Brick Movie
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Storyline
TAGLINES
A detective story.
In a modern-day Southern California neighborhood and high school, student Brendan Frye's piercing intelligence spares no one. He's not afraid to back up his words with actions, and knows all the angles; yet he prefers to stay an outsider, and does - until the day that his ex-girlfriend, Emily, reaches out to him unexpectedly and then vanishes. His feelings for her still run deep; so much so, that he becomes consumed with finding his troubled inamorata. To find her, he enlists the aid of his only true peer, the Brain, while keeping the assistant vice principal only occasionally informed of what quickly becomes a dangerous investigation. Brendan's single-minded unearthing of students' secrets thrusts him headlong into the colliding social orbits of rich-girl sophisticate Laura, intimidating Tugger, substance-abusing Dode, seductive Kara, jock Brad and - most ominously - non-student the Pin. Only by gaining acceptance into the Pin's closely guarded inner circle of crime and punishment that Brendan will be able to uncover hard truths about himself, Emily and the suspects that he is getting closer to.
| Joseph Gordon-Levitt | Brendan |
| Nora Zehetner | Laura |
| Lukas Haas | The Pin |
| Noah Fleiss | Tugger |
| Matt O'Leary | The Brain |
| Emilie de Ravin | Emily |
| Noah Segan | Dode |
| Richard Roundtree | Assistant V.P. Trueman |
| Meagan Good | Kara |
| Brian J. White | Brad Bramish |
| Jonathan Cauff | Biff |
| Reedy Gibbs | Pin's Mom |
| Lucas Babin | Big Stoner |
| Tracy Wilcoxen | Straggler |
| Ari Welkom | Tangels |
| Rian Johnson |
7.70 out of 10 (15153 votes)
Visitor Reviews
Bright, novel and intelligent, but almost too clever for its own good
posted on 24 Aug 2009This highly regarded independent movie is very interesting, transporting the film noir detective story to a modern day American high school. The plot centres on Brendan, Joseph Gordon-Levitt looking almost unrecognisable from his 3rd Rock from the Sun days, who is a scarily intelligent but socially introverted guy who deliberately eschews life in and around his school. He eats lunch by himself and cares for no one... except his former girlfriend Emily, Emile de Ravin, who recently left him to take her shot at becoming part of the cool crowd. Brendan was fairly devastated by her departure, but more because he believed she'd be corrupted and destroyed by her new 'friends' rather than his own concern at being alone.Unfortunately, he turns out to be absolutely right. Unexpectedly given a location to go to meet Emily, Brendan arrives there and gets a telephone call from Emily in which she's crying and clearly terrified, talking about bad bricks and the like. Brendan tries to calm her down and get her to explain herself but instead she suddenly cries out in panic and disappears. Moments later a large black vehicle roars past Brendan, the driver flicking a cigarette out the window as it goes by. Brendan rightly guesses that the car and its occupants are what scared Emily into fleeing, but he can't find her to ask and the next time he sees her she's dead.Hiding the body, Brendan sets out to find his girlfriend's killer. This involves him finding out just who she was hanging out with and infiltrating them to determine which of the more sordid circles Emily had dropped in to and who had led her there... To do this he enlists the help of the Brain, Matt O'Leary, a bright and geeky kid who doesn't seem to have anything better to do than act as an information conduit for Brendan. With the Brain on board, Brendan can then start shaking a few trees and reminding people why they respected him despite his lonesome existence at the school.Brick works well as a detective story and film noir, with its own, sometimes less than transparent slang, glaring, monotonous but strangely eloquent protagonists and a lack of simple black and white distinctions... there are no good people involved amongst the leads and even Brendan isn't painted as a hero, just someone solving an intellectual challenge that's important to him. The high school setting works well and provides moments of amusement, particularly with the very occasional intrusion of parents into their children's' sordid, noir world.However, it is these moments of levity that puncture a lot of Brick's cool. You are meant to believe in Brendan as the Philip Marlowe of this scenario, with the girls as double crossing schemers and the young men as, mostly, hardened criminals or cynical hacks. But it's rather hard to do that when one of the bad guy's mother comes in with an offer of milk and cookies. Similarly, within this film's world the teachers represent the law, but a shadowy and noirish version of it where