I don’t know how I’d feel if Nic Cage’s mug was the last one I saw before I died.
Frank Pierce (Nicolas Cage) is a EMS paramedic working in New York City and has to put up with some pretty crazy stuff on a regular-basis, but now that he’s pulling in three nights on the job, it’s getting even worse. Not only does Frank seem to be losing his damn mind over the stuff that he sees, but he’s not really sure if he can handle his job, or even his life any longer. That sort of changes though once a grieving woman (Patricia Arquette) comes into his life and puts everything into perspective. Well, sort of.
I’m pretty sure that within the past-decade, people have pretty much accepted the fact that Martin Scorsese is a guy you can trust with any movie he does. When I first heard about Hugo, I’ll be honest, I was incredibly skeptical of him diving right into a PG-rated, 3D-movie. However, all my reservations went out the window once I realized that it was the Scorsese charm that eventually took over me. But yet, stories about kids finding a movie-legend aren’t what we associate Scorsese with. We more or less associate him with the violent, bloody, gritty tales of the crime-world and that’s why I was really looking forward to this flick, even though it seemed like it was one of his least-known pieces of work to have ever come out.
“Nic Cage to the rescue”, is something, I assume, that no person on the verge of death wants to hear.
However, this just made me want to watch Hugo all over again.
And maybe even check out Leaving Las Vegas one more time for old, good times sake. Although, I don’t think “good times” can be associated with that movie.
Anyway, right from the start of Bringing Out the Dead, I could tell taht this was going to be a very strange, dark movie-experience and it only seemed right that I compare this to a Scorsese classic, meaning Taxi Driver. Not only do both stories feature guys on the verge of a nervous breakdown, but they even feature two guys who just act-out in violence and pure craziness to get over it. It’s pretty obvious how the two stories are alike in many ways, but, in other ways, they aren’t and I think that’s where the problem for this film really lied.
See, in Taxi Driver, you actually care about the cause which Bickle is fighting for, despite it being based on a huge sense of lunacy. He’s an anti-hero in the fullest-form – he’s not the greatest guy out there in the world, but it’s easy to sympathize with him because of how many times he’s been pushed and shoved to the ground, even though he himself felt as if he was doing the right thing. Here, with this guy Frank Pierce, it’s hard to really feel a connection to this guy, considering that he’s more manic-depressive than anything else. Yeah, everybody’s had a crappy job that they don’t want to stay up for, or even go to in the first place, but that doesn’t mean everybody feels the need to go off, crash cars, break windows, or beat the ever lovin’ crap out of some homeless people because of their misery. Maybe some people do, but I’m pretty sure those people aren’t psychologically-cleared to do any type of work in the first place.
And this hurts the movie. Rather than being interesting in the slightest, the story just feels like a drag and almost like it didn’t really matter to anybody involved, not even, dare I say it, Scorsese himself. There is definitely an cool, even compelling story here of a guy that can’t cope with the work that he has to do and has to find an escape from it all, but all of that feels used for a bunch of hyperactive, insane moments that come out of nowhere, just because it’s the seedy underworld of New York City. Showing me scenes of an EMT trying to save failing patients is something that grips me, but if you just continue to throw gratuitous shots of drugs, sex, violence, and blood at us, then I don’t really care and can sort of tell that you don’t either. I mean, I get it, downtown NYC is a very, very messed-up place, but constantly reminding us of this by showing a homeless person, a hooker, or even a drug addict every five seconds or so, makes it feel less gritty, and more lazy than anything.
Also, the fact that this movie is nearly two-hours long really kills it, as well as any type of momentum it wanted to build up.
But, for what it’s worth, there is some joys to be had with Bringing Out the Dead, even if they don’t solely come from Scorsese’s direction or Paul Schrader’s script – it mostly comes from the wild fire cast who, with what they’re given, are called upon to just be crazy and do just that. And this is clearly some good news for the king of crazy himself, Nicolas Cage, but for some reason, it’s not quite his most memorable performance. Not even in the slightest, actually.
It’s alright, Nic. You two would only be together for two more years anyway.
Practically everybody bad-talks Cage for the types of movies he takes, or just by simply phoning it in one too many times, and yes, I do sometimes agree with these criticisms. Cage is one of my favorite actors working today, and always finds ways to make even the most dreadful material, the slightest bit interesting, but here, he’s sort of just going through the motions, although he has a couple of bright spots here and there to show. The character of Frank Pierce is a bit of a strange and not one that I find fully believable since he’s such a freakin’ nut with his up-and-down personality. But, like I expected, Cage found a few ways to make me laugh here and there and just fall in line with his nuttiness. The character gets a bit boring by the end, but Cage tries and tries again, only to then, I guess, give up and realize that maybe this is just not going to be his highest moment.
It’s fine, though, because the dude had plenty more to come after this.
The rest of the cast is pretty fun, too, with a few familiar faces bringing a lot more excitement to a movie that seemed to desperately need it. John Goodman doesn’t really show his face all that much as a fellow EMT of Pierce’s, but is still pretty funny and cooky to watch as the one dude who always wants to bail on a bunch of sick/dying people, and instead, eat Chinese food and sleep. Hey, it’s not such a bad motive to have in life, but when you have to save people’s lives, it’s not the best way to go about your life. Tom Sizemore plays one of Nic’s more loonier, off-the-wall EMT’s and does what he always did before he got sent-off for doing too much blow: Play gritty, asshole characters that you can’t help but hate, and actually like. Ving Rhames is surprisingly the stand-out of this whole cast as the one EMT who seems to always have God on his back and mind throughout the whole job, yet, is still most dangerous EMT of them all that had me cracking up so damn much. Watching him and Cage just play-off of one another was a delight to watch. In a way, too, it made me wish the movie was just about them two driving around, picking up sick/injured people, having random conversations, and just living another day on the job. If only.
Consensus: Martin Scorsese finds slight ways to keep Bringing Out the Dead interesting, if only through visuals, but also can’t seem to get past the fact that the script is way too uneven for it’s own good, and doesn’t really ever generate any emotional-spark, or even give us enough to feel compelled by.
5 / 10 = Rental!!
Probably already thinking about stealing the Declaration of Independence.
Photo’s Credit to: Thecia.Com.Au