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Ball And Chain.

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Boogie Woogie Santa Claus. Brand New Cadillac. Buzz Buzz. Dig That Crazy Santa Claus. Drink That Bottle Down. From Here to Eternity.

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Ghost Radio. Good Rockin' Daddy. Guitar Slinger. Hey, Louis Prima. Hollywood Nocturne.

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Hoodoo Voodoo Doll. Jingle Bells. Jump Jive An' Wail [Live]. Jump, Jive an' Wail.

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Jumpin' Eats Of Java. More Albums. Rock This Town - Live. Summertime Blues. Which might have been well and good if Gosling had proposed the idea to another of his collaborators, Nicolas Winding Refn. And there is a haunting, evocative score from Mike Patton.

But the production values are leagues ahead of the screenplay by the director with Ben Coccio and Darius Marder. What impact it has comes from its structure. Cianfrance ensures that the heists themselves are enervating; there is a real sense of danger and immediacy to the chases. His efforts prove faintly ridiculous, all posturing and no content. Cianfrance might argue that the point is that Glanton is completely lacking in self-awareness, but he omits to present a good reason for us to be involved with his story or an effective bridge between his elaborate criminality and the theme he wishes to explore.

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But it feels like an inappropriate choice, foisted on subject matter that ultimately reveals itself to be so lacking in substance. He sets out to tackle an inter-generational theme the sins of the father, and the need for forgiveness , but the canvas is too broad for him to pay any aspect of it justice. If the first sequence lacks credibility, the second is humdrum and over-familiar. Perhaps if Cianfrance had come up with something really Lynchian Glanton and Cross are the same person!

Cooper is nearly as unbelievable playing a cop as Gosling is as a macho stunt rider. The tentative attempts to explore the undeserved heroic status foisted in Cross, and his resultant guilt, have potential.

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A raft of great actors pop up for a few scenes Rose Byrne, Bruce Greenwood, Ray Liotta and there are good ideas sprinkled in, but none of it really hangs together. Maybe Cianfrance could have done his ideas justice with a mini-series although that stunt riding bank robber shit would never fly , but the second act in particular suffers from rushing over the ground it needs to cover to reach the third.

Because, despite the focus being away from the star leads, the final act is where Cianfrance actually gets a grip on the story he wants to tell. DeHaan brings a commanding intensity to all his roles, and occasionally puts me in mind of a young Brad Dourif. Cianfrance does little to sell the year leap in terms of the holdover actors. The intimacy of the performances in Blue Valentine and, as here, the camerawork papered over many of the deficiencies in the storytelling. He may need to set his sights a little lower next time. Post a Comment.

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