the principal is a shady chief of police who is quite prepared to blackmail the 'honest' man on the street/quad, in this case Brendan, into providing information that will lead to arrests/the student criminals.But the real police are out there somewhere and this undermines any threat the principal represents. When he threatens Brandon the worst he can do is expel him and report him to the police. He has no power of arrest, no weapons and little backup. In other words, he's less a threat and more an explanation as to why Brendan doesn't simply tell the police about Emily and explain to them the most likely culprits for her death. This doesn't make much sense in the spirit of the film and detracts from the feeling that Brendan's revenge is a necessary thing.Another thing that doesn't make much sense is the language used throughout. Even Brendan is confused by some of the terminology and we, the audience, are often left ruing the absence of any subtitles when a particularly strange bit of rhyming slang or (il)logical extension leaves us more mystified than impressed. Fortunately, this problem is rectified in part by the sheer intensity of many of the performances, Gordon-Levitt playing his role with ice cold demeanour that hides the fire within, fire that is all the more powerful when it emerges because of the iron like self control it has had to burn through...Femme fatale Nora Zehetner is alluring but dangerous, as is the thespian wannabe Meagan Good. Noah Segan and Lukas Haas are similarly good as Dode and the Pin, the latter being the elusive, almost mythical crime boss of the school while the former starts off as hired muscle but quickly develops into a vulnerable, fleshed out and essential character. But it is Levitt's film, through and through, and he is ably directed by Rian Johnson, whose original script is very good as well, even if the resolution isn't quite as complicated or clever as the events that lead up to it.All in all Brick is well worth seeing. It has energy, intelligence and dark humour to burn and, bar a little too much in the way of overcooking the language and stretching the scenario a little unconvincingly, you seldom remember that they're meant to be kids at school (there don't seem to be any lessons at all for example). So I recommend it, in the spirit of such mind bending films as Momemto, though I will warn you that this is not the kind of film to see after a few drinks... in that case it'll just be very confusing!
A Fun Experiment That Parodies Film Noir
posted on 18 Aug 2009"Brick" is a lot of fun if you are familiar with the genre it is parodying. It takes a 1940s film noir -- the kind that would have starred Humphrey Bogart -- and transplants it to an unnamed suburban California high school. A murder takes place, and our anti-hero, who was in love with the murdered girl, sets out to solve the crime, untangling a web of corruption and deceit as he moves along. Rian Johnson has created a visually unique film with a great sense of humour about it. Instead of the sleazy underworld of an American big city, we see instead the sleazy underworld of an American high school, where all the kids talk in the kind of clipped dialogue you would normally find in pulp detective novels, and where they meet for major drug deals in their parents' basements while the parents themselves serve them apple juice upstairs in the kitchen.If I can't wholeheartedly recommend "Brick," it's because Johnson sacrifices clarity in his efforts to be clever. The plot is very hard to follow, and much of the time, important information is mumbled so quickly by the actors that you can't understand what they're saying. Therefore, it was hard to get engrossed in the story, and it's hard to completely love any movie when you feel lost while watching it. I greatly appreciated what Johnson was trying to do, but the whole thing felt like more of a stunt than a film.However, it's certainly worth a look, especially for lovers of film noir.Grade: B
thefilmguru reviews: Brick
posted on 16 Aug 2009Brick. Ahhh Brick. Brick Brick Brick Brick Brick. After watching this film i still don't understand what the hell Brick actually is, but I'm sure i heard it mentioned, and i think yo're actually meant to know, but thats not the point, this movie is great.I've got the sneaky feeling that someone told me that this film was made as a school project by these guys, and thats what made it a whole lot better for me. The dialogue is fresh and snappy, the acting is fantastic and i felt i really grew with the character, the suspicion, and just the story unfolding in itself, seemed to be happening to him and me. I felt a real connection.I just think this film is very good, not one to really watch again and again, but its fresh. And fresh is good.
