Kill Your Darlings (2013)

About twenty minutes into Kill Your Darlings I knew I was in trouble.  I was already having a hard time getting into it and still had well over an hour to go.  It didn't help that this featured some of the founding members of the Beat Generation, which I've never really cared much about.  Well, if you're not a fan of the Beat Generation, why in the hell did you see this, you ask?  I honestly didn't know that's was Kill Your Darlings was about.  I mainly saw this because it stars Dane DeHaan, one of my favorite young actors, and Daniel Radcliffe, whose career choices I'm following very closely post-Potter.

Believe it or not, I try to go into most movies knowing as little as possible about them.  I avoid trailers as much as I can, and stay off the web to avoid spoilers.  Many times I'm not even aware of who wrote or directed the film until the credits roll.  If it's based on a book, I won't touch it until after I see the movie.  I do this mainly to avoid going in with certain expectations, especially when I know it's from a writer or a director I may or may not like.  I know sometimes that's unavoidable with the bigger releases, or when the commercials or posters say, "Brought to you by the director of this and that."  Generally speaking, I try to go in as 'clean' as I can, and many times I usually don't know much more than the lead actors.

Kill Your Darlings follows the story involving the murder of David Kammerer (Michael C. Hall), and the early days of the Beat Generation.  As the movie begins with the murder and the accused, Lucien Carr (DeHaan) already in jail, there's little suspense at all to the remainder of the story.  We mainly watch Carr, Allen Ginsberg (Radcliffe), Jack Kerouac (Jack Huston) and William S. Burroughs (Ben Foster) drink, do drugs, listen to music, and cause mischief.  I don't find it all that interesting to watch people do drugs, especially when I have no experience with their drug of choice.  I have no problem with alcohol and marijuana, but I have no knowledge at all of benzedrine.  Watching people listen to music is also pretty uninteresting to me, too.  Would like to see a Youtube video of me sitting in a bar watching a band you've never heard of that doesn't focus on the band or music?  Pretty fascinating, right?  Kill Your Darlings features much of the same general hedonism that I disliked about On The Road, only with less misogyny.  I guess if you think about it, this is sort of a prequel to On The Road.  The credits even specifically mention how Kerouac went on to write On The Road after this.  Okay...

After the opening sequence, we go back to just before Allen Ginsberg's heads off to Columbia University.  I was excited when I saw David Cross playing Ginsberg's father.  I thought maybe he'd lend some humor to the movie, but unfortunately this did not happen.  Jennifer Jason Leigh plays Ginsburg's mother, who is dealing with mental illness, but I found this subplot to be largely pointless as they didn't have any impact on the main story.  Maybe if Ginsberg had suffered from mental illness himself, it might have made more sense to include this, but it came across as unnecessary backstory.  After arriving at Columbia, Ginsberg meets Carr who introduces him to various members of the Beat Generation.  He begins to experiment with drugs and his own sexuality.

Another issue I had with the film was that I'm never made to feel why these people were important literary influences.  I didn't finish Kill Your Darlings wanting to know more about these guys.  The film features lots of scenes of Ginsberg writing and reading poetry, but the moments that worked best were the character moments, especially Carr's interactions with various members of the group.  They are inspired to create a "New Vision", and while there are several moments where you see them throwing out ideas, tearing up books, and working it out, what was the end result?  It wasn't clear to me.

As John Krokidas' feature directing debut goes, it's a decent effort.  I thought the pace dragged a little too much, and there were certain elements and characters that didn't add much to the story or were wasted entirely.  Part of the drag stems from how I mentioned that we begin with the ultimate climax of the film.  Lots of times this can work, but here it just made me antsy knowing I was going to sit through 100 minutes to get to a climax I already knew was coming.  Since this is a little-known story, spoiling how it turns out in the first five minutes was a mistake.  There's very little about the aftermath of this event, and it's all the lead up to it.

It's very well acted though.  Dane DeHaan was extremely charismatic as Lucien Carr, and it's one of those performances where he makes it easy to understand why people were drawn to him.  He plays off everyone well and it was interesting to see how manipulative he could be.  DeHaan's chemistry with Radcliffe is one of the strongest points of the film.  As for Radcliffe, if he wanted to distance himself from Harry Potter or make people start to forget about that part of his career, then he certainly accomplished that with a daring and earnest performance.  I think he even went "full gay."  It's bodes well for his future that he's willing to take risks like this, and it reminds me of Joseph Gordon-Levitt's earlier performance in Mysterious Skin.  Outside of wasting Cross, Leigh, and especially Elizabeth Olsen (an extreme waste), I found most of the performances to be good.

