Get out of Long Island the first thing you do.
Still affected by the death of his mother, Howie (Paul Dano) has been having a bit of a rough go at life, for the time being. His dad (Bruce Altman) doesn’t seem to get him and is too busy spending time with his new girlfriend, who Howie obviously detests, and his best-friend Gary (Adam LeFevre), who he also has a love for, plans on moving out of their small suburban town in hopes of achieving his dreams of being rich and famous. Howie wants to profess his love for Gary, but he finds it easier to just go around causing all sorts of shenanigans with him, like for instance, robbing random people’s houses. One person that they rob is Big John (Brian Cox) an older, very charming man who has a certain affinity for young boys and immediately takes a liking to Howie. The later, all confused as to who to love or care for, immediately takes to Big John, too, and they both forge something of a friendship that gets dangerously close to being something much more. But will the two take the plunge, or learn to just respect one another?
Did Howie get his candy yet? You know, like he was promised?!?
A part of me feels like a great deal of the positive reception and, dare I say it, hype around L.I.E. has to solely due with the fact that it was touching on some really disturbing taboos that no one could get away with. Sure, the movie got slapped with an NC-17 rating nonetheless, but mostly that was due to the fact that it dealt with homosexuality, pedophilia, and sex in general, all featuring characters who seemed to be clearly underage. You could make the argument that the movie’s just another case of Larry Clarke’s Kids, but that would actually be an insult to L.I.E.
This movie’s much more thoughtful, whereas Clarke’s was just over-the-top and disturbing, for the sake of being so.
But still, L.I.E. isn’t quite nearly as good as it should be. One of the main aspects holding it back is that it’s the directorial debut from Michael Cuesta and in ways, you can tell. The movie’s dark, dirty, gritty, and grainy look, while giving it a realistic-look and feel, also feels amateurish, especially when the movie decides to stylize itself up a bit more with random, floating montages. You could say that it’s “pretentious”, but it isn’t entirely; a good deal of the movie is small, contained and actually, subtle, but there’s the other deal that also seems like a first-time director having a bit too much fun with a budget and a script in his hands.
That said, when the movie does settle down, L.I.E. works as a thoughtful and smart character-study of two troubled people coming together in a surprisingly believable way. It helps that we get to know each character very well before they meet one another, however, it also helps that Cuesta was able to get both Brian Cox and a very young Paul Dano in these lead roles, because they don’t just work well together, but they are actually the heart and soul of the whole picture.
Which is saying something, considering that the movie itself is pretty damn dark.
Don’t do it! Or do. It’s okay!
As Big John, Cox has the really troubling job of making a despicable and disgusting character seem somewhat sympathetic. And well, it works – not only do you come to care for this heinous wreck-of-a-man, but you also actually seem to get charmed by him. A part of the charm is his act and how he reels people in, and Cox gets by on this in spades, while all still seeming like one creepy individual. There’s more to this character that, in all honesty, deserved to be explored, but as far as portraits of actual monsters go, Cox’s Big John remains one of the more fully-realized and well-done.
Which is a shame because despite him trying very hard, Dano’s Howie doesn’t quite resonate as much. See, one aspect behind Howie’s character is that he’s a whole bunch of things that teenagers at that age are; confused, naive, angry, upset, and constantly fluctuating between emotions and how it is that they feel at any given moment. We get to see a lot about Howie and Dano makes it all work, but then, Cuesta comes around to making there more to Howie, like how he writes poetry, understands certain pop-culture references, and watches old movies, that don’t quite work. The movie wants to make Howie more than he actually is – which is just another upset teenager – and because of that, it takes away from what was already a smart and understandable character to begin with.
Oh well. Both Dano and Cuesta would continue to go on and do much better.
Same is obviously said for Cox.
Consensus: By touching on some disturbing themes in a very in-your-face way, L.I.E. can often times seem a little cloying, but still works because of the smart, understated and thoughtful performances from both Dano and, especially, Cox.
6.5 / 10
Love at first face-piercing.
Photos Courtesy of: Alter Ego Entertainment