Rene Russo

  • Velvet Buzzsaw (2019)

    Velvet Buzzsaw (2019)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, December 2020) I’m weirdly interested in the modern art market: the intersection of art and irrational investment is almost too weird to be true, but the dollar figures speak from themselves. For writer-director Dan Gilroy, it was perhaps the most logical follow-up to Nightcrawler’s local news insanity. In Velvet Buzzsaw, Jake Gyllenhaal plays an art critic who becomes involved in the posthumous discovery of an outsider artist, and who realizes far too late that the work is cursed in lethal ways. Unfortunately, there are two films in Velvet Buzzsaw and one is far more successful than the other. The satirical look at the modern art industry is on-target and could have sustained the film on its own: The complex ecology of artists, critics, gallery owners, investors, museum curators, “investment consultants” and assistants to all of these is very well portrayed, and the film isn’t afraid to blend whimsy with satire – seeing the protagonist having an opinion on every-single-thing never stops being funny, but the script’s fast-paced rhythm manages to skewer nearly everyone in sight. (By the time a gory murder scene is hilariously misinterpreted as an installation, I was cackling aloud.) Weirdly enough, though, the story’s steady and complete slide into horror is not as successful – and I say that as someone who’s far friendlier to genre material than most, and who often shoves liminal works into a supernatural interpretation. What bothered me most is a common failing of non-horror writers who decide to tackle the genre: an absence of clear rules as to what we’re dealing with. The horror in Velvet Buzzsaw is more expressionist than logical: There are no limits to what demonic possession can or cannot do, and that gives an arbitrary quality to the narrative when even smart characters can’t adequately anticipate and protect themselves against fatality. Maybe that’s part of the point, but I don’t think so – while I can appreciate an ironic finale as much as anyone (and Velvet Buzzsaw has a really good one that ties back into its title), there’s a mushy dreamlike quality to the third act of the film that could have been much improved had it been overlaid on a coherent foundation: when everything is a dream, the stakes are lowered, and when the plan is to kill everyone but the bespectacled assistant (a very cute Natalia Dyer), then the horror remains a joke. Gilroy being Gilroy and friendly with half of Hollywood, the talent assembled here often outstrips the material: Nightcrawler star Gyllenhaal can’t do any wrong here, Gilroy’s wife Rene Russo is well cast as a galley owner, Zawe Ashton makes a good impression as an assistant and John Malkovich has a superfluous but enjoyable turn as a cranky artist. I may be disappointed by Velvet Buzzsaw’s uneven control over its material, but I did like the result quite a bit despite its imperfections: it’s funny, dark, smart, fast-paced and as visually interesting as some of the pieces it showcases.

  • Major League (1989)

    Major League (1989)

    ByChristian Sauvé Movie Review

    (On TV, March 2020) There is nothing new in Major League, and that’s probably what explains its charm. Yet another baseball underdog comedy, this one features a calculating team owner who deliberately sets out to put together the worst players she can find in order to have an excuse to move the team to another city. This naturally strong comic premise leads to a collection of supporting oddballs and lead characters with overblown problems. The decision to go for an R rating allows the film to distinguish itself with plenty of spicy language and risqué situations. Still, Major League would have been better had it featured even a few surprises: as it is, it’s an underdog sports comedy that ends like you’d expect it to end, with all characters have resolved their issues along the way. Added fun comes from spotting actors who would become even bigger stars later on: the then-ascendant Charlie Sheen is quite good as the bespectacled “Wild Thing,” while Wesley Snipes, Dennis Haysbert and Rene Russo have good early roles. The humour can be coarse at times but never too gross or off-putting, which does help a lot in making this an approachable R-rated comedy. Major League plays familiar riffs and still does it reasonably well, and sometimes that’s all a movie needs to win.

  • Just Getting Started (2017)

    Just Getting Started (2017)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2019) There is, buried somewhere in Just Getting Started, everything required for a serviceable comedy. Nothing too ambitious, nothing too difficult, just the basic elements of a film you see, enjoy, perhaps recommend to friends and family. It’s a comedy set in a retirement home, with capable actors such as Morgan Freeman, Tommy Lee Jones and Rene Russo, with a little mix of mob-driven action and old-person comedy. Heaven knows that there’s a small list of those movies already. But this is not the film that Just Getting Started is now. Because what we’ve got here is a waste of everyone’s time and talent, a mixture of juvenile gags that feel worse when played by retirement-age actors. The romantic rivalry between the two male leads is wholly manufactured (and then quickly dismissed) and while there’s some fun in seeing Jones strut and wager through a character created to be perfect, the film doesn’t know what to do with the energy of his performance. Neither can it find a good place for Russo, nor make the most out of Freeman’s comedy. The cinematography is uneven, at times making good use of its southwestern scenery and at other being nothing more than flat comedy-grade images. Just Getting Started often stops and sputters, occasionally stumbling upon a good idea but never completely going to the fullest extent. What a shame. Fortunately, there are other similar movies that succeed much better.

