You’ll never see a better cautionary tale, concerning the wisdom of seat belts.
Charlie Huston’s 2004 crime novel is a slight change of pace for director Darren Aronofsky, whose best-known films — Requiem for a Dream, The Wrestler, Black Swan and The Whale — haven’t the slightest trace of humor. But Huston’s scripted adaptation of his book is laden with moments of dark-dark-dark gallows humor, of the sort that makes one feel guilty for each chuckle (not that it’ll suppress the next unexpected giggle).
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| The enemy of my enemy is my friend? When Hank (Austin Butler, center) becomes sufficiently desperate, he forms an uneasy alliance with Lipa (Liev Schreiber, left) and Shmully (Vincent D'Onofrio). |
The year is 1998, the setting New York City’s Lower East Side: a time when this neighborhood is at low ebb, with sidewalks and streets strewn with uncollected garbage. Henry “Hank” Thompson (Austin Butler) tends bar at a sorta-kinda dive run by Paul (Griffin Dunne). Amtrak (Action Bronson), a steady customer, constantly ribs Hank about his devotion to the San Francisco Giants. Indeed, Hank calls his mother every day — she lives in Patterson, California — to commiserate or cheer about their mutual passion for the baseball team.
Hank has a steady girlfriend, Yvonne (Zoë Kravitz), who works at a nearby hospital.
But Hank is damaged goods. He suffers nightmare flashbacks of the vehicular accident, at the tail end of high school, which wrecked his knee, blew his chance at a promising baseball career, and killed his best friend. Hank was entirely at fault, driving drunk. He wore a seat belt; his friend did not.
Hank now is a full-blown alcoholic, much to Yvonne’s distress. She wants them to “move to the next level,” but only if Hank can get a handle on his drinking problem.
On an otherwise average day, Hank’s rowdy punk neighbor, Russ (Matt Smith, most famously of Doctor Who and The Crown), is summoned to London to see his dying father one last time. He abruptly places his cat, Bud, in Hank’s reluctant care.
“He’s a biter,” Russ warns, as he sprints away.
Yvonne thinks caring for Bud is a marvelous idea; she even moves the cat’s litter box into Hank’s bathroom … much to his disgust. But it’s obvious, even in these early moments, that Hank and Bud will bond.
Yvonne heads to work. Moments later, two thugs show up, searching for Russ. Hank unwisely displays attitude, and gets beaten so badly that he wakens in a hospital, two days later, having lost a kidney. Yvonne warns that now — with only one kidney — he really, truly must stop drinking.
That will be a challenge.
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, for all its grotesque excess, did a far better job of capturing the unbridled, 1960s-style joie de vivre that we keep wishing from Lee's film. 
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or 
, the X-Men entries have been leagues above disappointing misfires such as 
and both 
efforts. 
• Buy Blu-Ray: 
, 
) obviously recognizes the power of Craig's noteworthy feature; the camera certainly cuts to the man's eyes often enough. Maybe too often: It's one of a few "movie star hiccups" that occasionally pulls us out of the otherwise fascinating story being told in this WWII drama. 
last spring, I remain fascinated by the number of compelling "new" stories — not really new at all, of course; merely unheralded until now — that continue to emerge from that most horrible time in German/European history. 
of the same title, eschew the usual cliché of Jews as complacent victims waiting in ghettos and death camps, to focus instead on a group of resourceful Eastern European civilians who fought back: courageously, cleverly and for the duration of the war.