Noir delights from a generation darker than ever
posted on 04 Aug 2009This wonderful, clever and odd movie is a true breath of fresh air. In these days of studio-indie (which is a paradox) finding such an entertaining and clever film was really exciting. Its 40s noir style is pitched and executed perfectly, and as modern teenagers rebel with secrecy and repression rather than the noise of previous decades, it captures a loneliness and darkness that is real, wrapped up in a world that is not. In addition to this, its plot is classic noir mystery with twists and turns that do justice to an often watered down or satirised genre. The acting is also perfect from not only the excellent Joseph Gordon-Levitt who deserves the world after this, but also the sultry, sexy and fragile and conniving Nora Zehetner. Sure the dialogue is a little too syrupy for some but it wouldn't work otherwise and the scene where Gordon-Levitt meets one of the only adults in the film is between the lines dialogue perfection. Watch it. Then read some Chandler…..
well shot movie with some hindrances
posted on 31 Jul 2009This movie, while very well shot and having a very ambitious story line, was a little difficult to get into. Now, I'm not sure that it was supposed to be taken seriously, but the characters certainly seemed to take themselves very seriously. With overly melodramatic acting, themes, and characters, it was bordering on ridiculous. I appreciate an ambitious story line, but it seemed that the movie was trying to create substance in a setting of "you-just-don't-understand-what-it's-like-to-be-me" high schoolers. The Pin and Truman's (the dean) characters were terribly unconvincing. The most believable character in the movie was a toss up between Brad, the crazy football player who just can't seem to get put into a game, and Tug, the wife-beater wearing crazy guy. Yes, the crazy guy parts were played very well and convincingly. Some of the cinematography was amazing and beautiful. It even had a few lines that were well delivered. But overall it just seemed to launch the viewer into the world of teenagers taking themselves way too seriously. I mean it does have the elements of a film noir detective world throw-back (a la Sin City which was brilliantly shot and acted), but it tries to combine it with the world of Baz Luhrmann's Romeo + Juliet (which I did enjoy, but then it was a retelling of a Shakespearian play that I like, and it had John Leguizamo acting, who usually is brilliant, plus I enjoy Luhrmann's films). And I think that comparatively the acting was much better in Romeo + Juliet. All in all, the good elements just couldn't outweigh the storyline or acting, for me. But several other reviewers haughtily disagree with my stance. Again, I will say that much of the cinematography was very beautifully done, but it just couldn't save the rest of the movie. It wasn't completely awful, but far from excellent, in my opinion. So, check it out if you're looking for a debut effort from a director that shows some promise, but as for me, I think I'd take a pass.
I'd be stumbling around too if I'd been slammed in the head /that/ many times. . .
posted on 29 Jul 2009This was an intensely engrossing trip into the seedy underbelly of your local suburban high school, where the smoldering drive of the lead character propels you forward with him to discover the events surrounding the death of the girl he once loved and hasn't let go of. The plot smoothly whirls around you as the pieces of the puzzle drop into place around the protagonist. The twists are hinted at but not telegraphed, and the well developed structure of the story unfolds in this independently stylish and largely unconventional offshoot of the film noir genre. Take a couple of hours to submerse yourself into this high school world of danger and intrigue - you just might agree with me and my 10 star rating. This is one that I'll be convincing my friends to watch. . .
Too cool for its own good
posted on 27 Jul 2009Think Clint Eastwood as the man with no name. Think Philip Marlowe. Now think US High School. Put it all together and what have you got? Boredom.The film is full of stereotypes. The geeky sidekick, the blustering head teacher, the messed up girlfriend but, worst of all, the uber cool laconic main man himself. I can't be bothered to go further. See it if you must, but not on my recommendation.Might appeal to insecure 16 year old boys who fancy themselves as wild eye'd loners at the edge of oblivion...or something like that.I have to submit 10 lines of text so here's number 10
Is Rian Johnson working his way through HIS high-school nightmares? (asked in a totally non derogatory way, I loved this movie!)
