The Iceman

Based on an account of the real life of Richard Kuklinski, "The Iceman" attempts to portray what real life might be like for a professional killer. While  a lot of "based on a true story" films sensationalize their subjects, "The Iceman" takes the opposite approach, leaving much of the sensational out in order to maintain some focus. The real Kuklinski was killing people from the 60's into the '80's and while the dates may all be presented in the film, the condensing makes his career feel much shorter than it was. Director Ariel Vromen also chose not to focus on different aspects of his career, instead presenting his adopting a new career under the employ of Mob figure Roy Demeo and the fall out from Kuklinski going independent which ends up severing that employment. Some rather famous jobs (reputed anyway) are not mentioned, such as his possible involvement in the murder of Jimmy Hoffa. More strangely, Vromen omits Kuklinski's rumored killing of Roy Demeo, which would certainly fit in the film very well. Perhaps he didn't want Kuklinski's story to appear as a revenge film, preferring to focus on the conflict in Kuklinski's character. It's hard to say but I was left wanting more of the details.

However, the focus on Kuklinski itself works wonderfully, and Michael Shannon makes the character seem very real. Shannon is the perfect choice for this man of few words, who doesn't seem bothered by anything, at least until he gets angry, at which point he's almost uncontrollable. At the beginning of the film, we see Kuklinski murdering a guy outside a pool hall for mouthing off about his girlfriend, this serves to tell us that Kuklinski was killing people before he did it for a living. It doesn't get across the length of his amateur career as Kuklinski spent a long time murdering for nothing, seeing it as research or a skill to perfect. But, taken as representative, the scene works fine, showing us that here is a guy who isn't in the least bothered by the thought of murder. At that time, he works dubbing porno films, an enterprise connected to the mob, as we see when Roy Demeo (Ray Liotta) pays him a visit, unhappy about a snag in production. Demeo soon shuts down the porno dubbing operation and puts Kuklinski to work as a hit man. He initiates Kuklinski by having him kill a random homeless man on the street while Demeo waits in the car.

Demeo's job offer is inspired by  Kuklinski seeming unfazed as Demeo is holding a gun to his head. This prompts the mobster to describe him as "ice cold" When Kuklinski tells Demeo that he's married, Demeo wonders "Then how come you act like you don't give a fuck?"  This sums up the contradiction, which is the focus of the film, Kuklinski's attempt to be a family man and a contract killer and the difficulty making those worlds work together.

As Kuklinski doesn't have much interest in talking about his inner angst, we get glimpses ofthe events that have shaped him from his behavior. Of particular interest is a scene with Kuklinski visiting his incarcerated brother, Joey Kuklinski (Stephen Dorff) who calls Richard and gets an unhappy visit. Joey is in prison for murdering a little girl. The two share memories of their abusive father, but Richard makes it clear that he's not welcome to be an uncle to the family, as he would rather not acknowledge his brother's existence at all. Joey reminds Richard that he is from the same stock however, and laughs that he thinks he's different. He doesn't believe Richard can be a family man and recounts a few of Richard's youthful acts of depravity.

We also see in one of his hits that Richard Kuklinski doesn't want to hurt women or children, perhaps an attempt to distance himself from his brother and his heritage. This guideline sets him up for some problems, and the job he's on gives him his first contract with another contract killer, Robert Pronge or "Mr . Freezy" (Chris Evans) who was given the same hit by Roy Demeo.  Mr. Freezy sees Kuklinski leaving the scene of the killing and notices a young girl who witnessed it, leaving at Richard's urging. Mr. Freezy attempts to run her over while Kuklinski insists that he stops, finally shooting out a window to force the point. Mr. Freezy agrees, although he goes back for her later and keeps her frozen in his ice cream truck along with the ice cream he sells the local kids. Demeo isn't happy about the girl however, and puts Kuklinski on leave despite Richard's protests that he's good at what he does.

