When it was announced that Exorcist director William Friedkin and Serpico star Al Pacino were teaming up to make a gritty, New York police thriller in 1980, nothing grabbed the attention of cinema-goers more than the idea of Cruising--especially America's gay community at the time. Immediately considered grotesque and too dark for middle America, and exploitative, and wholly offensive to everyone else with its seeming portrayal of gay men as nothing more than leather chap-wearing, bushy mustache-sporting, sadomasochistic party animals, Cruising was quickly buried in the studio vault shortly after its quick life-span in theaters. But today the film can finally be viewed and appreciated for what it is: an over-the-top, campy, cult classic with a surprisingly engaging story, and an ambiguous twist ending that will linger with you for hours afterwards.
Al Pacino stars as Detective Steve Burns, who receives an assignment to go undercover after a serial killer starts preying on New York City's gay, S&M community. Dawning tight leathers and various colored handkerchiefs in his back pocket, Burns takes to the streets and investigates the underground clubs of Manhattan's Meatpacking District (really--no pun intended). As the detective comes closer to finding his target, he starts questioning his own sexuality and violent urges--making him a loose cannon with the police department, and an enigma amongst the sub-culture that occupies his new daily life.Continue Reading
It's an unfortunate fact that the vast majority of actors who, in their prime, filled roles that were at once progressive and invigorating, turned to ones that were lackluster, if not depressing, once they reached their peak of marketability within a genre. Usually this career transition leans towards comedy--and while viewers strain to recognize adept versatility on the screen, they often find themselves quite underwhelmed. Some notable examples of such actors are Robert De Niro and Dustin Hoffman. That being stated, in Killer Joe one can find a rare opposite in transitions. Here we find the harmless and perhaps awkward Emile Hirsch (Speed Racer, Into the Wild) and the go-to charmer of chick-flicks, Mathew McConaughey, playing two morally reprehensible characters that are not only believable but unnerving.
The plot more or less surrounds the woes of Chris (Emile Hirsch), a somewhat desperate young man of poor character who owes a Texan drug lord 6K for “misplaced dope.” To blame for the drugs going missing is Chris’s mother Adele, a woman whom he, and the rest of the family, hate. He goes to his father Ansel (Thomas Haden Church) for help. Ansel lives in a trailer park with his new wife Sharla (Gina Gershon) and his daughter Dottie (Juno Temple) from the previous marriage. When it becomes clear that Ansel doesn’t have the money to lend him Chris tells him of a half-brained scheme involving Joe Cooper, a detective who is self-employed as a hitman. The obvious target is Adele, who has a $50,000 life insurance policy. The money could not only pay off Chris’s debts and the $25,000 fee for Joe’s services, but the remainder could send Dottie, the sole beneficiary, to college.Continue Reading