  • Mr. Destiny (1990)

    Mr. Destiny (1990)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, May 2019) There’s a surprisingly strong subgenre of movies exploring what it would be like to rewrite your own history and see the outcomes of different choices. From the angels-driven plot of It’s a Wonderful Life to the more recent examples justified by quantum mechanics mumbo-jumbo, you can see the appeal of the plot device in order to deliver a statement on the human condition. But it’s the execution more than the premise that will determine the impact of the film, as Mr. Destiny clearly suggests. Clearly made for a mass audience, the film’s hackneyed approach to alternate realities for our everyman protagonist isn’t particularly impressive, nor is its cavalier approach to respecting the integrity of the parallel timeline (helpfully pointed out by the magical character, asking our protagonist if he isn’t behaving reprehensibly by wooing another woman than his now-wife). Moral issues aside (and it’s tough to put them aside, because they are significant and do lessen the impact of the lesson the film think it’s teaching us) Mr. Destiny’s biggest problem is the complete and unvarying predictability of the result as it goes through the expected paces. It doesn’t help that two of the headliners are Jim Belushi and Jon Lovitz, two actors who are obnoxious on their best days and actively irritating on all others. More fortunately, Linda Hamilton and Rene Russo are sights to behold, but they’re not quite enough to make the film interesting—and their place in the plot, as mere prizes to be juggled by the white male protagonist having a not-even-mid-life crisis, betrays some ugly scripting issues. Michael Caine is perhaps the only likable character, but he comes across as ineffectually pointing out basic problems caused by the protagonist’s selfishness before it doesn’t matter and we get out of the dream sequence anyway. There are some far better movies tackling more or less the same issues out there—there’s no need to even watch Mr. Destiny.

  • Lethal Weapon 3 (1992)

    Lethal Weapon 3 (1992)

    ByChristian Sauvé Movie Review

    (Second viewing, On DVD, November 2017) I first saw Lethal Weapon 3 on VHS in the mid-nineties, and while I still remembered a few things (the armour-piercing climactic shootout, the great “let’s compare scars” romantic scene), I had forgotten much along the way. (I do remember much of the promotional chatter surrounding the film and its sequences involving the destruction of a construction project, and the co-optation of a planned building demolition.)  In retrospect, Lethal Weapon 3 still marks a transition between the buddy-cop movies of the late-1980s and the overblown action movies of the mid-1990s. The Lethal Weapon series straddle both, of course, and watching this third instalment is like plunging back in a sadly neglected subgenre: Sunny Californian action with plenty of laughs, dubious moral foundations and an overall sense of conscious excess. I miss those kinds of movies where every stunt is an attempt to be even bolder and bigger than the previous one (although Lethal Weapon 3 has its best action sequences well before the climax). I miss the banter between charismatic leads such as Mel Gibson and Danny Glover. (Most of all, I miss the time when you could watch Mel Gibson and not have to account for his personal issues.)  I miss the anything-goes nature of plotting where just standing on the street could lead the characters to an armoured car heist and then on to a corruption scandal within the LAPD (and a hockey game sequence because why not?). What I don’t miss is the casual police brutality played for laughs and some of the coincidental nature of the plotting. Still, Lethal Weapon 3 generally works. Including Renee Russo as a true romantic partner for Mel Gibson’s character is a welcome development, and even Joe Pesci is acceptably annoying. While the result isn’t much more than a competent example of the subgenre, it holds up compared to other movies of the series, and the kind of film it intends to be.

  • Nightcrawler (2014)

    Nightcrawler (2014)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, November 2015) The concept of the anti-hero is retooled with vigour in Nightcrawler, thanks to a terrific collaboration between writer/director Dan Gilroy and another exceptional performance by Jake Gyllenhaal.  Taking place in modern Los Angeles (now illuminated at night by bright-white LED streetlamps) where competing news stations are literally out for blood, Nightcrawler is first and foremost the character study of a modern sociopath, one whose ambition is fueled by personal-growth Internet sites, a complete lack of morals and a world that gleefully applauds the result of his efforts.  Gyllenhaal is phenomenal in the lead hustler role, portraying a deeply wrong character with almost-complete detachment: the film’s best scene is a “simple” dinner date in which a human relationships is dissected to its most self-interested axioms.  Otherwise, much of the film is spent in the streets of Los Angeles at night, chasing accidents and selling video footage to the highest bidder.  It’s a nightmarish but well-executed film, Gilroy showing talent at his first directorial effort –and showcasing his wife Rene Russo in one of the best roles she’s had in years.  There’s quite a bit of depth in the way Nightcrawler also engages with issues of degenerate capitalism, social voyeurism and media fearmongering.  It’s quite a film, but also quite an experience in how it refuses to see things from outside its lead character’s perspective.  Don’t be surprised if you want to shower after watching it.

  • Lethal Weapon 4 (1998)

    Lethal Weapon 4 (1998)

    ByChristian Sauvé Movie Review

    (In theaters, July 1998) Once you’ve accepted that Lethal Weapon 4 is going to be an incoherent action comedy, the movie is a blast. Sporting no less than six big-name stars (Gibson, Glover, Russo, Rock, Pesci and Li) and numerous explosions, Lethal Weapon 4 is still a pretty good follow-up to the franchise. It’s certainly one of the first 1998 releases that can be enjoyed by a wide audience without too many problems. Again, the standout sequence of the film is a fabulous car chase that resulted in applause in my theatre. Rene Russo is criminally underused, the coincidental aspects of the plot are troublesome, the emotional content of the movie is manipulative, some of the comedy falls flat and most of the drama is quickly glossed over, but Lethal Weapon 4 delivers like few blockbusters this year.