Out of the Furnace - **

Out of the Furnace, Scott Cooper's follow-up to the mostly good Crazy Heart, is full of the same visual richness as that film was. Set amongst low-lifes and good folks with bad luck in an impoverished mining town. It gets right what a lot of Hollywood films get wrong; Christian Bale plays a normal guy with a welding gig without making a big deal of it... Rather than 'designing' a costume for him and fashioning his hair just-so, it looks like the filmmakers just sent him to a thrift store to grab some clothes off the rack and wear them for a few days straight while letting his hair grow. It's a small detail, but important in registering the film's authenticity. Cooper and his crew nail all of these details, and though the direction felt a little stale, the film still managed to look fresh because of them.

Unfortunately Furnace features the laziest screenplay of the year, complete with the third-act cop-outs that almost ruined Crazy Heart. Bale plays Russell Baze, an honest Joe who briefly goes to prison for killing a few people in a drunk driving accident, an interesting turn in the film that essentially goes nowhere, adding nothing to the character or themes. Russell was on his way home from covering for his brother, Rodney (Casey Affleck), paying off a scumbag loan-shark (Willem Dafoe) who has Rodney throwing underground fights to pay off his debts, scenes which contain more superfluous plot construction than is necessary and which isn't properly utilized. Eventually the film has Russell out for revenge after Rodney and the loan-shark are killed for no apparent reason by some crazy hillbillies who run the New Jersey chapter of this underground fighting ring, but not before one of them butt-dials a buddy with his cell-phone, leaving a voicemail of the murder... Ugh.

There's so much more that is crammed into Furnace's two-hour run-time, but it's impossible to briefly contextualize all of it, mainly because Cooper and his co-writer can't even find a way to contextualize any of it in the film itself. There's a sub-plot with Zoe Saldana as Russell's ex-girlfriend who left him while he was in prison, and another featuring her new boyfriend, a thankless role filled by Forest Whitaker, who I swore was Saldana's father for most of the film due to a lack of clarity and the fact that they barely ever look at each other, let alone touch. It's a confusing dynamic in a pointless sub-plot, only one of several in the film, which together pull so much focus from the story Cooper is trying to tell that it could only barely be said that he tells one at all.

What's worse is that what little there is that is cohesive is riddled with bad dialogue, cardboard characters, narrative convenience, and what can only be described as a lack of umph. It's obvious where every scene is going as soon as it begins, and too many of them are over-the-top or under the mat, completely lacking the edge that it needs for the suspense it wants to build. Fortunately, a top-notch cast delivers all of this with enough conviction to make enough of Furnace compelling enough, even when it's misfiring, so when Russell runs into Woody Harrelson's Harlan DeGroat, the leader of the psycho hillbillies and says, "You got a problem with me?" and Harlan replies, "I got a problem with everybody," only a piece of us laughs at such one-dimensional absurdity, while the rest of us shrugs it off and moves on. And that's pretty much how it goes in Out of the Furnace.

Repo Men - ***

The future is always a tricky matter when portrayed in movies, especially when they take a negative view toward it. Repo Men has an intriguing premise, visual flare, some great budget effects, and a dark sense of humor that makes its dystopian future seem fresh rather than redundant. It plays a little bit like a low-rent Blade Runner, sans the philosophical inclinations, though it's not entirely devoid of intelligence. Following men who forcefully repossess expensive organs, the film has some unique action sequences, especially when one of these men gets one of these organs against his will and goes on the run. But what sets it apart from other action films is its ability to slow down and show a more contemplative side, like when Jude Law's character gets a call to repossess an organ from a recording artist, and let's the guy demo a new song for him before he gets to business. They sit and listen for a few minutes, Law tells him he's been a fan for years, and then asks him to lie down so he can remove his heart.

It's exciting, it's thrilling, and it's even kind of funny, but for some reason Repo Men slipped through the cracks. It's one of those movies that you missed and will forget about for a few years, until you stumble upon it at three in the morning cruising through Netflix instant plays. That's going to be a great night for you.

Our Family Wedding - Zero Stars

I don't even get the point of this movie. I can understand remakes or franchises - there's money to be made there, so when someone asks me what the point is of remaking, say, Planet of the Apes, I know the answer - money. But this movie, Our Family Wedding, which is just an awful, thinly-veiled remake of Guess Who's Coming to Dinner? posed as a Carlos Mencia-vehicle is something I don't understand.

First of all, I doubt any of Carlos' audience wanted to see him in a comedy that was marketed the way this movie was. I assumed this was a family-friendly, silly movie about two kids getting married. Instead, we get something that is flat-out racist and more offensive with every turn, which is exactly what his fans would be into.

Perhaps this movie would have worked as a sitcom, especially when one considers the level of comedy reached for in the movie's screenplay. Every line is "bro", "beaner", "ese", whatever - and it's all played for laughs. Too bad it never gets them.