Hard Cash, aka Run For The Money in some regions, is a silly piece of junk, with its low budget passport grasped firmly in hand. Every actor doing the hammy shtick, every pulp B movie cliche present and accounted for. Christian Slater seems to have peppered his career with a bunch of such flicks, and he’s front and centre here as the Robin Hood-esque leader of a buncha’ thieves. He’s a bit of a legend, and goes for one job too many, a job that lands corrupt, scheming FBI Agent Val Kilmer straight in his lap when he lifts some marked bills. Kilmer wants it only to take them down, but a giant piece of the loot for himself and basically is just a greedy bastard, while Slater wants to break even and get away with his crew. It’s okay-ish stuff, decidedly low brow but that’s the arena. Kilmer is actually really fun in a candid, often improvised take, and his description of himself when he gets to little sleep is priceless. The cast is fairly strong, with work from Bokeem Woodbine, Sara Downing, Vincent Laresca, Balthazar Getty, Daryl Hannah, William Forsythe as a nastily racist fence and the late Verne ‘Mini Me’ Troyer as Slater’s most valuable lil’ asset as he can fit in tight spaces the rest of the crew can’t. It’s breezy trash, decent enough for what it is.
Terry Gilliam films almost always feel a bit slapdash and chaotic, it’s just the guy’s calling card to have a modicum of organized mayhem filling the fringes of whatever project he delivers. With The Imaginarum Of Dr. Parnassus, that is probably the case more so than any other film he’s made, and despite letting the clutter run away with itself a bit too much, it’s still a dazzling piece. Of course, your movie will always have a disjointed undercurrent when your lead actor passes away halfway through production, but that’s just the way it goes, and Gilliam finds a fascinating solution to that issue here. Imaginarium is in many ways a companion piece, in spirit, to The Adventures Of Baron Munchausen, a film he made decades earlier, both containing a sort of baroque, Da Vinci-esque splendour and sense of fantastical wonder. Christopher Plummer hides behind a gigantic Dumbledore beard as Parnassus, a magician extraordinaire who travels the land with his daughter (Lily Cole, that bodacious Botticelli bimbo) and circus troupe, including Verne ‘Mini Me’ Troyer. Years earlier he made a pact with the devil (Tom Waits, an inspired choice) using his daughter as collateral, and now Old Nick has come to reap the debt, causing quite the situation. The story is a hot mess of phantasmagoria and kaleidoscope surrealism thanks to the Imaginarium itself, a multi layered dimension-in-a-box that accompanies them on their travels. Things get complicated when they rescue dying lad Tony (Heath Ledger) who somehow ties into the tale as well. Now, this was Ledger’s very last film, its future left uncertain after his passing, but help arrived in the form of Johnny Depp, Jude Law and Colin Farrell, swooping in to play doppelgänger versions of Tony as he bounced from one plane of the imaginarium to another with Cole in tow, always one step ahead of Waits, who is a rockin’ choice to play the devil, smarming and charming in equal doses. It’s kind of a huge melting pot of images and ideas hurled into creation, but it’s a lovable one, the fun you’ll have watching it reasonably eclipses lapses in logic, plotting and pacing.