used to. In short, it’s very European, and they just seem to have a better handle on the intuition it takes to make an atmospheric chiller than anyone else, also seeming to be more connected with ghost lore and the spirit realm. The story concerns a priest named Father Owen (hollywood’s resident alien Vincent Gallo, playing it dead straight here). He has traveled to Moscow I hopes of finding his friend Professor Sergey (Rade Serbedzija), who has descended into ancient catacombs and endless tunnels below the surface of the city in hopes of finding a lost artifact hidden during wartime. He joins up with a group of guides and Moscow natives including the beautiful Lubya (Oksana Akinshina) and a tracker named Yuri (Joaquim De Almeida) to traverse the underside of the city and find his friend. There are long, eerie scenes of Sergey wandering around the dimly lit labyrinth, pursuing his scholarly goal and talking to himself as strange shadows and far away whispers follow him around, gradually letting the viewer know that he’s not alone. Owen and his team rendezvous with Tolstoy (Joss Ackland) the elderly leader of a tribe of tunnel dwellers who won’t go below a certain level of the catacombs, who provides a map. Then they go deeper. Kilmer plays Andrey, a Russian dude who runs a gang that are in control of opening and closing a deep fissure gate that is said to lead to a hell like place. He’s relaxed, in both demeanor and the Russian accent, but he’s clearly having fun in one of his more character type roles. The catacombs have a haunted feel to them, and indeed there are ghosts, but not presented in the way you might think. The way the human characters see them is quite different from how they see themselves, and how the audience sees them, which is a nice touch. The story keeps itself mysterious, right up until it’s puzzling, creepy conclusion, buy I prefer that open ended, almost experimental style over desperate attempts to scare us. It’s atmospheric, strange, unique, thick with ideas and altogether a bit of brilliance. Definitely an aquire taste, though.
Passion Of Mind is a little seen fantasy romance tale that stars Demi Moore as a woman named Marie, essentially living double lives in a way. She lives and works in New York, and is as ordinary as any other woman in the world, but when she goes to sleep she wakes up to another life in the French countryside, with another job and children who aren’t in New York. She lives a day in the French life, goes to sleep, wakes up back in the New York life and lives for another day before going to sleep and back again. And so it goes. Is one life a dream? Or both? Is she imagining things, or stuck in some rift? To complicate things, as always happens in film, there are two men, one for each life. Aaron (William Fichtner) is a kind, caring businessman in the New York life who she begins a relationship with. In France she meets compassionate, romantic William (Stellen Skarsgard) who she also begins to fall for. Quite the predicament, no? If the premise sounds familiar to you, here’s why: there was a short lived NBC drama called Awake which ran for one season, starred Jason Isaacs and had the exact same setup. Now while the show obviously borrowed it’s central plotline from this film, it’s no big deal because it’s such a great idea it deserves more than just one shot. The film is quiet, pleasent and sweet, never really taking steps to explain it’s concept but simply letting it’s characters live within it in perplexed, whimsical harmony. Moore has an inherent sweetness to her and she’s wonderful here. One might think a protagonist who is put through a scenario would be confused, stressed out and damaged. Moore plays it her own way, as she always had. Her character is enchanted by her situation, if a little wary. Skarsgard and Fichtner are left field choices for romantic leads, as both are kind of considered character actors with stark, specific looks. Both play it straight here and their casting helps the film loads. Marie has two separate therapists, each from one of the lives (an element which the NBC show used as well), played by Joss Ackland and Peter Riegart. It’s not to serious, not too fluffy, just the right kind of low key romance with an imaginitive streak and a high concept that fits neatly into the story.