Monster's Ball

After a series of hardships Hank (Billy Bob Thornton) finds himself alone in the world, with his only son committing suicide and his ever-nagging father always riding him about every little thing. Hank is a prison guard that works on death row at a maximum-security prison where his son was also a guard. While at one of his favorite diners, he comes across a waitress whose luck is no better than his own. Leticia (Halle Berry) has also recently had to deal with the death of her husband who was on Hank's watch on death row. Leticia's son passed away shortly after his father when a car hit him as he was walking home from the diner with his mom. Hank helps her out the night he died and they form an emotional relationship. Director Mark Forster did a wonderful job showing us how in every situation some good can come out and to never give up when it seems all is lost. The character choice was great, Billy Bob Thornton is a passionate actor along with Halle Berry's flare. Tragedies like these happen every day and it was good to see some of the struggles each character faced and the positive that came from this. Monster's Ball had little suspense but all of the tragedy made up for that. Seeing outside of the box is what made this movie so interesting. Hank's father was racist toward the African American race which made the plot a little more suspenseful. The interest that I had in this movie was that it showed a person's will to move on even after a life shattering experience. The story line was catchy but for me the movie started off kind of slow. Once the plot got going, it seemed to hold me in my seat and I didn't find myself wanting to leave the room. All in all, this was a good movie. I wouldn't have given it a five out of five stars, but it earned a firm three. With this, I would definitely watch this movie again.

I just finished seeing this movie for the first time. I'll begin by saying that it's been some time since a film got the reaction out of me this one did. For the first 45 minutes, I was convinced this movie was intent on trying to be the most depressing story ever told. For the next 45 minutes, I was still interested, but my overall opinion was hanging on the ending..of which I was very skeptical, as I knew what was left to be revealed. Then, it was over. Boy, they just don't make enough of 'em that good, folks.

When you see a movie for the first time after it's already won mad Oscars, you end up judging performances based on that. Most times, it doesn't help their cause. Kim Basinger in LA Confidential (another movie I love) springs to mind. Up to the last 10 minutes of this movie, my opinion was that Halle had done a real nice job...it was an interesting character, and she certainly hadn't done anything to screw it up. Then, came that moment on the back steps...and that look...and that immediate realization that sometimes we're just along for the damn ride, and there ain't a whole lot anybody can do about it but try and hang on and not get run over. That five seconds defines this movie...if it doesn't work, the whole thing crashes. I applaud her craft--she totally nailed it.

This is definitely Billy Bob's best performance since Sling Blade...a movie so good, it almost becomes cliche in your memory. There are times here when he carries himself with a beaten-down grace that is just brilliantly complex. Who knows where this character would end up in the hands of another actor, but I can't think of one that would have left me feeling the same way.

For those of you who don't get this movie--be it for the lack of attention to certain strings of logic in what appears to be a real small town; or for its refusal to spell out for you what somebody may be thinking from moment to moment, let alone from day to day...well, I'm sure the next Matrix is gonna be real good, too. I'm just glad that there are still folks out there making movies that can totally exist on a back porch with a pint of ice cream.

I give this film a 9.

Hank Grotowski (Billy Bob Thornton) is the middle generation of three generations of prison guards. His father Buck (Peter Boyle) is long retired and a near-invalid, using a walker and leaning on an iron lung. His son Sonny (Heath Ledger) is a novice guard. Hank and Sonny work together on Death Row and are among the guards responsible for the executions (Hank's in charge).

The first thing that strikes one about this particular group of men is the level of racism that's apparent in each one. Buck's the worst - he screams at young black kids who happen to wander onto "his" property (all three Grotowskis live together) and is liable to spout off some hateful rhetoric at any time. Hank's not a lot better, but his feelings seem tempered in contrast to Buck; he seems more weary than angry. And Sonny is actually friends with that same neighboring black family whose kids come over every now and then.

Thus the line of racism is significantly watered down as the generations progress. This is not to suggest that Sonny is an angel, or that Buck is the absolute devil. Sonny and Hank share the same hooker (though not at the same time); all three men drink, smoke, and cuss like sailors. In short, they're simply not nice folk.

While Hank and Sonny are transporting a prisoner to the electric chair, Sonny takes ill and can't continue. Because of this, the prisoner (who had bonded a little with the compassionate Sonny earlier) suffers a little during his execution. Enraged, Hank attacks his son in the locker room after the execution, and the other guards have to separate them.

That's one relationship being examined - that of Hank and Sonny. The other is the more important one, however. The widow of the executed prisoner, Leticia Musgrove (Halle Berry), is trying to make ends meet as a waitress. But her car constantly dies on her, and after being late to work repeatedly, she's fired - shortly after her husband is executed. She has one overeating kid to feed, too. She does get another job as a waitress, but has to ditch the car when it dies a final time. Walking home in the rain, her son (who has to come with her; can't leave him home to binge) his hit by a car. Hank happens to be passing by, and with some reluctance (remember, he is racist, if not as bad as his father), he stops to help.

