Killer Joe

by Tony Dayoub

Sometimes, like a crooner scat singing his way around a time-worn standard, the sharpness of a filmmaker's instrument is best revealed in nothing more impressive than an old, reliable genre piece. This has certainly been the case with William Friedkin (The French Connection, The Exorcist). After a few misfires in the '90s, one of the most zealous of the enfants terrible to make their name in the New Hollywood of the '70s proves he's still capable of hitting some shocking high notes with his latest, Killer Joe. The second of two fruitful collaborations with playwright Tracy Letts (August: Osage County), Killer Joe is based on his first play. It's a seamy look at a greedy trailer park clan through the skewed but precise eyes of the film's titular corrupt police detective.

Movie Review: John Carter

by Tony Dayoub

No movie can withstand the scrutiny John Carter—a lavish and, no doubt, costly science fiction blockbuster—has been subject to. But as usually happens in movies of this order, some people start actively rooting against it (read this piece and its author's own comment, the third one down). Ask James Cameron, an innovator and showman who's faced such discouragement from fickle critics too many times to list (Avatar, Titanic and others). Curiously, someone like George Lucas gets a pass despite blatant attempts at cravenly bleeding his Star Wars franchise drier than a squeezed lemon for profits at the expense of its naive fans. Perhaps there's a little creative envy involved. Or in the case of some Hollywood reporters, maybe there's a bit of settling old scores against a studio, actor or filmmaker. All of this attendant anti-fanfare is to be expected when a leviathan like John Carter dares to flirt with greatness and disappointingly falls a little short. But the most frustrating aspect is the way many, even those who haven't seen the film itself, start racing behind the agenda-driven critics like a bunch of lemmings headed off a cliff. Especially when the movie they've decided to beat on is a beautifully lensed, well-acted, escapist fantasy as clever as John Carter.

Movie Review: Extremely Loud & Incredibly Close vs. We Bought a Zoo

by Tony Dayoub

Remember a few weeks ago when Sott Rudin, producer of The Girl with the Dragon Tattoo, made a lot of noise over film critic David Denby breaking a press embargo with his review (a positive one at that) of that film? Well, not that you care, but if you do, I have a theory. Rudin wasn't really annoyed with Denby. Over positive press Denby was giving what even the harshest of critics have deemed an adequate serial killer thriller? No, Rudin was actually staking out his position, disturbed at the thought that a similar incident would affect the Christmas Day opening of his problematic 9/11 tearjerker, Extremely Loud & Incredibly Close. I've been biting my tongue to hold myself back from tearing into this awful, tone-deaf movie, fearful of breaking the media gag order in place since I first saw the film on December 8th. So, at least with me, Rudin's hissy-fit must have worked. Now that opening weekend has arrived I feel liberated, though, free to warn you, patient viewer, away from this irritating ham-handed exploitation of a horrific tragedy.

DVD Review: Smart People - Loaded with Fine Performances, Quaid's is Still a Cut Above

by Tony Dayoub



Smart People is an intimate little film replete with great performances. Having premiered in Sundance earlier this year, the film is a sharp-edged comedy that features some well-known actors cast against type. Thomas Haden Church as a sweet, wise slacker; Sarah Jessica Parker as a physician with low expectations for her personal life; Ellen Page as a young overachieving Republican... each is fascinating to watch in their individual performances. But the film rests on the more than proper shoulders of one of the most underrated actors of our time, Dennis Quaid, who as Lawrence Wetherhold, must walk the thin line between hateful misanthrope and likable grouch.


Wetherhold is a widowed college professor, living a semblance of a life, while still managing to excel at a tendency for monstrous self-absorption. His daughter, Vanessa (Page), loses herself in her pursuit of an Ivy League college admission. His son, James (Ashton Holmes), is the only one who has escaped the growing depressive atmosphere of their home. And the stirring of a romance with a former student of his, Dr. Janet Hartigan (Parker), seems destined to continue the family's descent, since Hartigan's life seems marred by her own brand of self-pity. But when Wetherhold's brother, Chuck (Church) - adopted brother, as he is often reminded of - comes to stay for a while, he starts helping the family grow past their emotionally stunted existence.

If any one is playing against type in this cast it is the good-ole-boy likable, aw-shucks good-looking Quaid. His Wetherhold is an erudite, bullying intellectual who is shopping a manuscript around the publishing houses entitled, "You Can't Read!" daring his readers to think critically when analyzing literature. He also has a full beard, dresses in tweed, and looks about 25 pounds heavier. But beyond the hunched posture, and slow shuffle of this tale's Willy Loman, you can still see Quaid's dynamic persona. Yes, the slow drawl that characterized his performance as Doc Holliday in Wyatt Earp (for which he lost a scary amount of weight), or the glint of the eye that he featured so prominently as Gordon Cooper in The Right Stuff, may be hidden, but somehow, Quaid's charisma still manages to keep you focused on Wetherhold in all of his quiet stillness.

Without his fine performance this would be just another indie with a collection of oddball emotionally immature characters in search of life's answers. Unsurprisingly, Smart People, and its cast, succeed because of the strong center he provides to this familiar story.

Smart People is available on DVD and Blu-ray Hi-Def today.

Still provided courtesy of Buena Vista Home Entertainment.