Demeo's actions are in part due to concerns placed on him by the Gambino family representative Leonard Marks (Robert Davi), who is upset that Demeo's good friend Josh Rosenthal (David Schwimmer) killed a couple of connected drug suppliers in order to keep their product without paying for it. Demeo is held responsible because Rosenthal presents himself to everyone as a Demeo to boost his self importance. This pressure comes becomes increasing paraoia (although perhaps justified) which makes him hesitant to tolerate any risk at all, including witnesses, thus leading to Kuklinski's suspension.

The time off starts making Kuklinski tense and causes stress at home, prompting him to approach Mr. Freezy about a partnership.Unlike Kuklinski who is exclusive to Demeo, Freezy is a freelancer working for many different clients. Mr. Freezy agrees to set up the jobs, while Kuklinski performs them and they split the profits 50/50. Kuklinski picks up a few things from Mr. Freezy including the use of cyanides and other poisons in order to make hits appear to be deaths from natural causes. He also learns to freeze victims bodies in order to obscure time of death and make it more difficult for investigators. Their partnership runs well for a time, until a friend of Kuklinski's recognizes him as he's escaping from a hit in a busy club. His friend heard from another friend that Kuklinski is connected to Demeo, and asks Richard to get him some work. Although uncomfortable with this information being known, Kuklinski agrees. Hi friend then happens to run into Demeo and drops Kuklinski's name. This leads to Demeo making a threatening visit to Kuklinski's house during his daughter's birthday party. Demeo severs their relationship angry at the name dropping and at Kuklinski's freelance work.

Kuklinski arranges to meet with his friend and kills him rather than get him a job. He then has a problem collecting on his latest job from Leonard Marks who considers it botched. When Marks mentions Kuklinski's family, Kuklinski shoots him dead. He then hears that his daughter was in a hit and run accident which his wife insists was intentional. He suspects Mr. Freezy, when Freezy proposes they kill each others families and reveals he knows Kuklinski's address. To satisy his suspicion he shoots Freezy dead as well. From there it seems a short step to Kuklinski's downfall and when he agrees to a hit for an undercover cop he's quickly apprehended with his wife Deborah (Winona Ryder) in the car, oblivious to what's happening.

Ryder's performance is also terrific in the film, although her character is a shallow one. For the most part she plays happy housewife, insisting from time to time that Richard share his problems with her, prompting furious outbursts which frighten her but leave her physically unharmed. This is another interesting choice from Vromen as accounts indicate that Kuklinsi's temper didn't prevent him from savagely beating his wife. (She never equated this with him being a contract killer, just an abusive husband) In this film, the only danger within Kuklinski's family unit was the thought that one day his temper might go too far. I suspect that Vromen left out the marital abuse fearing that this would compromise the family man/ contract killer contrast that was indicated in all the marketing for the film. It could also make the lead character completely unsympathetic, which, outside the family behavior in mind, wouldn't take all that much. Kuklinski's wife is for the most part proud of him, accepting his story that he works in finance. She's not looking to question anything, just to enjoy the rewards of his pay, which he encourages her to do. Even when things start getting dangerous at home, it's easily explained that he did business with some shady characters. Ryder makes the family element work. Her look of realization when a friend tells her that a wife can question her husband when things are going badly, gives us a good look at her. She wants to believe that he has everything under control.

The performances in this film are enough to make sure that a fan of crime films doesn't waste his time. As I mentioned, Shannon is perfect for the role projecting enough menace and devotion to family in turn that what happens to him is interesting even though it's not easy to relate to him. The idea of Kuklinski trying to be something more than he is, but only on a part time basis, is a compelling one, and it would be even more so if the film captured the sweep of his career, rather than watching the downfall of a guy who's just out of his first steady job. Shannon does a great job playing a haunted man, struggling with both sides of his life. In the end he seems shocked that he couldn't make it work, as if it never occurred to him that he could be stopped.

