Zodiac (2007) Paramount Summer Classic Film Series

 

Most of the entries coming up will be brief, I am still trying to catch up on posts for all the theatrical screenings in the last couple of weeks. I cannot however, skimp on my opinions about this particular film. "Zodiac" has been one of our family favorites since we saw it in it's original theatrical release. Over the years, it has become a default movie for us. Whenever we have trouble deciding what we should watch , someone inevitably suggests "Zodiac" as an alternative and nine times out of ten, we are watching it again. This screening at the Paramount Theater was the first time I have seen it in a theater since 2007, and it is the first time since I started blogging, that it gets included on this project.

I was eleven years old when the Zodiac killings started drawing press attention across the state of California. So I was old enough to be aware of the story, but still young enough that it did not obsess me the way that it did the characters portrayed in the story. Robert Graysmith , as portrayed by Jake Gyllenhaal, is a cartoonist for a San Francisco newspaper, one that received messages from the killer. His tangential connection lead to an intense desire to know who the killer was, and he wrote the book this movie is based on. Director David Fincher, portrays the writer as an innocent bystander, watching the horror play out around him. Gyllenhaal looks like a baby-faced kid among the police and newspaper professionals that surround the case. His sincerity is achingly displayed on his face as he asks questions of his colleague Paul Avery, who is covering the Zodiac for the paper. Avery is played by a pre-Iron Man Robert Downey Jr. Avery is also presented as an obsessive, but his pursuit is more professional and it consumes him in a different way than Graysmith.

The third leg of the tripod that the story of the investigation rests on is Dave Toschi, a police inspector in charge of the S.F. part of the investigation. Mark Ruffalo plays Toschi as an overwhelmed professional, frustrated by jurisdictional impediments and inconsistent evidence. The two newspaper guys supplement and interfere with his task, but ultimately, it is Toschi who gets to chillingly interrogate a suspect that seems to fit the information that they have. All three of these men get moments of horror as they confront individuals or places that may be a key to solving the crimes. Downey Jr. is playing a character who descends into alcohol and drug use as his paranoia and professional life collide. There is an honesty about those destructive forces that may be a reflection of his real life struggles in the years that preceded this film. Ruffalo seems to be calmly frustrated reacting to both the killer and his amateur pair of Zodiac hunters. 

Everyone in the movie is top notch in their performances, but I will single out two of the supporting players to show how well the movie is put together. Toschi has a partner, Bill Armstrong, played by Antony Edwards. Armstrong is a dedicated professional but he remains more impartial than Toschi. He is analytical but not obsessive.  Edwards exudes competence with an aura of detachment. He wants to solve the case as much as his partner, but he doesn't let the frustrations of the case overwhelm him. Edwards is the cool straight man to Ruffalo's, only slightly warmer counterpart. They make a great team. 

The second outstanding secondary performance is by John Carrol Lynch, who plays the eventual main suspect, Arthur Leigh Allen. We only see Allen in the context of the investigations. There are no scenes where he is depicted as the killer engaged in the crimes. We learn about his character in interviews with his former friends and family. When Toschi, Armstrong and two other law enforcement  personnel question him at work in the break room of the facility he works at, all sorts of alarms are going off in our heads as the cops listen with gapped mouths to the explanations and information that Allen shares. Lynch is calmly aloof as he spills suspicious conduct and details to the investigators. His face never reveals a fear that he is trapped, or that he is on alert in the face of the questions he is getting. His quiet comment "I am not the Zodiac. And if I was, I certainly wouldn't tell you." is as chilling as some of the murders that we see depicted in the film.

The verisimilitude of the film is found in a thousand places in the movie. The location shots are all consistent with the era. There is a sequence with Melvin Belli, a famous attorney who was a celebrity because of the lawsuits and clients he was involved with His depiction reflects the commercial television practices of the time. Toschi is shown attending a special screening of "Dirty Harry" which is a film that has a character inspired by the real life criminal he is pursuing. One of the most haunting and realistic uses of music of the time occurs in the attack on the couple in a car at the start of the film. Donovan's "Hurdy Gurdy" man plays out over the scene, and you can almost smell the aura of the 1960 descending on the moment.

I would not classify this as a horror film, just as I would not say "The Silence of the Lambs" is a horror film. There are certainly frightening moments but the key is realistic suspense. These are thrillers with horror elements. The creepiest scene takes place in a basement, and there is no blood, weapon or violence shown, but the hair on the back of your neck will certainly stand up at the moment. Charles Fleisher, who is best known as the voice of "Roger Rabbit", provides an additional supporting character to make this movie the masterpiece that it is.  

