MPAA Rating: R/Genre: Satirical Crime Comedy-Drama/Stars: Colin Farrell, Sam Rockwell, Woody Harrelson, Christopher Walken, Harry Dean Stanton, Tom Waits, Brendan Sexton III, Abbie Cornish, Olga Kurylenko, Željko Ivanek, Linda Bright Clay, Amanda Warren, Long Nguyen, James Hébert, Christine Marzano, Kevin Corrigan, Gabourey Sidibe, Michael Pitt, Michael Stuhlbarg, Helena Mattsson/Runtime: 110 minutes
I think it’s safe to start this review off by saying that for all the grief that we as human beings are willing to give that distinct community amongst us known as script writers for one reason or another, there is one thing that we should be grateful for. That being that, for all the things they choose to write about, a lot of them didn’t have to experience in their lives the things which they write about. I mean don’t get me wrong I love the original Halloween from 1978, but it would break my heart to know that John Carpenter and Debra Hill were actually stalked once by a maniacal killer in a William Shatner mask. Likewise, I also love with a passion the original Nightmare on Elm Street, but let’s be honest: that movie would make movie goers definitely never want to sleep again even more than it already does if Wes Craven before his tragic passing had actually admitted in an interview that he wrote it because he was being harassed in his dreams by a guy wearing a glove with knives, a rumpled fedora, and a red and green sweater. Finally, I know that there is a lot of love for 1999’s The Sixth Sense (and rightfully so), but it would still make you raise an eyebrow if M. Night Shyamalan admitted that he wrote it because of his real-life experiences with a little boy who actually claimed to see dead people (actually come to think I don’t think that would surprise me at all given it IS Shyamalan we are talking about). All jokes aside though dear reader, I still think that it would be quite intriguing to see a film about a writer working on a script for a project only to find himself getting caught up in a real-world situation that was frighteningly similar to the one he was writing about. Thankfully (?) someone in the land of movie magic got that particular request and decided to take a stab at making it a reality. The result was a slice of cinema from 2012, and film I am reviewing for you today incidentally, known as Seven Psychopaths and honestly this might not be a perfect film by any means, but I still really dug it. Indeed it might not be for everyone due to its distinct blending of the movie’s reality as well as the fantasies of its main protagonist, but with the aid of really well-done work on both sides of the camera Seven Psychopaths is one darkly comedic slice of cinema that makes for a delightfully unorthodox yet still engaging watch all the same.
The plot is as follows: Taking us to that distinct locale known as Los Angeles, Seven Psychopaths gets its nutty narrative underway by introducing us to our main character in the form of a guy by the name of Marty Faranan. A guy who, among other noteworthy attributes, happens to be a struggling alcoholic member of that distinct community known as writers. When our story gets underway, we see that our intrepid hero has a new screenplay that he is working on only to quicky learn that there is one particular problem with it. That being that although he has a fantastic title, 5 guesses and the first 4.5 don’t count as to what that title is, and he most assuredly is quite confident that it is a project that could prove to be quite successful, he not only has no story to follow up that incredible title, but he also can’t seem to push through and really write about and for the seven characters at the heart of his script. Thankfully (?), we see that just as he looks like he is about ready to pack it up that things improve a fair amount when his best friend Billy gives him a tip about someone Marty could draw inspiration from for his characters in the form of a real murderer whose calling card is leaving playing cards as a sort of signature at his crime scenes that, typically, involve individuals who are part of that distinct criminal organization known as the Mafia. Oh and I guess I should also point out at this time that Billy, besides being a struggling member of the acting community in the City of Angels, is also someone who takes part in a small-time criminal business on the side to help make ends meet whilst he looks for that one big career break. A business that sees Billy steal dogs from their well-off owners whilst his partner-in-crime Hans then proceeds to pose as a concerned citizen who finds and subsequently returns the animal in order to collect the reward money which usually proves to be quite substantial. As successful as this dynamic duo has been with this particular scheme of theirs however, we see that it isn’t long before they finally (in typical criminal fashion) go too far when one day the pair decide to snatch a Shih Tzu by the name of Bonny. A dog who happens to be the pride and joy of a more than slightly brutal individual by the name of Charlie who soon makes it clear that he has no qualms about doing anything and eliminating anyone he has to do in order to get his dog back. Thus when Billy and Hans, with Marty along for the ride, must take it on the lam, we see that our hero will not only learn some incredible things about just how blurry the line between truth and fiction can get, but he will also just as quickly discover a significant amount to incorporate into his screenplay….if he is able to survive this whole ordeal. As for whether he is or not that I will leave for you to discover for yourself dear reader….
Now right off, it is worth noting that the work done behind the camera on this film is incredibly well-done. Perhaps the best example of this can be found in this slice of cinema’s delightfully odd yet also quite balanced script brought to us from Martin McDonagh (whose helming of the film is also a genuine treat); a script I might add that may locate its inspirations in other places, but is still able to be its own thing courtesy of the utilization of unconventional dialogue and an even more unorthodox cast of characters who are there to reinforce the narrative, but by no means out to establish it. Indeed here is a film that does an absolutely fantastic job at telling us the saga of the construction of another narrative that is brilliantly constructed only to then descend into a perilous and nightmarish reality. Indeed as the fantasy in the story gets easier to discern, we see that what is real starts to get a bit on the murky side until what we are left with is an iconic example of life or death being seemingly ripped of a story and into the real world whilst the situation in the real world begins to inspire the story being written by its writer hero. In other words dear reader: this is one slice of cinema that does an incredible job at consistently muddying the waters between what is fictional and what is real for its hero in such a way that it manages to conjure up an intriguing loop where one inspires the other in such a manner that the only way the loop can end is when everyone has been killed, the story is complete, or all of the above. Alongside the top-tier work on this slice of cinema’s script however, we also see that this film is blessed with a terrific musical accompaniment from Carter Burwell that, much in the same vein as the scores he has done for that distinct filmmaking duo known as the Coen Brothers, is successfully able to place a distinct melancholic twist on this narrative’s darn near mischievous contempt for the idea of people living. We also see that this slice of cinema’s editor does a terrific job at making sure to consistently pick the kookier takes that the cast, with particular regard to Rockwell and Walken, provide in order to ensure that the comedic bits on display are given their proper emphasis. Suffice it to say that when you also factor into the mix genuinely engaging work from the cinematography department it’s clear that the work done behind the camera here might not have the structure at times as some of McDonagh’s other credits, but it still manages to work fairly well all things considered.