"The Iceman" also has a fantastic supporting cast. It's always wonderful to see Ray Liotta acting in his wheelhouse. His presence here is strong, and few are as effective as he is with the minimal screen time that he has. He's in fine form here. The only downside is that his presence can't help but recall "Goodfellas" clearly an influence here. This made me want a little something more from the film, but Vromen did a fine job with the time period details and the overall mood, making the comparison not entirely wasted. But, witnessing Demeo, we want more of his story. And based on the real life possibility that Kuklinski killed him the omission seems strange, as anyone who's watched a few crime films would assume that's where the film was headed all along. David Schwimmer has a puzzling amount of screen time and does a fine job of what he has, but I feel like he should have had either less or more time on screen, as his one major scene seems to imply directions in the story that we never reach.

Chris Evans is very satisfying as Mr. Freezy., a more professional killer than Kuklinski and from this film we would conclude, more practiced. The two partners have interesting chemistry and it's perhaps more frightening to think of the affable Mr. Freezy selling ice cream to kids, and on the other hand calmly suggesting that Kuklinski murder his family. His cheeriness suggests that he's not conflicted about what he is. He's one character in the film that I thought had just the right amount of screen time. He feels significant and his presence develops the story, adding his own touch besides.

All in all, I'd call "The Iceman" a good film, although not a great one. There are great ideas and great performances, but it pales next to movies like "Goodfellas," or even other hitman movies like "Le Samourai," or the more recent "The American." It seems to me that it's a film made to entertain two crowds, dedicated crime film lovers, who might enjoy the interesting twist on the hit man role, and casual watchers who want the Cliff Notes. While it entertains, I doubt it will fully satisfy either one. Its problem is that it's good enough to make you want it to be a little better. There are hints of what it could be throughout, such as Kuklinski telling his daughter that despite what the nuns who teach her at school say, God has nothing to do with Vietnam, followed by a scene where he tells an intended victim he'll give him a little time to pray for God to stop the hit from happening. (it doesn't work.)

The real Kuklinski had a long enough career and there's enough written about him that he could easily support an epic film. Of course, an epic film about a contract killer who started out as a serial killer and was free to kill people for many years might understandably be too heavy for most viewers. We debate over nature/nurture, but how much do we really want to think about the question? Here's a guy who was used by a psychiatrist as an example of the worst of both factors. I can see why such a film might not make any money, but there is a definite preoccupation with killers as evidenced by the successful series of Hannibal Lecter movies (and direct to DVD films about every serial killer.) A figure like Kuklinski could be a serious look at what's broken in some people and could ask some great questions. As it is, it's more of a sketch than a detailed portrait, which doesn't diminish what Michael Shannon does.

In Kuklinski we have a character, like most human predators who started out as a victim. We see that here but only as a glimpse, the same way we see his career. Of course, if "The Iceman" aimed to be the epic, it would likely be difficult to view the family man at all seriously, as we'd have to admit that his darkness was fully entrenched in the family side as well. It's also interesting that Vromen doesn't mention that the real Kuklinski ended up in prison next to the same brother that he had earlier tried to ignore, as that would make a strong statement. I get the sense that Vromen was committed more to a certain character and dynamic than a firm message though. The character is not Kuklinski, but Vromen's version as superbly portrayed by Michael Shannon, which in Vromen's defense, might be plenty dark enough for many audiences, and is certainly something worth watching. If you want more of the true story, there's always HBO's "The Iceman Tapes: Conversations with a Killer" "The Iceman" is a success in a limited way, but I almost wish it was a far worse film, because then I wouldn't feel quite so bad that there wasn't more to it.

Mud

The coming of age film is a long tradition, but it's not often done well. Most of the time, it's an excuse to tell a formulaic story of small challenges wrapped up with a tidy moral (see Superbad, most Pixar and Disney Films.) Sometimes it seems to me that there's an understanding that "family" films must be bland and reinforce a limited moral code, as if "children" can't handle complex thought, or perhaps that there's a magical age when they suddenly become capable of reasoning although it was never asked of them earlier.