posted on 25 Jul 2009After all, if you don't, they will work their way through YOUR life! I think this movie's soul is completely schizophrenic (again meant in a totally non derogatory way). On one level it is a 'state of play' on the life, angst, mores of contemporary American teens, you feel that beyond the super cool use of the language and the hyper-real highly-stylized narrative, the director has a genuine feel and deep understanding of his subject matter. The movie other 'soul' is a overwhelming, ever-pervasive, almost scene by scene referencing of 30s and 40s' movie and literature, 'noir' genre classics, particularly the works of Raymond Chandler and Dashiell Hammett, without giving anything away with regard to the plot, I can tell you that toward the end of the movie a few Maltese Falconesque's twists and turns start to creep in (meant in a completely affectionate way) and I don't mean to deliberately sound like 'The Brain'. I personally fell in love with Lukas Haas' The Pin, he could very well be called 'The Method' and he steals any scene in which he appears in and for some bizarre reason made me reminisce about another cinematic baddie, Orson Wells' Harry Lime in 'The third Man', while the depiction of The Pin's home life has a somewhat Twin Peaks/Blue Velvetesque's flavour! Not in my top ten possibly, but a very spirited effort!
Not as Clever as It Thinks It Is.
posted on 19 Jul 2009Hmm....I couldn't help feeling that the people responsible for 'Brick' think (quite absurdly) that they have made a masterpiece. Some of the painfully self-conscious dialogue was almost rendered inaudible for the sound of the writer-director patting himself on the back. His misplaced desire to create a quirky 'cult' film was palpable throughout.Yet his time wasn't entirely wasted. Several early scenes display a bold inventiveness in terms of both character and narrative which promise great things ahead. Regrettably, the director quickly destroys this initial goodwill by suffocating any spontaneity in the most tedious and stylised plot imaginable. I realise that the baroque, clandestine narrative is all part of The Big Joke About Film Noir that the film trades in, but I couldn't help feeling that the film-maker should have hung his flamboyant stylistic wares on a far simpler storyline. As it was, far too much emphasis was placed on the intricacies of a ridiculous and largely irrelevant plot. The great films noir of the 1940s may have been convoluted, but never at the expense of great characters and great scenes. Here, the characters and scenes struggle to engage the audience. Here, the plot is everything and, despite the extreme stylisation of dialogue and a terrific central lead performance, the film ultimately falls flat because of it.Too little time is spent developing the secondary characters, especially the leading lady, the femme fatale Laura. Her role is so ill-defined and dull, (and the actress's performance so inanimate) that a torpedo of ennui hits the film every time she comes on screen. Fortunately, she isn't on for long and the whole enterprise just about stays afloat for the running time.Overall, the film-maker shows a great deal of promise. There are some striking moments of violence and despite the faint whiff of plagiarism (David Lynch could bring a case), these scenes achieve an air of real terror and suspense.Regarding the hugely self-conscious style, it's love it or hate it. On one hand, it's an excruciatingly embarrassing pose, but if you overcome that, there are some pleasures to be had, despite some serious misjudgments by the writer/director.Comparisons have been made to Tarantino and Richard Kelly and neither are entirely fair. Brick's director has his own voice and his own sensibility, but in comparison with the assurance of 'Resevoir Dogs' or 'Donnie Darko', 'Brick' has to be considered a mediocre debut. I look forward to his sophomore effort.
Brilliant
posted on 17 Jul 2009Me and a friend saw this in a practically empty cinema, and came out wondering why it wasn't huge. Clever and dark with a great script and a twisting plot, it demands your full attention. Whilst it wears it's noir influences proudly on its sleeve, it manages to pay homage to them and yet be entirely original at the same time. Great performances from the entire cast ensure that you're always gripped, and the thick 50s slang adds an air of tension to the entire film, as it's such a big contrast to the modernity of the setting and characters. The musical score is haunting too, taking scenes such as the opening one to different heights entirely. Overall, a thrilling movie, one that deserves to be watched over and over again.