"Zodiac" was not a huge success when it was first released, but there has been a lot of reassessment in the last two decades and I think you will find that this movie will hold your attention, frighten you and haunt you for a long time. I  am happy to have had a chance to see it again in it's natural habitat and I encourage everyone to spend some time with this excellent film. 

 

Dangerous Animals (2025)

 

It was fifty years ago, this month, that "Jaws" the greatest film of the last eighty years, first dropped into our collective culture. Ever since that day, film makers have been striving to recapture the essence of the film. Some have stuck to the basic horror narrative, using the sharks as a monster to hook us into watching. A few films (especially TV movies) have tried to parody shark films into action comedies with varying degrees of success. Only occasionally, has a shark film created a aura that was reminiscent of the classic, "The Shallows" being the most recent example I can think of. This new film, "Dangerous Animals" tries a different approach and succeeds in getting the tension right, and the horror appropriate. It is not anything close to the quality of film that "Jaws" is, but it has some things going for it that make it my favorite film of the year so far.

If you watch the trailer, you will understand the premise very quickly. We have a serial killer whose method of murder is feeding his live victims to ravenous sharks while the victim is still alive.  This is potentially a gruesome horror film that could be classified as exploitation, except for the fact that director, Sean Byrne, has learned his Spielberg lessons well. Instead of extended scenes of sharks dismembering the poor subjects of the killers plans, we see just enough to be terrified, but not enough to be revolted. There is blood in the violence, but it is not the over the top fountains of a horror film like "The Monkey". If ever a horror movie could claim to be in gory good taste, this one is probably it.

The big advantage that this movie has over other exploitation films is that it has two dynamic characters that are really interesting. The main character is Hassie Harrison, as Zephyr, an itinerant American, surfing the coast of Australia. She is emotionally damaged, we can see that, but she is not unreachable as her one night stand with a friendly local explores. She is also not a mere damsel in distress. She is smart, resilient, and relentless in trying to fight back against the antagonist. Zephyr is not simply going to resign herself to a fate that she becomes an eyewitness to, she is going to struggle in any way possible to keep living. She may not be the easiest character to love, but she is clearly one that we are happy to root for, time and time again.

One of the faults of some thrillers is the good luck that the victims sometimes run into, which allow them to escape and give us unearned hope. This movie turns that trope on it's head. It is the killer who ends up with all the good luck on his side as he repeatedly thwarts Zephyr in her escape plans. Jai Courtney is Tucker, the deranged serial killer who can mask his evil with an avuncular round of "Baby Shark" one moment, and then a knife in the throat the next. I have seen in in half a dozen other movies over the last few years and he always seemed to me to be a guy who was just missing it. An actor who would have occasional moments but never enough to be memorable. He was bland as you could get. This film however, gives him a part that is screaming for some charisma, and he delivers. Courtney has the glint in his eye of a maniac, and the physical form of a damaged brute. It is impossible to take your eyes off him when he is on screen and that says something because his counterpart is attractive as heck and in a bathing suit for most of the film. 

The script allows us to believe a few things that are unbelievable. The brief fling that Zephyr has with local Moses, becomes for him an obsession, only in a good way. The fact that Moses and Zephyr are surfers and they are connected by a particular beachfront spot, becomes a key point in building up a chance that Tucker could somehow be derailed. Zephyr knows what is coming because she also meets Heather, a fellow pawn in Tucker's twisted game. If there is any heart in the film outside of the truncated love story, it is in the few minutes that Heather and Zephyr share as they await their fate.

Sharks are in the film, but first time screenwriter Nick Lepard and director Byrne, seem to know that the fish are the least dangerous animals in the food chain of this thriller. Their role is kept to a supporting part, which makes them all the more effective when they do come into play. For some reason, this film is not getting many screens or much publicity, which is really unfortunate because, like the mother of all shark films, it is really not a horror film as much as it is a thriller. I know it is produced in partnership with Shudder, which is a horror outlet, but you are selling the movie short if you keep it in that box. This is a great twist on the great white, and in spite of the fact that it is being promoted as from the producers of the excretable "Longlegs"  you should seek it out. 

Gone Girl

Thrillers are a genre that need quality people in them to excel. Once in a while a film that has been tossed together will leave a mark, but true works of suspense need the kind of professional touch that comes from confidence in the field and the contributions of skilled actors and technicians. In the mid part of the last century we had Alfred Hitchcock. In the early part of the new millennium, David Fincher has stepped forward to supply the kind of bubbling, slow burning , suspense piece that audiences will crave. In the last twenty years he has made a half dozen films that rely on tension more than action, plot more than flash and performances that reflect reality more than theatricality. "Gone Girl" is another success in this line of suspense films with clever plot twists and a creeping sense of isolation as the story moves toward it's resolution. This movie is backed by several strong performances and a visual style that makes the audience feel haunted like it was a cloudy day, even when there is bright sunshine around.

