Killing Gentleman

I really enjoyed this movie for a couple of reasons. Michael Keaton played a really good hit man, and the movie style I thought was a throwback to the 1950's era movies that were crime related. The movie had that very dark and moody style, with a great edge to the movie style. It keeps you anticipating what is going to happen next.

The movie also had a plot with the damsel in distress running away from her abusive relationship. You just knew her ex-lover was going to cross paths with her again at some point. I also thought Michael Keaton did an admirable job of directing himself in the movie, and providing his cast with opportunities to share the stage with him and also have a good performance. Bobby Cannavale played the frustrated and sometimes violent ex-lover, with a troubled soul. On the down side, the movie was a bit slow during certain parts, but the ending was better than I actually expected and was a nice surprise. This movie is well worth a watch and I would recommend seeing it.

The Merry Gentlemen has the makings, and perhaps even the trappings, of a predictable neo-noir involving a hit-man (Michael Keaton), a detective (Bastounes) and the woman that they're both eying (Kelly MacDonald), and the elements of crime floating all about. But Keaton brings to the table as a first-time director an absolutely unbreakable grasp of what makes the scene(s) work from an actor's stand-point. Ironically for an actor who usually makes his mark in movies as someone with a lot of nervous energy or something that makes him quirky or mysterious (i.e. Batman/Bruce Wayne, Beetlejuice, Jackie Brown), here he's subdued, almost like Alain Deleon in Melville's movies. He doesn't say much, but when he does you listen, especially as his character Logan has pneumonia or carries a Christmas tree.

On his own end Keaton's got his character covered wonderfully. That leaves the other two, and one other actor that should be noted. MacDonald is quickly becoming an example of a perfect character actress. It's hard for me to see her becoming a full-blown A-list star, even a decade or more after she hit the scene in her debut in Trainspotting, but when she comes into a role, usually in the supporting variety (most recently No Country for Old Men and Choke) you feel her presence incredibly. She's so vulnerable and adorable, so keen on how her character should be in every moment, as someone who's fragile, been messed with by her husband, but wants to have her space while at the same time being friendly to both the lonely hit-man and the desperate cop. It's hard for me to see a flaw in her performance, and maybe helps elevate things another notch or two. Ditto for Bastounes, one of those actors you swear you've seen somewhere else but actually has only been in one (or none) features before this. He, too, makes a mark playing off both MacDonald like at the restaurant or Keaton in a pivotal scene at the tailor.

There's another actor I should also credit, though at the moment I forget his name: he plays MacDonald's character's husband, and he appears out of the darkness in a scene, a recovering abuser with a newfound Jesus addiction who tries to win back his wife's heart as she holds a knife to him. It's one of the best, creepiest dramatic scenes I've yet seen this year. And while I praise his and the other principles performances, the rest of the film around them is... well, good, watchable, though nothing wholly remarkable. At times Keaton is still finding his footing with style, keeping some shots engaging and others just doing a big pan or reveal where it wouldn't be necessary. It's competent work, though, and I would hope to see something else from him; at the least he reveals himself such a fantastic director of his fellow actors (not least of which himself, though as Eastwood shows that's easier done than said) that he may have found a new calling. It's an A-grade acting job amid a decent little B-movie. 7.5/10

In a recent trend, the film going public has favored a cinematic experience of what I like to call "Hand it Overs". These phenomena can be as creative as the "big reveal" at the end of early M. Night Shymalan films, or as effortless in reality as passing the mashed potatoes at Thanksgiving dinner. They give the majority of today's audiences exactly what they want, instant gratification. Imagine if we never saw Malcom Crowe's real fate completely unfold in "The Sixth Sense" or Elija Prince's true self-revealed in "Unbreakable". How would this change our perception and enjoyment of them? The Merry Gentleman marks Michael Keatons Directorial debut by chance due to the sudden illness of screenwriter Ron Lazzeretti who was originally slated to Direct. Keaton also stars as Frank Logan, a depressed hit man, alongside Kate Frazier (Kelly Macdonald) a woman who has just escaped from an abusive relationship. As the plot unfolds, Frank and Kate end up mysteriously crossing paths, which spawns an unconventional, often uncomfortable and strained romance between these two mixed up individuals from different worlds.

