FILM REVIEW OF ''DEN OF THIEVES" (2018)

An audacious, white-knuckled, adrenaline-laced, cops and robbers’ crime thriller with a twist ending, writer & director Christian Gudegast’s “Den of Thieves” (***1/2 OUT OF ****) pits a loose cannon L.A. County Sheriff’s Department detective against a crackerjack team of gunmen shaped in the crucible of combat while serving as soldiers in the Middle East.  These nonconformist warriors came home, clashed with the law, and survived the purgatory of prison to emerge as an elite gang angling for the big score before they retreat into obscurity.  The lead in “300” and “Olympus Has Fallen,” Gerard Butler turns in a strong performance as an obsessive cop struggling with marital woes. Pablo Schreiber of “13 Hours” commands the villains.  He matches wits with Butler in a lively cat and mouse game where survival is the prize and a cold slab in a morgue is the penalty for those who stray from the straight and the narrow.  50 Cent fans may not recognize a buffed-up Curtis James Jackson III.

“Den of Thieves” reminded me of Michael Mann’s superb bank robbery movie “Heat” (1995) where Al Pacino’s rugged cop tangled with Robert De Niro’s hard-nosed bank robber in a high stakes showdown.  The difference between “Den of Thieves” and “Heat” is Butler displays little respect for his adversaries.  Meantime, the villains have a few tricks up their sleeves that nobody, especially armchair detectives, may be prepared for at fadeout.  Although he makes his debut as a director, Christian Gudegast has already established his bonafides as a genre specialist with not only the Vin Diesel thriller “A Man Apart,” but also Butler’s “London Has Fallen,” the gung-ho sequel to “Olympus Has Fallen.”  Butler is at his best as a tough-guy protagonist, and his gritty performance compares strongly with Gene Hackman’s Oscar-winning portrayal of an unorthodox, hard-as-nails, NYPD detective in the 1972 Best Picture “The French Connection.”  A wry sense of humor pervades this 140-minute, R-rated opus, but it never undercuts the gravity of the action.  Mind you, a fourth quarter glitch in credibility threatens to unravel the plausibility of plot.  Nevertheless, Gudegast and “Prison Break” creator and co-scribe Paul Scheuring have worked out meticulously the logistics of this far-fetched caper. They conclude it with an out-of-left-field finale like Bryan Singer’s “The Usual Suspects” (1995) that wowed everybody.  If you like your heist thrillers served up with lots of testosterone, tense ‘snap, crackle, pop’ firefights, and obstinate adversaries who refuse to flee, “Den of Thieves” is your ticket.

Nick Flanagan (Gerard Butler of “London Has Fallen”) runs a squad tasked with bank robberies.  His guys could be mistaken for stone-cold, Russian mafia gunsels.  They are unkempt, and their arms are engraved with tattoos.  They have no qualms about violating rules.  Everything is fair once they “click” off their safeties.  Nick’s free-for-all lifestyle doesn’t harmonize with his wife, Debbie (Dawn Olivieri of “The Wolverine”), and her dreams of middle-class domesticity with their two elementary school age daughters.  Naturally, they don’t understand why she walks out on their father.  As the film unfolds, “Den of Thieves” presents statistics that classify Los Angeles as “the bank robbery capital of the world” with a hold-up every 48 minutes.  Basically, Gudegast’s epic is a West coast version of Ben Affleck’s “The Town” (2005), where Boston boasted more bank robbers per capita than any other city.  Meanwhile, Merrimen (Pablo Schreiber) has assembled a posse of heavily-armed, former Marines, who have matriculated through prison after returning stateside.  They carry out their crimes with a military precision. Those plans hit a snag when they approach an armored car after dark outside a donut shop.  A hail of bullets erupts like Armageddon descending.  An innocent bystander lives to tell the authorities that he saw masked shooters lay down a barrage on the guards.  Later, after he arrives at the scene, Nick plunders a sprinkled donut from a box that one of the guard’s dropped during the massacre.