Personally, I've always felt that good coming of age stories are the best films of all, giving us a chance to look at our lives with a fresh perspective long after we've forgotten what it was like to grow up. Films such as, "Stand By Me," "Rebel Without A Cause," "The Return," "Mysterious Skin," and "My Life as a Dog,"  to select a handful of examples, agree that an important step towards manhood is realizing that nothing comes easy, and the adults don't have the answers either.

"Mud" is a movie in that tradition. It centers on two friends, Ellis (Tye Sheridan) and Neckbone (Jacob Loflan.) Ellis lives on a houseboat in Arkansas, where he helps his father deliver fish to local customers. His father is stern and strict about rules but it becomes more and more clear that he and Mom aren't getting along. Neckbone doesn't have parents, and lives with his uncle Galen (Michael Shannon) who spends most of his time chasing women, providing a safe place to live and more friendship than a parental role.

Ellis and Neckbone spend their free time cruising around the river. They're fascinated to find a boat stuck in a tree on an island, and attempt to claim it as their own. They soon find that the boat has already been claimed, when a mysterious man named "Mud." (Matthew McConaughey) appears on the beach, after they notice his footprints, which leave a cross imprint in the sand (for good luck he tells them.) "It's a hell of a thing, a boat in a tree." he says, and proposes a deal. If they help him by bringing food, they can have the boat when he leaves, which is supposed to be after his "true love," Juniper, (Reese Witherspoon) a beauty with birds tattooed on her hands, arrives to meet him.

Mud tells them half stories and shares his superstitions including the story of his lucky shirt. They get a hint that he may be more dangerous than he appears, as he has a gun tucked into his pants, and takes offense when Neckbone calls him a "bum" telling him that he could call him "homeless" or even a "hobo" as neither of those terms imply worthlessness or laziness. Ellis is more impressed by Mud than Neckbone, but he goes along with his friend's wishes.

At home, we see that Ellis is caught in the middle of his parents' bitterness, although when he asks his father, Senior (Ray McKinnon) about their loud disagreements, he's told to mind his own business. That situation rapidly degenerates as his father heads towards a breakdown and finally admits that his mother wants to move away from the river and into town. This would mean they'd lose the houseboat as she technically owns it. His father presents it as his way of life on the river being taken away, but it's not as simple as that. When pressed about it, Ellis' mother reveals that she's been keeping the family afloat for years, although Senior likes to believe otherwise for the sake of his masculine pride.

Visiting Mud becomes an escape for Ellis, even when it becomes clear there's more to Mud than he first presented. After the FBI arrives in town looking for Mud with "Wanted" posters, Ellis lets him know. He tells the boys that he killed a man who was cruel to Juniper. This only strengthens Ellis' resolve to help even as Mud changes plans, deciding he'll need to get the boat out of the tree and escape. Ellis sees all Mud's actions as performed for the sake of true love. Ellis himself is experiencing his own love at the time, and punches an older kid for harassing the girl he has eyes for in order to start a conversation.

Ellis and Neckbone discover Juniper in town and act as a third party for Mud's messages. This gets them into a tense situation with a gangster, the brother of the man Mud killed looking to exact retribution. Soon we see that the murdered man's powerful father, described by Mud as "the devil himself"  is in town as well with lots of help.Mud asks them to get in touch with Tom Blankenship (Sam Shepard) as well, referring to him as an "assassin." Tom goes with the boys to the island, but rather than help he scolds Mud and tells him he's not getting involved. He tells Ellis later that Mud has always gotten into trouble over Juniper, who has a habit of leaving Mud and picking up with dangerous men until Mud gets her out of trouble, only to do it all over again.

Tensions mount as the FBI, the gangsters close in and Juniper is hesitant to leave with Mud. Ellis has his own battles as he has a meaningful moment with the girl he likes only to have her ignore him later on when she's with an older boy. He tries punching the older kid but it doesn't work as well this time. They find Mud drunk and not wearing his lucky shirt anymore as if he's given up. The set progression is altered however, when Ellis is the victim of a snakebite and Mud has to leave his island to rush him into town before it's too late, setting up the circumstances that reveal everyone's true character.