Good job!
posted on 15 Jul 2009Great job for a young director! I think there's a little Coen-envy going on here, but there's nothing wrong with that. This stylish film-noir built around a high school student and the social and business cliques at his high school rally hits the mark. The acting is uniformly good and Luka Haas really stands out in his role as "The Main Bad Guy" who's still a Mama's boy.Part o f the way through the movie, you'll start thinking, "This is a high school kid! How could he be so committed to what he's trying to do or so sharp that he can figure out what's going on?" Trust me...the thoughts will go away and you'll begin to appreciate his single-mindedness. The disturbing lack of emotional attachment just doesn't seem out of place somehow.Well worth watching, even for younger viewers.
Excellent movie that neo-noir fans will enjoy
posted on 15 Jul 2009Brick isn't in the same league as movies like Chinatown or The Maltese Falcon, so let's get that out of the way right now. Brick is the kind of movie that appeals to casual movie fans and buffs alike. It's a wonderful twist on an old genre that barely ever gets updated. If you like movies that are witty, interesting, and a little on the darker side, Brick is for you. The acting, directing, and overall visual style of the movie is surprisingly well done given the experience the director--and the actors for that matter--have on the big screen. There are little problems in Brick here and there, mostly due to the apathetic nature of a High School setting, but at the same time, that gives it a little more flair that it wouldn't otherwise have. Brick is a great movie and is completely worth seeing.
Film noir in high school
posted on 13 Jul 2009Outstanding feature writing and directorial debut from Rian Johnson. Joseph Gordon-Levitt (3rd Rock from the Sun, Mysterious Skin) gives an outstanding performance as a high school loner who investigates his ex-girlfriend's involvement in a high school drug ring. Johnson has been praised for his film noir writing style, but it's the direction that made the movie for me. The pacing was perfect for the action scenes, and he let the actor's performances take center stage in the dialogue heavy portions.This was the best type of movie experience for me. I knew that I would like the film before seeing it, and it exceeded all of my expectations.
A Masterpiece. Rian Johnson's 'Brick' is everything I had hoped for, and more!
posted on 11 Jul 2009From the early days of film when suspicious men in trench coats walked around with a constant inner monologue, audiences were exposed to the dark and clouded underworld of the troubled, yet fascinating characters of the film noir genre. It was a time when actors like Bogart and Orson Wells became known mostly for their eyebrows, or the amount of cigarettes they could smoke in a single film. The ultra-cool, tobacco scented folk, destined to walk through every back alley known to man. This was the world of the Private Eye.Since then, many films have been made incorporating the same style, bellowing out even more smoke, engulfing the many characters in a shadowy haze in their efforts to seek love, justice and redemption. Classics like The Maltese Falcon and The Third Man were among the many favorites throughout noir's history, inspiring directors like Wells and Hitchcock in the fifties with Touch of Evil and Strangers on a Train, and most recently with The Coen Brothers' The Man Who Wasn't There. It is clear now that the genre is among the most popular in many critics' lists, but now with Rian Johnson's new thriller Brick, it is evident that the noir genre can still be re-invented.Opening the film, looking down the mouth of a dark, damp storm water tunnel, the body of a young girl lies at its entrance. The haunting soundtrack embraces this tragic scene, as our hero, Brendan Frye (Joseph Gordon-Levitt), stares silently as the water gently trickles through her cold, lifeless fingers. Powerless to help, he yearns to seek revenge and expose those responsible for this unthinkable crime. Although Brendan is only a high school student, nothing will come between him and his search for justice. This is only the beginning of Johnson's masterpiece, and being an avid fan of noir his aim was no to imitate, but to use elements to alter the structure into a modern high school setting. "We wrestled with the question of "How do you 'do' the genre today?" Johnson explains, "This was the weird approach that we decided on." Yet again adding even more innovation, Johnson's script incorporates a unique, polished dialect that weaves fluently through Brendan's many encounters throughout the film.To my amazement, the result is breathtaking, and the combination works astoundingly well. Starting again now, two day's prior to finding his ex-girlfriend Emily's body, Brendan comes across a note in his locker that leads him to a phone booth where a distressed Emily (Emilie De Ravin) unloads a bunch of gibberish just before her mysterious disappearance. Now in a state of panic, Brendan