Gudegast doesn’t give the audience a chance to get comfortable.  Upfront without any delay, he stages a violent, night-time attack on an armored car as if he were imitating “Black Hawk Down.” The villains mow down the off-duty guards, steal their armored car, and then stash it safely out of sight. They send somebody back to photograph the various law enforcement personnel at the crime scene.  Merrimen isn’t happy one of their own lies sprawled dead in it.  Eventually, Nick suspects Merrimen may be the ringleader.  Unfortunately, the police don’t have enough evidence to arrest him.  They stake Merriman out and search for accomplices. They abduct an African-American, Donnie (O'Shea Jackson Jr. of “Straight Outta Compton”), who tends bar where Merrimen drinks. The two show up in surveillance snaps.  Nick interrogates Donnie in a motel where his deputies are having a party.  Primarily, Nick is interested in Merrimen, and Donnie confesses he serves just as a getaway driver.  Merrimen confides nothing in him.  Donnie heaves a sigh of relief when Nick turns him loose.  Meantime, Donnie doesn’t share the incident with Merrimen.  Merrimen unveils their master plan.  They have decided to liberate $30-million in clean currency from the fortress-like branch of the L.A. Federal Reserve Bank!  The gauntlet of security checkpoints and surveillance cameras that they must contend with makes “Den of Thieves” look like a Tom Cruise “Mission Impossible” cliffhanger.

Apart from a domestic strife scene when Nick fails to reason with his wife, “Den of Thieves” shifts back and forth between the sheriffs and the robbers.  Gudegast emphasizes the professionalism on both sides.  Merrimen’s gunmen shoot only those who shoot at them.  Furthermore, the bad guys orchestrate a multifaceted heist that involves them infiltrating the Federal Reserve and looting it smack under the nose of the guards.  Suddenly, brazen Nick blows his cover and approaches Donnie and Merrimen in a restaurant and lets them know about him.  This is Nick’s way of going off the reservation that spikes the suspense.  Surprises and revelations ensue. “Den of Thieves” is “Heat”/”The Town” laced with “The Usual Suspects.”

FILM REVIEW OF ''ONE-EYED JACKS" (1961)

Academy Award Winning actor Marlon Brando directed one movie during his prestigious 50-year career in Hollywood. Brando's Pennebaker Productions decided that a western might be a worthwhile investment since westerns had been profitable during the 1950s. The company shelled out $40,000 for the rights to author Charles Neider’s seminal western novel “The Authentic Death of Hendry Jones” and several scenarists came and went before “One-Eyed Jacks” (***1/2 out of ****) was completed. Among the scenarists were a young Sam Peckinpah, but novelist Calder Willingham replaced Peckinpah. This amoral western melodrama dealt with the themes of friendship, greed, deception, betrayal, and revenge. The troubled production history of this splendid horse opera casts a shadow over its artistry. First, Brando created several legends about his use of six or more takes for a scene. Second, the story goes that the star waited for the most dramatic waves to break on the shore. Brando toiled for six months on “One-Eyed Jacks.” Initially, “Paths of Glory” helmer Stanley Kubrick started out as the director. Artistic differences arose between Brando and Kubrick that prompted Kubrick’s dismissal. Reportedly, Kubrick preferred Spencer Tracy over Karl Malden as the villainous Dad Longworth. Brando objected on the basis, however, that Pennebaker Productions had already paid Malden the sum of $300-thousand. Afterward, when nobody stepped forward to helm the film, Brando decided he would try. Paramount executives should have had their heads examined for letting a temperamental actor like Brando call the shots on a film.

Three American outlaws, Rio (Marlon Brando of “Julius Caesar”), Dad Longworth (Karl Malden of “Baby Doll”), and Doc (perennial character actor Hank Worden of “Red River”) hold up a Mexican bank. Dad and Doc ride off to shack up with prostitutes in a bordello, while Rio heads off to romance a refined lady at her hacienda. Mexican Rurale captain (Rodolfo Acosta of “Hondo”) leads a posse to the bordello and they kill Doc when they raid the place. Dad slips out by the window with his gun, but he forgets his boots. Dad rides off to alert Rio. Together they light out into desert with the Rurales on their trail. Rio loses his horse and has to double up on Dad’s mount. They take refuge on a hill and exchange gunfire with the Rurales. Our heroes decide that one of them must round up fresh horses so they can escape from the Rurales. Rio draws two bullets and grips them in his fist. Interestingly, our protagonist lets Dad win and Dad sets out for fresh horses while Rio holds up the Rurales. Dad rides into a tiny ranch and buys a horse. He is shifting the gold coins around in his fist when he decides to leave Rio to the Rurales. Eventually, the Rurales surround Rio and he surrenders. He spends the next five years in a stinking Sonora Prison, while Dad lives high off the hog in Monterey, California, where he has gotten himself elected sheriff. Moreover, Dad has married Maria (Katy Jurado of “High Noon”) and adopted Maria’s daughter, Louisa (Pina Pellicer of “Macario”) as his own. He owns a house about 10 miles out of town.

