A guy movie made by guys about guys for guys. Naturally I dislike such a genre, but this film was enjoyable. It's nothing like the hordes of no-brainer sausage party pictures that we have flooding video store shelves in recent years (just visit Van Diesel's filmography page). This is more in the new wave gangster tradition Tarantino started in the 90s. It isn't as well-crafted as a Tarantino picture, but it's far superior to Guy Ritchie's crap - no hideously annoying dialogue/attitudes here.
Despite the distinct "maleness" to the film, it has quite an unusual 'queerness' to it as well. The two brother protagonists are, quite frankly, rough-trade pretty boys with their cute short haircuts and matching tattoos.
Furthermore, just look at Willem Dafoe's character and how indigenous he is in the film's environment. It seems unusual that such a masculine film praises a gay character so well. However, queer theorists might argue that he was not feminized (being that the character's personality was quite masculine) and therefore cannot truly be classified as a positive gay image.
Nevertheless, I enjoyed it and thought his character was a brilliant prodigy for the genre.
Furthermore, I personally feel this is Dafoe's best performance to date. Not as outrageous as Bobby Peru in David Lynch's WILD AT HEART (1990), but far more enjoyable. Despite being quite comical in the film, Dafoe does pull-off an exceptional moment where his performance perfectly matches the director's visual lead. The scene pits Dafoe investigating a crime scene and trying to understand what happened. He grows so emotionally engrossed into the investigation that he is soon visually transported back into the midst of the carnage. The idea is fine in all, but the director and Dafoe pull off an incredible moment of surreal beauty. Definitely the film's highlight.
Quite the distinction also here is that the filmmakers seem at times unsure of what kind of picture they are making. There's really an eclectic mix of comedy, violence, drama, religiosity, and even attempts at social/cultural commentary. Ultimately, it's of little consequence whether this film works or doesn't because it seems as though they all had great fun making it and that enthusiasm bleeds over for the viewer. Really fun movie.
Despite the distinct "maleness" to the film, it has quite an unusual 'queerness' to it as well. The two brother protagonists are, quite frankly, rough-trade pretty boys with their cute short haircuts and matching tattoos.
Furthermore, just look at Willem Dafoe's character and how indigenous he is in the film's environment. It seems unusual that such a masculine film praises a gay character so well. However, queer theorists might argue that he was not feminized (being that the character's personality was quite masculine) and therefore cannot truly be classified as a positive gay image.
Nevertheless, I enjoyed it and thought his character was a brilliant prodigy for the genre.
Furthermore, I personally feel this is Dafoe's best performance to date. Not as outrageous as Bobby Peru in David Lynch's WILD AT HEART (1990), but far more enjoyable. Despite being quite comical in the film, Dafoe does pull-off an exceptional moment where his performance perfectly matches the director's visual lead. The scene pits Dafoe investigating a crime scene and trying to understand what happened. He grows so emotionally engrossed into the investigation that he is soon visually transported back into the midst of the carnage. The idea is fine in all, but the director and Dafoe pull off an incredible moment of surreal beauty. Definitely the film's highlight.
Quite the distinction also here is that the filmmakers seem at times unsure of what kind of picture they are making. There's really an eclectic mix of comedy, violence, drama, religiosity, and even attempts at social/cultural commentary. Ultimately, it's of little consequence whether this film works or doesn't because it seems as though they all had great fun making it and that enthusiasm bleeds over for the viewer. Really fun movie.