must try and decode her jumbled up message in order to detect her whereabouts, and understand what exactly she has gotten herself into. Without hesitation, he quickly calls upon the only fellow peer he can trust, The Brain (Matt O'Leary), to aid him in this now very risky investigation. Through the desolate corridors of this Southern Californian High School, and the dimly lit streets of suburbia, Brendan must face the local underground drug lord, The Pin (Lukas Haas), who may very well be involved. After finding Emily murdered, Brendan takes justice into his own hands by concealing her body, and vowing to avenge her death no matter what the cost may be.Winner of the special Jury Prize at Sundance for Originality of Vision, it was obvious that behind the scenes a dedicated film-making team had been put in place. Determined to bring this thriller to life, Johnson's dream is now a reality, and it has become a tribute to great storytelling. The film is without a doubt kept alive by a remarkably gifted cast lead by Joseph Gorden-Levitt. Having recently starred in Gregg Araki's acclaimed Mysterious Skin, Gordon-Levitt burns onto the screen as the heroic Brendan, and his ability to adapt to the role of this suave, smooth talking teenager ultimately gives Brick the depth and realism it needs to survive, and surely proves his status as one of the finest up and coming actors of this decade.
it's got hard-boiled coming out of its ears; a cool, gripping debut
posted on 05 Jul 2009There is something that could be said about 'overkill', and how it could apply with Rian Johnson's first feature as writer/director. The characters don't really talk like you and I do, they talk with the same inflection, use of language, attitude and drive that any given character did in films and books tied to the 'noir' mood, where being tough, sleek, and knowing the stakes comes with the territory. But I really didn't mind at all, because I knew all the while I was in the hands of a filmmaker already quite confident in his style, however lavish it might be or pronounced it can get. It's a near-masterpiece, in fact, a return to the same rush that one feels the first time they see the Coen brothers dig into the heels of crimes of passion in terms of murder, revenge, plotting, surreal villains and an atmosphere fully defined. If it's not one of the very best films of the year, it's not altogether unexpected. But aside from 13 Tzameti, I don't think I could recommend a return-to-old-school from the 40s and 50s any more than this.Joseph Gordon Levitt is absolutely fit for this role of Brendan, an outsider in a High School populated by certain cliques, with a drug ring always on the perimeter of the center. After he loses the love of his life, up till then, named Emily (de Ravin's one important scene is one of the most effective and touching I've seen in a long while in recent films), is found dead by Brendan at an entrance to a tunnel. His investigating (with all that's missing being a card stating his non-existent profession) with his assistant the Brain, leads him to Pin (Lukas Haas, one of those actors you can never remember but know the face, who has quite a memorable turn here). Him and his assistant Tug (Noah Fleiss, also impressionable even in a 1 1/2 dimensional character) bring Brendan in after some initial rough scuffing- some of this very funny in the hard-boiled type- though not knowing Brendan's intentions entirely aside from drug dealing. When it finally becomes clearer, a war is brewing, with the mystery coming to a head.Having seen more than a few dozen film-noirs in my time, and having gone into enough Chandler books and the like to put on a few quotes, I can tell that- lovingly- the filmmaker has immersed himself to the point where he can homage small scenes that some might forget are in these films. He puts in little notes as well as the big ones, like when Brendan goes to see the Vice Principal (Roundtree in an amusing bit part), who in a way is like the obvious cop who at one point in the story has to have a face to face with the (anti)hero to square things off. But all the same, even through Levitt sometimes speaking, so to speak, in paragraphs more than sentences (i.e. when he's up by his neck in the basement), Johnson has a certain uniqueness to what he's doing. It might be easy to submerge the whole mood of a kind of film and writing style from the 40s and 50s into a high school drama, but Johnson doesn't make it easy, which is why its all the more successful. As mentioned, occasionally it becomes almost too much of a good thing, if that's possible, and in the last fifteen minutes the labyrinth plot almost lost me, but not completely. In the end I knew though I had seen a lot done with few resources, with the camera and editing keeping a grab on post-modernism, with a wink and nod in subject matter. The acting, too, is never really self-conscious, as if to talk and act in these ways are the most natural things to do. It's very natural overall- it's cool. Grade: A
Amazing. I'm speechless.