"Mud" is a visually beautiful film, clearly focused on the river. Jeff Nichols proves again (Shotgun Stories, Take Shelter) that he's a gifted storyteller. Small touches like boat landings, and puddles full of snakes and houseboats give it the feeling of authenticity. Mud's boat in a tree set up calls to mind the treehouse in "Badlands" although this time inhabited by someone capable of living in nature. The characters as well, are all informed by the river, Ellis' family and Neckbone's Uncle Galen both make their living from the river (though Galen seems to have it down a little better than Senior) This way of life, it seems is not an easy one and on the verge of disappearing. Mud himself seems a throwback to another time, and we can't help but wonder how rare it is to find a place where a man can hide out on an island and only by chance be discovered by a couple kids. McConaughey makes this role his own, as he's had a habit of doing recently. This character is a guy who has become so wrapped up in his own superstitious persona and destructive pattern of behavior that he's forgotten about many things that most people live with, (such as the law, and consequences.) As much as Ellis is blinded to danger by the idea of true love, Mud has taken it to whole different level. His exhilaration and disappointment concerning Juniper have become his life by force of habit. His hideout on the island is significant however, as we learn it's where he and Juniper first met, perhaps a sign that he's looking at where he's been.

Ray McKinnon's senior is a tragic figure in a different way than Mud. He presents us with a portrait of a proud failure. Like Mud, he seems to long for another time, but simply isn't the man he'd like to be. He presents himself as a traditionalist who wants to preserve a way of life, but we learn that he adopted this way of life from his wife and her traditions and this doesn't pay the bills. Mary Lee, has had all she can take of the river, as she grew up with it never feeling the need to mythologize.

Tye Sheridan does a tremendous job as Ellis. He sees everything that's happening and we catch him at a pivot point. Everything he knows about the world from being a child is being challenged. His mother and father aren't staying together, his father's work ethic appears to be pointless, and his ability to see love as a worthy motivation is severely challenged. He wrestles with these issues internally and by his own direct actions for mostly little reward.

Reese Witherspoon is another twisted character, as caught in habit as Mud, who she says she loves but can't live with. It's easy to see why Tom Blankenship thinks poorly of Juniper, as she certainly seems bound for ruin, damaging everyone around her on the way. Yet, Juniper's behavior is a known quantity. We know that she has a pattern, so while Blankenship blames her for Mud's misfortune, Mud can hardly be surprised. We do in fact see that Mud eventually accepts reality but certainly not easily.

The figure of Mud offers possibilities to Ellis. While boys typically see their fathers as a preview of what they might become, Ellis isn't happy with that. He knows his own father is miserable, powerless and broken in ways he isn't able to understand yet. Senior is also resigned to the fact that everything is crumbling. Ellis is young and wants to believe in things, possibility and true love. He isn't impressed by Neckbone's Uncle Galen, a figure of manhood who appears very limited in his expectations. Mud, at least on the surface presents a purer picture. To Ellis, here's a guy who lives by his superstitions and risks everything for the girl he loves. Of course, he learns eventually that Mud's ways are partly an act he uses to escape accountability. Ellis is hurt when Mud gives up on Juniper, despite the fact that he has little choice if he'd like to avoid prison or death.

Nothing works out the way Ellis would like it to, but his good faith is still rewarded when Mud saves his life at great personal cost and he even risks everything again to say goodbye before leaving town. Maybe Mud is still a fraud, but he has some good points too, that came out because the unexpected happened. In "Mud" nobody has all the answers. Mud knows as little about love as anyone, including Ellis' parents or Ellis himself.   But that isn't to say there aren't people who come through for you, Mud does in his way, and Tom Blankenship does the same thing for Mud. Despite washing his hands of Mud's latest campaign, he comes through when it counts in a real and surprising way. And Senior stays there too, even as the way of life he imagined he'd wanted is gone. It's all a risk, and everyone is both more and less than they first appear, but it isn't hopeless. Everything can change, but there's plenty around to believe in if you want to.