There's a wonderful dichotomy between the relationship between Leticia and her son and that between Hank and his son. Milo Addica and Will Rokos, who wrote the screenplay, weave a very effective tale that manages to keep all of the characters interesting and relevant. What makes Hank act the way he does? What are Leticia's motivations? And it would be very easy for the actors to portray the characters as nothing more than stereotypes - Hank the nasty, racist white male, and Leticia the vulnerable, victimized African American woman. But both Thornton and Berry rise above their characters' limitations - Hank's not the devil he might think he is, and Leticia isn't the angel that a lesser actress might make her out to be.

It's also worth mentioning that each of the two leads has something shocking and powerful happen to them near the beginning of the film, before they really meet. These two events have a huge impact on the characters - you might call the events "life-altering". The events allow us to see actual change in the character. Not sudden change, which can be jarring and unrealistic, but gradual, authentic, eminently believable change.

The performances by the leads are nothing short of sensational. Berry won the Oscar for Best Actress for her work here. Yes, you read right - Halle Berry. She of The Flintstones, Swordfish, and being married to David Justice fame. See, this is what happens when you give a good actress a great role. The best actresses will rise to the level of the role; the mediocre actresses will sink below it, collapsing under its weight.

Thornton has a tendency to pick offbeat, idiosyncratic roles, albeit usually with a Southern twist. His Hank is not a carbon copy of your stereotypical Dirty White Boy; he's a multilayered character with charm and evil mixed in. The film doesn't make him out to be a complete hero; just a flawed one. By the movie's end, he has come to grips (a little) with his failures and his shortcomings.

Berry and Thornton have a great supporting cast in Boyle and Ledger. When you think of a hateful, misanthropic, misogynistic demon, you don't think of Peter Boyle, who's turning in great comedic work on the TV show "Everybody Loves Raymond". But after this movie, you sure do. Great job. And Ledger - well, I know him best from The Patriot, as Mel Gibson's oldest son. In that movie, he was tough, but he was still a boy in a world of adults. That boy's grown up, and Ledger proves his mettle as an actor in this role.

There will be some who find this movie too slow; granted, if you're looking for action, this won't appeal to you. But it's an excellent story, and not as simplistic as it may seem on the outside. It's very well written (meaning that there are few plot holes), and ably directed. You may be fascinated, as I was, with the character development from beginning to end. Things are not - pardon the expression - treated as black-and-white issues; there are varying grays that are resolved and not resolved by movie's end.

What are you repulsed by? Perhaps it's having sex with women of African origin inspite of the fact that you are a White male raised in a racist culture that dehmanises them. Add to this predicament, that you are a retired, widowed prison corrections officer who's only son kills himself because he feels he's failed you because he is not racist enough. Even worse, you become enligthtened enough to realise that .. you were ALWAYS wrong.

This is a brilliant story told from the rather selfish perspective of the White male. Mark Forster has directed a tour de force so intricate and psychologically honest that the story literally TELLS itself. Indeed, I'd bet this story organically spewed from souls of screenwirters Milo Addica & Will Rokos. They won't top this fete anytime soon. Such a gateway of insight only comes around once in a lifetime.

As a huge fan of David Mamet and Sam Shepard I am biased to appreciate a well balanced story, illustrated with terse dialogue, structured acting and effective filmic devices (i.e., the use of "white" paint", "black" coffee and "chocolate" ice cream in the film).

Any film student will also appreciate the poetic use of foreshadowing and irony in this film. This truly is SOLID filmaking that takes real chances with provocative subject matter.

The acting is superb more because of the Direction. To be certain: this is a Director's Film. Every aspect of Thorton's and Berry's performances is the result of very savvy Direction and attention to dramatic detail.

Kudos to Mr. Forster. I look forward his upcoming film "Neverland" with great anticipation.

Monster's Ball is a compelling film of family conflict, rage and redemption. Halle Berry throws herself into this role like a prizefighter who leaves it all in the ring, and wins by unanimous decision. Billy Bob Thornton gives an electrifying performance as a man grappling with his demons and wanting his better self to emerge victorious.

This movie is a study in ambiguity. The characters are complex with human imperfection, no one (with the exception of Hank's father, played by Peter Boyle) emerging as completely likable or entirely bad. Hank's son played by Heath Ledger fulfills the adage that no good deed goes unpunished, and it's never clear that anyone truly gets whats coming to them.

I'm not sure one should read too much into this movie as a study of attitudes towards race in today's America, but as a portrayal of human frailty and the continuing quest for hope and optimism, Monster's Ball is a can't-miss film experience.