posted on 03 Jul 2009This movie was one of the best that I have ever seen. The plot, the acting, the dialogue, everything was amazing. Though I am not a very big film noir fan, this movie was tops. Joseph Gordon-Levitt gives a wonderful performance as well as Nora Zehetner, whom I had only known through the NBC show "Heroes". I loved that they used film noir slang in this film, which I think makes it that much better. I also loved that they filmed on location at an actual school. The subtle references to other noir films like "May" and "It Happened One Night" were very amusing. The classic film noir sounds they used beautifully accented the film. In all,Rian Johnson did a wonderful job. I look forward to see what he'll come up with next.
Amazing!
posted on 27 Jun 2009This film is the most original that I've seen this year. I loved the hard-boiled noir set against the backdrop of a suburban California high school. Very, very well acted and amazingly written. It was actually, in some ways, underwritten, which is exactly how I like my films: I like being given something to figure out and the less exposition the better. Of course, the Hammett-like dialogue dazzled. As one reviewer put it, it's like John Hughes meeting Guy Ritchie.The characters well-realized and fleshed out. In Brendan we have an anti-hero we can really identify with, however, I don't know that he's particularly an empathetic character, given his single-minded quest to discover the truth. The plot is dazzling and had me on the edge of my seat most of the way through. I'll probably end up seeing it again in the theater, and I'll be adding it to my DVD collection as well.
"Where do you eat lunch?" …
posted on 25 Jun 2009This is a film I have been highly anticipating for over a year. After first hitting the festival circuit in January of 2005 it went through the cycles, finally getting a stateside limited release at the end of March 2006. Buffalo, I ask you now to open your eyes to a masterpiece of cinema as Brick finally debuts at the Amherst Dipson.Brick is a not a film as much as a symphony where each instrument is tuned to the beat of the conductor. Each frame is carefully orchestrated and composed to perfection. The dialogue is metered and spoken with a contemporary Shakespearean beat. Writer/Director Rian Johnson has created poetry with his first feature length film. It may be tough to understand the lingo and overall speech used, but as the film advances you begin to know the characters and the words just make complete sense.We open with the stare of our protagonist—hard and piercing, yet on the verge of tears—eyes slowly welling up as he peers down on a motionless body, facedown in a tunnel's steady, flowing stream. This is film noir at its best: wrong men and notorious women. Our leader into this underbelly of society has recently rolled on his boss to skate clean of a drug deal he was involved with. The cops allow this plea and decide to keep him in their pocket, with what happened as leverage. He stays low, nose clean, until an old love brings him into her world as it's spiraling out of control. Using all his resources around the city, he begins his search to find her and make sure she is OK. He does this for his own means, with a stoicism that hearkens back to Bogart's Sam Spade.Wait…Did I tell you that the city this is set in is a suburban high school? Johnson has flipped the genre on its head to brilliant effect. Brendan, our medium into the story, is played to perfection by Joseph Gordon-Levitt as a senior at the school who has alienated himself by ratting on his drug supplier. The vice-principal is using him to gain intel on the dealings around school, but Brendan will have none of it. He needs to find out what happened to his old flame Emily and see what she got involved in. Enlisting the help of a colleague, Brendan plays his enemies off each other to gain access to the mob boss and dope runner The Pin ("I hear he's supposed to be old, like 26"), whom Emily has wronged. The truth must be found at all costs, either to assuage some personal guilt, to rescue love, to do what's right, to get the bad guys, or maybe all the above. The search for answers leads to betrayal and secrets uncovered and I was there for the entire ride.Brick is not the 21st century's answer to Alan Parker's Bugsy Malone. This isn't a satire on mob life with children playing men. This is a reawakening of the genre, a subversion of what you expect of it, but played straight as a razor. None of these actors break character and lines like this, echoing a hardened criminal telling off an over-zealous