Kill Your Darlings is a stylish and well-acted story, but unfortunately meanders and suffers from lack of focus.  I didn't hate the film, it simply didn't work for me.  If you're someone who's a fan of the Beat Generation, or are interested in Daniel Radcliffe's career post-Potter, then you may get some value from watching it.  It's a rental at best.

2.5 (out of 5) Death Stars

On The Road (2012)

I have bongo music stuck in my head now...

I've never read the On the Road, nor have I ever had much of an interest in Jack Kerouac (whom the main character of Sal was based on), but I'm generally willing to give anything a shot.  The only thing I'd heard about On the Road going in was that it often considered to be a unfilmable book, and there had been several attempts to make this over the years (mainly by Francis Ford Coppola).  When I hear unfilmable book, I think of titles like Cloud Atlas or Watchmen, but the the difference with those two is that they were much more ambitious films, with many complex characters and covering longer periods of time.  Maybe something got really lost in this adaptation of On the Road, but I didn't find that to be the case here at all.

On the Road focuses on a small group of twenty-somethings over a few years in their lives from the late 40's to early 50's.  The story primarily follows the characters of Sal Paradise (Sam Riley) and Dean Moriarty (Garrett Hedlund).  Sal is a struggling writer who yearns for more freedom, and Dean (who was already an ex-con when they meet) is a fun loving guy, who's pretty much up for anything, or anyone.  Dean is also quite the ladies man, shacking up with Marylou (Kristen Stewart) and Camille (Kirsten Dunst).  As the title suggests, they spend a lot of time on the road, meeting people, partying and having adventures.

If I was in my early 20's, still in college and trying to figure out what I wanted to do with my life, something like what you see in On the Road would be fun to experience.  However, it's not particularly interesting to watch on screen, especially as you learn more about the characters and find that there's really not much to like about them.  Maybe this is what got lost in the adaptation, but I found all of these characters to be pretty shallow, and in the case of Dean I found him to be kind of a scumbag.  He's married and has a newborn, but he'd rather go out on the road and have more drugs and sex.  His friends seems to idolize him, rather than call him out on his behavior, or maybe suggest he stay home with his family.  Would you support the antics of your friend that's a deadbeat dad?  Instead, they share long embraces each time they meet up, as if years have passed since they all last saw each other, but it's only been a few months at a time.

The lengthy feeling between meetups is likely due to the fact that On the Road is pretty slowly paced.  At one point, I checked my watch thinking the movie must be close to over only to see I was only at the one hour mark.  I still had an hour left to go!  At this point, I felt like the movie was a bit of a repeating loop, because you just see them do the same things over and over again: more driving, more sex, and more partying.  It feels routine and less interesting as it goes on.  Even when there are attempts to show you other sides of their characters you don't come away with a better understanding of them, but rather liking them less for their behavior.

That's pretty much all I got out On the Road, which I realize may be missing the point of the book, but I'm reviewing what I saw on screen, not a book I've never read or a film's faithfulness to it.  I'm just calling it like I see it.

I liked the performances for the most part, but I wonder if I would have had an easier time identifying with the characters if maybe they had gotten more familiar actors.  Kristen Stewart's not exactly a name that gets my butt in the theater.  I actually didn't mind her performance here, and thought she had some life about her for a change.  She's actually not in the movie all that much, which may be why I didn't have much of an issue with her.  I'm only seen Sam Riley in 13, and thought he was adequate.  Despite not liking Dean at all, I thought Garrett Hedlund's performance as him was strong and showed a lot of charisma.  You can see why people would initially be drawn to him.  We also get a very eclectic cast of bigger names playing very small roles.  You'll see people like Amy Adams, Terrence Howard, Elisabeth Moss, and Viggo Mortensen pop-up in random roles throughout.

It's a good looking film with lots of picturesque scenery.  As far as a period piece, it felt accurate and faithful to the time.  There's also a sense of speed when driving that you really feel, and I think that's where Walter Salles direction really came into play.  You also experience all the seasons they go through.  When you see them driving in the hot sun, you can't help but notice how sweaty and dirty they are.  I can only imagine what the inside of that car smelled like.  I hope they stopped to shower on their trips.

I was annoyed by the Beatnik, bongo music I heard throughout.  They say that Beatniks were the original hipsters, and after watching On the Road I can see how there are some similarities, and I dislike their style and music as equally as modern hipsters.  I've heard that Kerouac's book has been very influential and praised for it's style, but I don't think Jose Rivera's screenplay captured any of that.  If there was any energy to Kerouac's writing, that's all been sucked out of the film.

On the Road is a good looking, well-acted film, but for a story about living life, it sure felt lifeless.  There's no passion to it, and I didn't like any of the characters as they were portrayed.  It's way too long for what it is, and would recommend you take the two hours you could spend watching On the Road to go out and start an adventure of your own.

2 (out of 5) Death Stars