Homens em Fúria

How do we make sense of our lives and keep going despite all the bad things that happen to us? Most people find the answers to those questions in religion, and the characters in this film line up like a rainbow of answers: Jack (DeNiro), a prison bureaucrat, is agnostic; his wife Madylyn (Conroy) is a mainline Protestant; Stone (Norton) is a convict but also a seeker who finds his answers in a New Age religion; his wife (Jovovich) is an unabashed atheist. Throughout the film, evangelical radio frequently plays in the background, another stripe in the religious rainbow.

As a miserable young Madylyn hints to the viewers in the first scene of the film, the prison setting is a metaphor of the dungeon of the soul. For these four characters, loveless marriages, life work that seems futile, and memories of violence are their dungeon walls. Jack, Madylyn, and Stone all struggle with depression. Stone's is so deep that he edges toward suicide, but he searches for answers among the religious readings in the prison library and finds one that makes sense, especially after he witnesses a brutal stabbing at a range so close that the blood spatters his own face and he sees the murdered man eye to eye.

Jack seeks pastoral counseling after church one Sunday, admitting finally that the Episcopal framework of his life has never made sense. The minister quotes the Bible to him, "Be still and know that I am God," that is, listen for the answers that God provides. Oddly, that is exactly the prescription that Stone gets from his new religion too. It teaches that "God" or Truth speaks to us through everyday noises – insects buzzing, the voices of a prison exercise yard, talk radio, or a spoken mantra – if we just listen to the universe.

Stone does listen, and he begins to change. His new hairstyle, speech, and demeanor all signal to the viewer that he is a man reborn. The prison walls within Stone's mind fall away so that by the time his parole is finally granted, it hardly matters to him anymore.

Jack, meanwhile, hears nothing in the noise of his troubled life, nor can he makes sense of what Stone tries to share with him. As his retirement nears, he grows more and more reckless. Blind to the transformation that Stone has undergone, Jack suspects that he is being played. To the end, Jack remains suspicious and fearful of Stone who has come to terms with this past and feels only gratitude toward the aging jailer.

If you are looking for a conventional action flick with good guys and bad guys, this is not it. If you want an intelligent film about how desperate people search for faith and solace, you will not be disappointed.

Greetings again from the darkness. Psychological Thrillers have long been my favorite genre of film. The best ones cause us to examine our own thoughts while analyzing the actions of others we probably don't quite understand. Unfortunately, most scripts fall short in complexity and stimulation, and leave us with a half-empty character study. Director John Curran (The Painted Veil) and writer Angus MacLachlan (the superb Junebug) offer up a just-miss.

Robert DeNiro plays a parole officer on the brink of retirement. He is the guy that lives and works by the book to suppress his inner demons of which we get a glimpse in the film's opening. Despite the horror, he and his wife stay married for decades ... the relationship is built on a false worship of scripture and plenty of nerve-deadening booze. DeNiro decides to finish out his current files, one of which belongs to Edward Norton. He is an 8 year convict, serving a sentence for a crime that ended with the death of his grandparents.

The real fun begins when Norton enlists his schoolteacher wife, played by Milla Jovovich, to invade DeNiro's cold facade. So really what we have is: DeNiro trying not to feel anything, Norton trying to pull one over on DeNiro either by himself or with his wife, and Jovovich trying desperately to obey her husband while playing evil mind and body games with DeNiro. This is the point I like to call "the table is set".

Unfortunately, none of these story lines really go deep. The best seems to be Jovovich and DeNiro, but even that falls short of real grit. So much potential here and the actors all seem up for anything. It's just the script lets them off easy.

Frances Conroy is excellent as DeNiro's wife whose had her soul locked away. We never really get the full scoop on the Norton/Jovovich connection, but by the end, that doesn't seem to matter. Is the film watchable? Yes. Could it have offered more deliciously evil interaction between these characters? Absolutely.

"Stone" is a messed up film. I would like to say that I don't know what the story was about, but that's not really true as it was a very simplistic plot. Edward Norton is a convicted criminal up for parole, overseen by parole officer Robert De Niro. It's not so much that the story is hard to understand, more so that nothing actually happens.

It's dialogue-heavy as Norton philosophizes his way to freedom, and it's supposed to be character-rich as we watch De Niro try to remain sane as both Norton and his wife Milla Jovovich work their angles on him. But these are just messed up characters that I knew less about at the end than I did at the beginning. The film has clear problems when the only somewhat likable character is the guiltless criminal Norton. But I would say it's bigger problems are with the fact that it's supposed to be a thriller, but all you have is De Niro and Norton jabbering back and forth until nothing is clear and very little of consequence or action occurs. There is even a religious undertone to the whole film, but I have no idea what they were trying to say with that.

I'm sure De Niro and Norton deliver great performances as they always do, but when their characters are poorly written and make no sense, you can't watch a film for the acting. The director was overly concerned with detail, framing every scene and adding nuance to each shot, which is great in some films, but in "Stone", it would have served him better to just try and tell a story from beginning to end.

This film is about a parole officer who is about to retire. He works on whether an arsonist should be released or not, which leads to undesired consequences.

"Stone" sounds like a crime thriller on paper, but it just what it is not. It is so slow moving, that the first seduction by Milla Jovovich happens forty minutes into the film. Just when the seduction subplot starts to pick up, suddenly the film becomes religious. Then suddenly the wife has gone crazy. The plot is all over the place, lacking in focus and clarity. It cannot decide whether it wants to be a thriller or drama. As a result, "Stone" is so boring, literally making my eyelids as heavy as stones.

A prison psychologist (Robert DeNiro) has the final interview of his career, with a man called Stone (Edward Norton). Things get more complicated when Stone starts finding religion and Stone's wife (Milla Jovovich) uses her charms to influence the psychologist.

Other reviews have called this film "pretentious" and I am going to follow their lead. I feel like the story was going to go somewhere and just did not go there, or the writer had a message to share with us, but it was either missed or not as big as I expected. So, maybe pretentious is a harsh word, but until shown otherwise, I am going to go with it.

My other big problem with the film is that it is clearly called a "thriller" by pretty much everybody, and I do not know how that was placed on it. There are no thrills to this film. Suspense maybe, tension maybe... but no real thrills. It is a pretty tame film, more a drama than anything.

I feel that the film tries to explore spirituality and fails. There is a background of church radio, Stone's search for understanding, and some Bible passages... but I was waiting for it to come together and it really just did not ever do it. There was no firm Christian or anti-Christian message. There was some talk of morality, but it was very jaded.

DeNiro gives a great performance, Norton's is not top-notch (I never really believed he was what he appeared to be). Milla is tough to pinpoint. Some have called her performance "raw", but I think that is just a polite way of saying she gets naked. She plays her character well, but it is a shame to see her so dumb-down when she can play such strong, independent women.

I think this film meant well, and they gave it a good shot, but it just fell short in a bunch of places. The performances were not what I wanted to see, the story has enough holes that I do not feel it is complete or tells a story that goes somewhere. In the end, I felt empty inside. Whatever I was supposed to get out of this, I did not get.