Of course, the other big element that aids in this slice of cinema immensely would have to come in the form of this slice of cinema’s undeniably brilliant performances provided by the immensely talented cast of players in front of the camera. This starts with, in the lead role of Marty, Colin Farrell who is not only a genuine delight, but who also gives the film perhaps its most even-keeled character. Indeed Farrell has always been one of the more underrated talents of his generation and here he does a fantastic job portraying this writer who finds himself caught up in a situation that only seems like something he, or others, could have dreamt up with the caveat being that it is actually happening rather than merely being something he is writing about. More than that though, we see that Farrell also operates as the emotional core at the center of this slice of cinema since his character is the one who goes on this journey of aspiring to write a story focused on crazy people and viscerality to just wanting the collection of characters he inadvertently finds himself caught up with here to simply make peace with one another instead of spend one more minute in this bleaker landscape that begins to slowly but surely take shape around him. Suffice it to say that it is one heck of a performance, but from Farrell I can hardly call that a surprise. We also see that this slice of cinema is the blessed recipient of a top-tier performance from screen icon Christopher Walken. Indeed it is a bit intriguing to see Walken, who I could’ve swore would’ve been just as good as the character played by Woody Harrelson here, take on the character of Hans’ more immersive comprehension to say nothing of concealed affection wonderfully. To be sure, it most assuredly is a more low-key turn from an acting icon who is more known for being a bit on the animated side, but even so there is no denying that the performance Walken gives here is easily one of his finer efforts from the past decade. We also get treated to a wonderful turn here from Sam Rockwell who, as Billy, does a phenomenal job at operating as very much the physical embodiment of this movie’s narrative. Yes his character changes less than anyone else, but Rockwell is able to ensure that his character is the one who develops the most as well as operates as an intriguing analysis into the debate of perspective vs actuality. Finally, I think praise should also be given to screen icon Woody Harrelson who, in his role of Charlie, does a wonderful job at being delightfully sinister with particular regard to his ability to inflict brutality and viscerality at will yet also oddly heartfelt when it comes to the relationship he has with his dog. Suffice it to say that when you also factor in wonderful efforts from such talents as Olga Kurylenko, Abbie Cornish, Tom Waits, Harry Dean Stanton, Kevin Corrigan, Michael Pitt, and Michael Stuhlbarg among others it’s clear that the cast of players are not just brilliant in roles that they all seem incredibly well-selected for. Rather, they all regardless of the amount of screentime they are given also operate beautifully as a vital piece to this cinematic puzzle that has been brilliantly conducted and orchestrated for our viewing pleasure.
All in all and at the end of the day, if anyone out there was aware that the business of writing stories was one that, under the right circumstances, could prove to be such an equal blend of perilous to one’s sanity let alone physical health, so wild and crazy, and just plain maddening then would you mind sticking around after reading this review? Nothing serious, but I do have some questions I would like to ask you to say nothing of some doctor bills I would love if you pitched in to help out with. All jokes aside though dear reader, I don’t think that it can be denied by any stretch of the imagination that iconic film helmer Martin McDonagh’s 2012 slice of cinema Seven Psychopaths is a wonderfully distinct cinematic outing that operates as an intriguing instance of fiction mimicking lives be they actual or fictional as they find themselves taking part in conjuring up and mimicking art….or something to that extent. Indeed this slice of cinema might just be the cinematic poster child for a concept that is “so wild you couldn’t possibly make such a story up”, but in the case of this slice of cinema that’s exactly what the creative powers behind it were able to do. Indeed if this slice of cinema is one that makes you raise an more than slightly befuddled eyebrow then don’t worry because when looking at this film from a surface-level point of view I can definitely see how it might make you scratch your head in confusion. Should you give this film a chance and decide to go under the surface to see what awaits you there, I think it is safe to say that what you will discover is a movie that’s like the best of Quentin Tarantino meshed with Guy Ritchie as well as some of the other talented helmers that movie goers across the planet have been treated to over the years who also hail from that distinct locale known as the United Kingdom. The end product is a narrative that is procured from teeny tiny results as well as personal situations that are blown up into something infinitely more perilous, unforeseeable, and even ruthlessly humorous than just anything either this cast of characters, or you dear reader, have witnessed before. To that end, this slice of cinema is one that not only deserves significant kudos for the fairly original idea at the heart of it and the work done behind the camera including a downright phenomenal script, but also for the top-notch work done by its immensely talented, and well-chosen, cast of players in front of the camera as well. Suffice it to say then that whilst this slice of cinema might not always operate on the level that it truthfully ought to from beginning to end, but there is also no denying that by and large this is one perversely delightful slice of cinema that, should you find yourself thinking you might be the audience for, you really ought to give at the very least a watch. Just don’t be surprised if you find yourself not only enjoying it, but really thinking twice the next time you see a Shih Tzu wandering around seemingly without an owner nearby. Make of that what thou will. On a scale of 1-5 I give Seven Psychopaths “2012” a solid 3.5 out of 5.