Keaton's first shot at direction does everything but fall into a "Hand It Over". His pacing is agonizingly slow, yet unbelievably careful. Discerning and seasoned viewers will appreciate his intricate placement and organization of scenes for the greater purpose, if not during the film then certainly after the credits roll. Others will become fed up with his unconventional style a third of the way through, and if they haven't walked out of the theater before the final scene may let out a strained, "That's It?" and huff out the door unsatisfied. For me it took a good fifteen minutes after the picture ended before everything clicked and I was blindsided by the sheer brilliance of what I had seen; deep themes rich in symbolism of religion and redemption and the overall feeling that Keaton felt no responsibility as an artist to spell it out for us.

Performances all around play it safe but are always believable and gratifying to watch. As a virtual no name, Macdonald holds her own quite well, even while sporting an Irish accent that can sometimes border on a tad annoying and contrived. In front of the camera, Keaton never fails to please and continues to frustrate me when I realize that he has been almost entirely absent from view since the mid nineties. Supporting cast gets the job done and Bobby Cannavale delivers a poignant, gripping and short-lived scene stealing performance as Kate's boyfriend.

The question that will remain on many of our minds is, "what exactly is the fine line between complete obscurity and masterpiece, and did Keaton cross it?" That's for each of us to decide individually, but it is in the opinion of this reviewer that said line is imaginary. As an art form, film should have no boundaries, regardless of how many cookie cutter, "How To Lose a Guy in Ten Days" burnt offerings Hollywood Studios continuously try to force down our throats. After all is said and done, it does feel good to sink your teeth into a double quarter pounder, but on occasion, Yellow Tail Sashima can prove to be extremely rewarding. After all, grandma always said try everything once.

The main character doesn't say a word for the first half hour. But in that half hour, if we're paying attention, we get more insight into the depths of a man's soul than if we had just read his 500-page autobiography.

The Merry Gentleman is billed as a crime drama, but that label hardly does it justice. The same way "The Spy Who Came In From the Cold" broke the spy genre, the same way "2001: A Space Odyssey" broke the scifi genre, the same way "Pink Floyd -The Wall" ain't no average musical, this film is anything but your average crime drama. For starters, there's not a single car chase, gunfight, blimp explosion or any of the standard crime drama clichés. Instead, the tension & suspense is masterfully built around secrets. We begin with a secret which only the main character and the audience know. Then there is a secret which the 2nd character only knows (which the audience must slowly piece together). And finally, we have the main character's ultimate secret which is so cryptically presented that it may take you a few days of introspection before you figure it out.

This film is very much like a challenging poem whose meaning is elusive at first glance but whose mood & style sinks into your mind over time. Dialogue is sparse, but every line packs a whollop. In particular, pay attention to the analogy of ghosts & angels which crops up several times both verbally & visually. One of the characters says something like "Ghosts and angels are the same, except ghosts are haunted while angels are blessed." OK, it may not mean much at first, but by the end of the film the significance is absolutely beautiful.

Which brings me to the cinematography: absolutely beautiful. I'm no film school student, but I know what images affect me, and these scenes certainly did. Contrast (gleaming white snowflakes at night), perspective (long corridors at the morgue), symmetry (a lonely theatre marquee) and surrealism (a Christmas tree burning in a wheat field) are just some of the artistic touches you have in store. I can honestly say that I cannot think of a finer directoral debut than Michael Keaton in The Merry Gentleman.

I won't even get into the first rate acting, the haunting musical score, or Katie's adorable accent. This movie is just about perfect. The only reason why I'm giving it only 8 stars instead of 10 is that I'm a real hardass.

By the way, DO NOT WATCH THE TRAILER. DO NOT READ THE DVD DESCRIPTION. AVOID ALL DISCUSSION OF PLOT. This movie is best enjoyed if you know absolutely nothing about the story. The challenge (and the fun) will be even greater.

Just a disappointing ending. Not really sure what else could have happened though. If anything, different aged characters may have worked better. Kelly and her character just seemed to young for the role though she was very good in it.