Across 110th Street

*Warning: this film examines racism from a hardboiled perspective. Be prepared for unsettling language and situations if you happen to view it.

3 bold and foolish citizens decide to rip off the mob, after learning where it meets to count its money, leaving the daring heist with 100,000 apiece, thinking they'll elude detection, staying put in the very same neighbourhood.

The robbery turns into a murder which leads to police interest, thus the rash impromptu entrepreneurs are pursued by more than one well-financed antagonist.

Both groups have grievances to air as they investigate internally and beyond, a steady stream of eager vitriol accompanying conversation after conversation.

With all the conflicting strategical approaches its amazing that group dynamics are able to accomplish anything, aggrieved fluid practicalities confronting active hostile brawn.

What a feast for character development, however, as at least 8 from different walks have their say, as much care and attention adopted to craft the corrupt Captain's lines (Anthony Quinn) as those which define the gravest of suspects.

Many detective films discuss the achievement of results, the pressing desire to move forward with a case as investigators theorize anew.

Their theories at times lacking evidence which they seek by using violence, assuming the resultant coerced information isn't tampered by survival instinct.

Across 110th Street prefers the law and the rights of persons of interest being investigated, as the brilliant Yaphet Kotto defends liberal reforms while critiquing totalitarianism. 

Imagine random conversation, taken as absolute empirical fact, with only a scant cross-section of specific subjects deemed aesthetically appropriate. 

At work perhaps so much concerned intrigue fluently adapts.

But why should one be bound by classification?

Beyond one's working life?

Across 110th Street provocatively pulsates as three interconnected adversaries raise disputatious hell.

Versatile character development recalled the cinema of my youth.

Characters that aren't whitewashed success stories.

Raw determination wildly overflowing.

Le Dep

An ordinary day takes a turn for the worst when a crack smoking youth decides to rob the local dep in Sonia Boileau's Le Dep, a familiar face in possession of both lock and key, applying reason to his misguided plans, attempting to commiserate, while functioning as judge and jury.

Their dialogue takes an historical turn, their dialectic polarizing desperation and stability like trenchant tidal tripwire, a delicate balance required to soothe and mediate, the reality of the crime, harrowingly cautioning the nerve.

Ice cream headache.

Whiplashed fumes.

The film concerns contemporary First Nations issues, Lydia (Eve Ringuette) living the routine work-a-day life, PA (Charles Buckell-Robertson) suffering from issues of alcohol and drug abuse.

Stemming from childhood neglect.

And the legacy of the residential school system.

There's a powerful scene where their dialogue suddenly switches from the moment to the event PA's describing, the leap startling and profound, like the ending of Waltz with Bashir, a shocking heartfelt purge.

I may have just shown the child sitting alone on the ground at the party, confused and alone, for around 2 minutes, and then cut back to the present, although the extended scene provides added depth to the story, and helps Lydia's pacifying seem more maternal.

Both actors hold their own, commanding the bucolic script with parliamentary poise, not too brash, not too sentimental, in your face yet contemplative, disadvantaged youth, struggling to age with dignity.

Lydia stands in the middle of a shootout in the end, facilitating peace, rationalizing and peacekeeping, unafraid to voice alternative options, to find mutually beneficial solutions for two opposing factions.

In the thick of it.

Elle porte une tuque orange.

The Town

Ben Affleck's The Town is your classic intergenerational flick. You can rent it with an eclectic bunch including your parents and although few will likely be seriously impressed, many will accept its better than average character. It's subdued yet poignant, frank yet thoughtful, situated in an inner-city small town. Sort of cool how Affleck (Doug MacRay) falls for the girl he kidnaps after setting her free (Rebecca Hall as Claire Keesey). Liked the ways in which it cryptically and ambiguously emphasizes how people accidentally suffocate one another as circumstances dictate that they 'must' engage in certain actions, whether they're decent cops or Robin Hood, even if such an emphasis is paranoid and cynical (the internal consistency works). Affleck pulls off the classic complacent comeback performance, successfully portraying a character who never has to display much emotion, which makes it easier for him to appear accomplished since he doesn't have to take any risks. Jeremy Renner (James Coughlin) is provided with more of an opportunity to display his talent than he was in The Hurt Locker, and it looks like he may be around for awhile. Entertaining. The film subtly uses clichés successfully to present an appealing middle-of-the-road entertaining distraction, the kind of film you can hope that your friend with bad taste picks when it's his or her turn to choose a movie. A long ways from Good Will Hunting, but worth a forty minute walk on a cold, dark, typical weeknight.