The Ice Harvest

I just returned from viewing "The Ice Harvest" at a dollar movie theater, and I have to say it is one of the best movies I have seen this year. John Cusak and Billy Bob Thorton are perfect together. The film relies on slapstick comedy to deliver the laughs as opposed to lame quirky one liners which plague so many comedy movies today. Oliver Platt provides most of the comic relief, and it is great to see Randy Quaid in a new movie. The film is a perfect stab at the film noir genre. I recommend this movie to anyone who likes any of the actors, or just want a nice late night movie. More than likely, you will walk away satisfied.

The Ice Harvest is attractive to two audiences, those being the film noir and/or crime fans and the people who think a movie with Cusack and Thornton directed by ex-Ghostbuster Ramis is going to be a mishap-riddled caper comedy. Unfortunately, this film's heart lies outside of the compatibility of either. It's technically not a crime film, because the story begins immediately as the crime ends, a $2 million embezzlement scheme that is never explained. Also, the film is certainly not a comedy within the ballpark of any other work by Harold Ramis. What Ramis has made is a film that is more of a dramatic exercise in cinematic mood and low-key atmosphere. The good news is that he pulls it off very well.

The Ice Harvest happens to be one of the movies I watch at Christmastime, because the film is actually so well-directed and so well-shot that it captures that constantly sought-after perfect cozy winter atmosphere on film. The events of the story occur over the course of Christmas Eve and Christmas Day, all in the small and quiet town of Wichita, KA. No matter how much time it spends during the outlandish drunken bouts of Oliver Platt or the destructive tantrums of Ned Bellamy's overaggressive bartender, The Ice Harvest never breaks its meticulous feeling and image for one moment.

Even though it's not what is expected by the vast majority of those who have seen it or those who mean to, it does have impressionistic characteristics of those expectations that deliver sensationally, such as Thornton's tremendously entertaining time on screen and the thicket of distrust that ushers in over the course of the holidays succeeding his and Cusack's so-called perfect crime. However, these are purely part of the style rather than the substance. The plot is conjecture of film noir rather than the real deal, as most of the twists are nearly meant to be somewhat obvious or expected. Really, the essence of the story lies in Cusack's descent into complete detachment from any virtue in life, feeling as if he's only an observer when encountering darkly humorous yet brooding things over his Christmas.

The Ice Harvest is not really a comedy and not really a film noir. Actually, it bears no genre per se. Simply, it's a wonderful installment in the phantom subgenre of cinematic moodiness.

I had heard this movie described as a black comedy by some. And when one thinks of Harold Ramis, they think of his ingenious work as a director of comedies. But this is a different Harold Ramis. What he has fashioned is "film noir" all the way.

John Cusack works perfectly with the material, not so much in a Humphrey Bogart kind of way as in a Fred MacMurray sort of way. He's the average guy protagonist. He just happens to be a Witchita attorney for a Kansas City political boss.

The film begins when Charlie Arglist (Cusack), with over two million in stolen cash, jumps into the car with partner-in-crime Vic Cavanaugh (Billy Bob Thornton). Throughout the evening Charlie encounters strip club owner Renata (Connie Nielsen) and drunken colleague Pete Van Heuten (Oliver Platt, his fist scene-stealer in a number of years).

The character of Pete offers some great comic relief to the story. He's Charlie's best friend, drunk on Christmas Eve. He's also married to Charlie's ex-wife, and hating it. This leads to an awkward encounter with Charlie's kids and former in-laws.

Thornton is still finding new ways of being corrupt and amoral. Connie Nielsen is a classic femme fatal in the 1940s style. Mike Starr is good as usual, playing a menacing mob enforcer. Randy Quaid does his usual best as Kansas City mobster Bill Guerarrd. And bit player Ned Bellamy, cast as a strip club bouncer with Mom issues adds some fine scenes.

This is about the most straight-forward "noir" I've seen since Lawrence Kasdan's "Body Heat," but as directed by Ramis, it feels slightly like a Coen brothers movie, with the occasional comic twists to the genre, and the casting choices of Thornton ("The Man Who Wasn't There") and Starr ("Miller's Crossing").

It's not the best movie of the year. But it's good for people who aren't so anxious for a "white" Christmas.

I wasn't surprised when the movie did poorly at the box office. Not because it's a bad movie, but because it's a very dark comedy. And let's face it, dark comedies don't usually make good business. We are living in a politically correct day and age, when it's not OK to laugh at movies like these. But I happen to have a dark sense of humor and enjoyed the film quite a bit. It's definitely a departure for Harold Ramis, who usually directs much lighter comedies (i.e.: "Caddyshack," "Groundhog Day"). Even though the "Analyze This" films were about the mafia, I wouldn't go as far as calling them "dark comedies." "The Ice Harvest" is at times a bit too low-key, but those who don't have the attention span of a three-year-old shouldn't mind. This is definitely not a comedy with plenty of huge, broad sight gags, and I liked it that way. The jokes were more subtle. Ramis also did a fine job at assembling his cast. John Cusack carries the film, and probably gives one of his best performances. Unfortunately, Billy Bob Thornton has a pretty small role, but he makes good use of his screen time. And since Cusack and Thornton starred in "Pushing Tin" together, their chemistry is good. Oliver Platt steals the show as his drunken character, bringing out probably the biggest laughs. I hate how acting teachers believe that for people to act drunk, they have to be very subtle. Take it from a guy who's been drunk quite a few times--Platt's performance is shockingly accurate. Part of what made me laugh so hard was that some of his behavior would remind me of me when I'm drunk, or how I see some of my friends act when they're drunk. So as a message to all you acting teachers reading this: Either you're a pompous a** or you just hang out with some really boring friends. Yes, people really do stumble around and slur their words when they're drunk. Almost the whole movie takes place in a strip club, so if you're a heterosexual guy like me, you'll have some good eye candy throughout. So if the combination of good acting, naked strippers and dark humor appeals to you--"The Ice Harvest" is the film to see.

Take the sardonic wit of "Prizzi's Honor" or "Body Heat." Combine with not-too- bright characters working a shady deal for quick riches in a caper that could have been written by Elmore Leonard. That's what you have in "The Ice Harvest," a highly entertaining dark comedy.

It's Christmas Eve during a terrible ice storm in Kansas City. Charlie (John Cusack) and Vic (Billy Bob Thornton) have stolen a bundle from the mob. This could create an awkward situation for Charlie if they don't get out of town fast. He's the lawyer for the local mob boss, Bill (Randy Quaid), who has a terrible temper.

So as not to arouse suspicion, Vic and Charlie go their separate ways early in the evening. Both have family duties and Charlie has other things to take care of. There's the beautiful Renata (Connie Nielson), for one. And Pete (Oliver Platt), who shares part of Charlie's past. Life becomes more complicated as the night goes on and Charlie meets up again with Vic. More twists and surprises follow.

I almost didn't go to this movie, because the teaser for the Austin Film Festival made it look like a Cusack-Thornton buddy movie, and I'm tired of the character Thornton keeps playing. Happily Thornton is not on screen much. This is John Cusack's movie and he has created an interesting, unhappy man looking for a way out. Oliver Platt, who steals every scene he's in, provides comic relief and story exposition.

Director Harold Ramis introduced the film and did a Q&A afterwards. He talked about how the snowstorm in the book became an ice storm because that's the weather they had to work with. He talked about the many ideas Cusack and Platt brought to their characters. New to me was Connie Nielson, originally from Denmark. Ramis said she told him she was channeling Jessica Rabbit in the part of the femme fatale. I think she succeeded. Kudos also to Pulitzer-prize winning author Richard Russo and Robert Benton for a snappy script.