The screenplay was written by the author of the novel that the movie is based on, Gillian Flynn. Adapting a novel to screen is always more complicated than people think. I'm not sure what her attitude was toward making a film out of her story but she has done an admirable job in forging an effective film. With the exception of the last five minutes , I could easily follow and appreciate the plot twists and story line. The tone of the ending seems right to me, especially given several foreshadowing scenes in the film. It was just the final motivation that fuels that exit tone that was not entirely clear to me. After having spent almost two and a half hours setting it up, the exit felt rushed and much less comprehensible than all of the main parts of this story filled with reversals. The director has the shots right and the mood is appropriately foreboding, but the script leaves it unclear why our main character makes the final decision that completes the film.

I have always enjoyed Ben Affleck as an actor. I know he is often criticized as a callow personality, overwhelmed by the material he is in, but he also has charm and a winning face and that has rescued him many times. His most serious role in his own "Argo" is a demonstration that he has chops and not just good looks. He uses both of those gifts in this film and helps make a convoluted and potentially unbelievable story much more grounded. Nick Dunne is a fairly likable guy who gets the Scott Peterson treatment from the media when his wife Amy vanishes. The film starts off without giving us any clues as to whether he really is involved or not in the disappearance. As events play out we discover that he is not as affable or admirable as he first seems. We learn that he has secrets, but also that his secrets probably have little to do with the event, but that will never be the way it is seen by the media. A large part of the tension in the film is driven by the tabloid like coverage of his wife's vanishing. A Nancy Grace doppelganger pursues the story and leads the social media lynch mob that is ready to convict Nick in the killing of his wife. As the film unfolds we do get some rival views of the marriage itself. It seems to have gone sour in the economic turndown and  Amy has her own demons that fuel those problems. Since I made the decision not to read the book before seeing the film, I think it is safe to say that knowing the story would undermine some of the pleasures of the film. There are five or six smart twists that all work without undermining the things that come in front of them. Those who read the book can admire the adaption, those who went in blind like me can thrill at the surprises.

The technical choices that help make the movie work as a suspense film will be recognizable as Fincher specialties. The camera movements are slow and steady and fluid. There is stillness in a great many sequences in the movie. The background score by previous collaborators Atticus Ross and Trent Reznor is moody and dissonant. The color and lighting are crisp but subdued to just this side of muted. When there is violence, the camera does not look away any more than it did in "The Girl with the Dragon Tattoo".  There are two or three great scenes where a character tells us everything we need to know without it being shown, It would have been easy to let the camera fill in as a character narrates, but Fincher chooses to let the voice and face of the character tell the story and it works really well. A long interlude at a decrepit motel reminded me of the basement scene in "Zodiac". The characters we encounter are sometime more than they first appear to be. I won't give away anything but I think audiences who responded to those earlier films will not be disappointed here.

Special mention must be made of the performance by Rosamund Pike. She has been given one of the great female characters of the last few years to play. Her work as a chilly upper east-side elite, drawn into a warm romance with a misplaced mid-westerner is very believable.  Even more believable is her emerging brittleness and renewed frost as the marriage seems to fall out of the narrative that she has in her own head. Her character's mother took her weaknesses as a child and turned them into a fictional alter ego that became world famous. That makes what follows seem almost inevitable and Pike sells the sense of entitlement and superiority perfectly. There are a number of male leading roles that have been touted already for awards season, this is the first woman's role that breaks out of the pack and will demand a salute from her fellow actors at the end of the year, well done. Others in the cast are also excellent; Carrie Coon who plays Nick's loyal twin sister, Neil Patrick Harris is flinty and disturbed as a former beau ill used by Amy in high school, Kim Dickens portrays the detective pursuing the evidence rather than the man and she seems very authentic.

This is an audience pleasing suspense thriller assembled by the modern authority on that genre. If Hitchcock, DePalma, Lynch and the Cohen Brothers are on your regular watchlists, than you will be glad to spend two and a half hours puzzling out the plot, admiring the performances and feeling satisfied with the logic of the twists in this terrific film. If you have not read the book, stay away from any stories that might contain spoilers. The most satisfying parts of the experience are the the clever turns that all drive the story rather than merely shifting it's narrative.