Rio and Chico Modesto (Larry Duran of “Viva Zapata!”) break out of the Sonora Prison. They are in a cantina when Bob Amory (Ben Johnson of “Rio Grande”) approaches Rio about robbing a bank in Monterey. Rio learns Dad Longworth is the town lawman. Rio visits Dad before Amory and his sidekick, Harvey Johnson (Sam Gilman of “The Young Lions”), show up in Monterey. Initially, Dad believes Rio has come to kill him for double-crossing him back in Sonora. Rio doesn’t want to shoot Dad. Rio explains he gave the Rurales the slip and eluded them. Dad introduces Rio to his family and Louisa takes an immediate interest in him. Later, Rio guns down a drunken man in a Monterey bar, Howard Tetley (Timothy Carey of “The Killing”), who was abusing a helpless woman. Dad has had enough of Rio. Primarily, Dad is angry because Louisa spent the night on the beach with Rio. Dad’s sleazy Deputy Lon Dedrick (Slim Pickens of “Rocky Mountain”) has had his eye on Louisa and hates Rio. Dad arrests Rio for killing Tetley. Disarming Rio, Dad lashes his wrists to a horse’s hitching rack. Wielding a bullwhip on Rio, Dad sends him to his knees. Dad reverses a shotgun and smashes the butt of the weapon against Rio’s right hand to destroy his hand.

Rio and company flee Monterey, but our protagonist is even more determined to kill Dad. Rio recuperates on the beach and gets back the use of his gun hand. Bob and company ride into town to rob the bank. The robbery is a bust, but a little girl dies during the shoot-out. Rio is riding back to town when Dad’s deputies arrest him. Although Rio had no part in the robbery, Dad locks him up and prepares the gallows for his inevitable hanging. Louisa tries to smuggle a derringer into Rio by hiding it in a bowl of soup, but Lon discovers the firearm. He escorts Louisa from the jail and Rio smashes up his bunk for a piece of wood attached to a strap thathe can use to sling out at the table in front of his cell. Lon has forgotten about the derringer and left it on the table. Brando generates some great suspense as Rio repeatedly tries to get the derringer. At the same time that Rio is trying to get the derringer, Dad is taking a liesurely ride along the beach back into town. Rio bluffs Lon with the derringer when he returns. What Lon doesn't know is that the derringer contains no bullets. Rio escapes from jail and shoots it out in the town plaza with Dad. They confront each other with a water fountain between them and Rio slips around behind Dad and shoots him in the back. After he rides out of town, Rio and Louisa rein up and discuss their future together. Rio must clear out of the territory, but he plans to return in the spring when Louisa gives birth to his child.

The striking locales set “One-Eyed Jacks” apart from most westerns. When Brando left the production, he had filmed about five hours of footage and assembled his own cut. Paramount whittled the unwieldy opus down to two hours and forty-one minutes. Interestingly, the title refers to the two sides of a jack rabbit's face. Rio brags that he knows who the real Dad is and he isn't the man who duped the town of Monterey. Financial woes aside, “One-Eyed Jacks” qualifies a good, often compelling western about two bad men who clash at the outset over stolen gold. One lands in a filthy Sonora prison, while the other one ends up in California with a badge on his chest. The cast is stupendous, particularly Malden who plays a thoroughly treacherous dastard. Ben Johnson, Slim Pickens, Katy Jurado, Timothy Carey, and Pina Pellicer all contribute memorable performances, but it is “The Magnificent Seven” lenser Charles Lang who makes the scenic Monterey coast with his crashing surf and the rugged Mexican locations look absolutely dazzling. Unfortunately, the studio shots involving back projection detract from Lang’s visual real-world composition. Indeed, Brando himself received a nomination for Best Director. Sadly, “One-Eyed Jacks” never recouped its negative cost, the amount that it took to produce this exotic western.