Material from real life spicy and international players wasted phenomenally frustrating Alexandros Avranas True Crime ‘, in which Jim Carrey – train worst part of his mercurial career – make a reasonable stab at playing a Polish police to face the last obsessive definitely letter before retiring.
According to an article in the New Yorker that interesting of a murder investigation and charismatic novelist eventually convicted of murder, image points with grim intensity but too often ends tense dourly. The presence Carrey in the role as an arthouse together is not possible and the festival favorite circuits as Charlotte Gainsbourg and Vlad Ivanov, however, make sure the size of the game on the big screen at the international level, but the prospects for the American theater looks so unattractive as monotonous adjustment Krakow autumnally movie.
Poland and the United States, which looks neglected Toronto and Venice to lean into the slot uncompetitive in Warsaw, might fare better with Polish public, many of whom are very familiar with the cases reported in the trial of David Grann True Crime: A murder mystery postmodern. According to DCP displayed in Warsaw, the film retains ownership Grann (despite all of the above materials referring to the crime as a right, plural ads), but dispenses with subtitles – warning that the filmmakers had little real interest in exploring the interesting aspects of the history of post -modern.
viewers and readers of the article Poland Grann may be confused and even confused, however, with greater freedom and generally advised taken by screenwriter Jeremy Brock, the more skillfully combines reality and fiction script like Mrs. Brown and the last king of Scotland. Here, the protagonist is a law enforcement from around fifty Tadek (Carrey), who was known as “the last honest cop in Poland” by the success of his colleague Piotr (Ivanov), was his only in style. Men carefully expressionless, with the sound of outsized low home life with his wife (Agata Kulesza) and her teenage daughter most especially for silence rocky, Tadek launched into his work – which is kind of straight-arrow cop alone we have seen thousands of times on the big screen and small alike.
He became obsessed with unsolved cases involving the death of a man who is known to a certain sex clubs S & M, where the population living dungeon successful writer Kozlow (Marton Csokas) are also included. It turns out one of the books of Kozlow pivot about a murder that detail happens to coincide with the actual murder, prompting the celebrities cavalier write to the top of the suspect list. Complications arise, many of them awkward characters and / or test makes sense.
True Crime started quite promising, with the assembly of conflicting extremes lies within the boundaries of sex-clubs such as prisons, chockful nudity, violence, sex and type of degradation Salo, accompanied by a very high musical stylings of Richard Patrick and Tobias Enhus. But as the duo score redundant then transferred to quasi-dramatic, steel Film arrogant too often turn out to be pretentious style.
Very little organic feel here; everything is calculated and calibrated for effect, and mood shortness of breath, as painstakingly by streets gray, gray rooms and corridors underlit more suffocating than stimulating. Some sequences, including rapid Kozlow undergo polygraph tests, at the limit of funny; Ditto spell incidents in which Carrey found the decomposing bodies of her parents and then, minutes later, returned home to find his wife and daughter finally flown the coop.
Aspiration of social commentary through the occasional communist days old references, meanwhile, integrated awkward. Both Brock and Avranas – Best Director at Venice in 2013 for elegantly somber drama of a dysfunctional family violence Nona – itself Poland; now it is difficult to avoid speculating what Roman Polanski (whose name is associated with the project in one step) or compatriot Wojciech Smarzowski, which projects with similar rates, it might have come up with.
As it was, Avranas and casting director Marta Kownacka has assembled an incredible array of talent from all over the world: Canada and the United States Carrey, English-French Gainsbourg, Moldova-Romania Ivanov, Hungarian-Kiwi Csokas – Kozlow his incarnation adult sneering contempt – and Finland Kati Outinen, so beautiful in some films of Aki Kaurismäki, but sadly absent here as stern superior. There are also some symbolic Poland at the bit, plus the feeling of Ida Kulesza in a thankless role embittered wife and drain important domestic Robert Wieckiewicz – Lech Walesa in 2013 biopic of the late Andrzej Wajda – the same boss wasted corrupt, tatty police.
In a cool device that provides procedures Europudding strong odor, everyone from the bottom Carrey, with only one exception, spoke with Eastern European accents – Wieckiewicz so hard to make her read a few lines. It is an exception Gainsbourg as on-off boyfriend of Kozlow Kasia, bruised and battered-one femme fatale drug addict mother in the dark heart of this neo-noir winding.
Kasia, like everyone here should Poland, but Gainsbourg is for some reason allow them to speak in a normal tone on their English classes. It is certainly no coincidence that the actress, who has explored the same territory in collaboration with greater profitability-push their limits by Lars Von Trier, to characterize the most interesting and nuanced movie.
In fact, True just Crime really comes to life at moments very end through a monologue Gainsbourg ultimately provide a solution which is relatively satisfactory for what has become a convoluted disorientingly murder puzzle – just take the connection of the most tangential newspaper alleged base picture. Offered through Avranas selection mode directly to the address, Close-up camera tripod fixed, the result was the bravest of many low Brock creative imagination, and also the most successful. But it was not so much the eleventh hour as the seconds before midnight: too little too late.