officer, "No more of these informal chats! If you have a disciplinary issue with me, write me up or suspend me and I'll see you at the Parent-Teacher conference," are delivered with straight faces and a piercing confidence. The wit is there and you will laugh to the seeming absurdity, but the weight of the story holds strong. Well-placed humor helps you realize the gravity of everything even more. Levitt shines in the role and proves to be the best up-and-coming actor of his generation. Following pitch-perfect turns as a violent teen in the wonderful Manic and as a teenage hustler, vagrant in Gregg Araki's disturbing yet unforgettable Mysterious Skin, Levitt is making bold choices and continues a great run with Brick. He is flanked with solid support from "Lost's" Emilie de Ravin as his lost love; Lukas Hass as The Pin, with loyalty straying muscle Noah Fleiss; Matt O'Leary's The Brain, Brendan's life-line to what's happening as he sinks deeper; and Nora Zehetner flawlessly playing the femme fatale which one can never be sure whether to trust. Also, the accompanying score of piano and brass jazz fits perfectly to the atmosphere, especially on a late scene close-up shot of Levitt and Zehetner—faces close- up, lips with an atom of air between them, and a single tear slowly following down the contours of her face—uncannily mimicking the infamous shot of Bogart and Bergman in Casablanca.Any cinephile with $8 to spend will regret missing an opportunity to see this film. If you love film noir of the 50's, 60's, and 70's check Brick out while you can. Doubtful that it will stay up more than 2 or 3 weeks, it will be coming to DVD on August 8th, however go out and see this gem. It will not be everyone's cup of tea, but whether you love it or not, it holds a place on the timeline of cinema as an experiment in stripping down the essence of noir and showing it in a new and no longer angelic world of children on the cusp of adulthood. "Here's looking at you kid."
More Often Seen in the Theatre
posted on 19 Jun 2009Just a warning for starters: I found it very hard to hear what was being said. A combination of intrusive noise, the rapid fire slang and the accents. (I'm from the UK!) They do talk "plumy" at one point, as a joke, which was a few seconds relief for me. I had to use headphones!If you closed your eyes it would sound like a dated Bogart-style gangster movie. The story is not new. Gangs and low-life. An honest ordinary guy standing up to them. Molls and thugs. A period piece. We are probably a bit complacent about this sort of comfortable criminal violence. We actually enjoy noir rather than being shocked by it! But this is played out by school kids. The dialogue should be coming out of the mouths of characters 30 years older! We are used to seeing the drug baron in outlandish clothes so why does a boy in a cloak seem so, well... silly? And didn't Bogey slope around with his hands deep in his (trenchcoat) pockets? And those extended Mafia families have doting mothers, don't they? The film seems to use this unrealistic contrast as a parody of the typical noir film and, through it, makes us more realistically aware of the misery and waste of life caused by drugs. Hearing fresh-faced kids come out with this sort of dialogue makes it shocking. We are probably more used to seeing this sort of dramatic device used on stage in the theatre. After all the effort that films put into being realistic, here is one that deliberately does the opposite.I thought the standard of acting was very high. Tug was pretty scary! I liked the school ground setting instead of the grimy city streets. The good guys were a little lucky to get away with their plans. And for me the sound was difficult. I'd say that it was well worth watching if you are not just looking for a relaxing way to rest your brain after a hard day!
Should be better...
posted on 26 Aug 2009One of those movies, which have a seducing trailer that's better than the movie itself. After watching the trailer I expected some sort of David Lynch-like movie. You know, those suburbs, small cafés, a missing girl... and mainly - mystery... I really expected the movie to go deeper than it went. To me the movie looked more like a graduation work of some students. The movie told a story, not mystical, but pretty banal. The characters didn't develop, and they weren't symbolic/iconic enough to stay the same all the movie. I also had this feeling of watching an unfinished work; something was missing and because of this missing ingredient the movie was just falling apart. You cannot build a house with bricks alone...