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.

Death at a Funeral - *1/2

I don't know why the original Death at a Funeral needed an update a few years after it was made, but apparently it did, and we have it now, from acclaimed writer/director Neil LaBute. I also don't know why acclaimed writer/director Neil LaBute needed to venture into the low-brow comedy territory, but here we are. The new Death at a Funeral features a host of aimlessly crude jokes split equally between four different subplots with different areas of a family coming together for a funeral. A good portion of these jokes, mainly the ones about poop, or at the expense of a homosexual midget blackmailing the family with racy photos of their deceased father, or delivered by Martin Lawrence, fail completely. Others actually are pretty funny at times, though I'm doubtful it has anything to do with the awful writing, and everything to do with the actors performing them, Tracy Morgan and the underrated James Marsden in particular. The rest of the comedy stems from reactions of people hearing comments through paper-thin walls and zany sitcom moments, like when the guys think they've accidentally killed the midget while their wheel-chair bound uncle takes a shit in the next room. I think I'd rather have been shitting in the next room while this was going on as well, because I'm pretty sure that's what Mr. LaBute was doing instead of directing it.

The Losers ***

The Losers is nothing brilliant, and the good thing is that it's not trying to be. It's refreshing to see a film that knows it's place, especially when it delivers everything it promises. In this case it's gunfights, cleavage, and one-liners, and it works. Splendidly. It's a fairly low-budget affair, but it does a lot with a little, putting together some stylishly ridiculous action sequences, and rounding up a great cast of actors who work well together. For my money you can't do much better than Chris Evans in a witty side-kick role, and Jason Patrick nails the part of the comically sinister villain. Entertainment for the sake of entertainment seems to be a difficult thing to pull off these days, but The Losers wins does just that.

Takers - Zero Stars

I could simply make a bunch of puns about how Takers just takes your money, or how it takes your time; how it takes up a screen at your movie theater; how it takes away your interest in watching it after about eleven minutes; how it takes about forty minutes for someone in the film to say the title: "We're Takers... that's what we do," and so on. I could do that, but that would be too easy. It wouldn't be very thoughtful or insightful, or worth the time it would take to read it; it would be boring and predictable, like every other comment anyone else has spoken or written about it; it would demonstrate no effort by me, nor would it give anyone reason to believe that I took any time to think about what I am writing and publishing; it would have absolutely no value or significance, and would be boring and obnoxious to read. It might not even make any sense. It would probably be taken to be the worst comment about a film so far this year... which is why cliche puns are a perfectly suitable comment about Takers.