Review of The Vicious Kind (2009) by Keaton P — 22 Dec 2010

When a single methodology is taught a stockpile of similar products will arise. The Vicious Kind's problems don't lie in any amount of less than substantial material, but in the films execution and depiction of this plentiful material. With themes as recycled and timeless as father son struggles, mother's premature death, first love, heartbreak, betrayal by brother and countless other stock go to's, The Vicious Kind is not without buckshot for a great film. Yet somehow even with these great trump cards of thematic possibility the film fails to rise any amount of full potential from any.

Adam Scott's character is as full as potential as the film itself, he is written the majority of the time in wonderment and full dimension, yet with a single line here and there seeming to have been written by a over stimulated under attached studio head, his character looses weight like a man with an over active thyroid. Adam Scott for the majority of the picture plays a man of such great internal struggle and external volatility, it seems almost impossible to keep up the act, but he as an actor does it well. But even this character work and dedication can't save him from unrealistic plot turns and over dramatic co-stars.

I'm usually not a stickler for realism when it comes to film, being that I have already given away much of my realistic critical validity when I sit down to watch a film of American makings. It is simply the American way to write your picture in to the Hollywood good ending: rap it up with uplifting score, send the audience on their way feeling like there is hope for continuing on this long boring rail of tears, and leave your characters stories with a dash of continuation and curiosity remaining, yet even with this acknowledgment I don't give The Vicious Kind a free pass. There are ways to juck the system, there are ways to use the seen over and over themes of Hollywood and all fiction and make them new and worthy the attention of the active observer, and these ways are not present withint the Vicious Kind.

I wanted to enjoy the film. I found Adam Scott commendable and relatable. I found his character written well and true to the pains of betrayal. I liked the father, even if he was type cast. I even wanted to like the poor poor excuses of actors that played the two could-be dream lovers. Yet I couldn't forgive the wrap up. And I couldn't forgive the contrived third act. And I couldn't forgive the faulty character continuity. And I cant forgive the repeated methods and products of so many of these type of films.

Where have all the greats gone? Where have the films of beauty and story been thrown? Where does film think it is headed with this grand possibility of studio independence? Does no one realize the golden opportunity of art is in their corner? Do they not see that all they need is a soul and all it takes is a story? Does no one know how to write a damn real piece of emotion any more? Does anyone care? Does anyone even think about the films before they decide to make them and ruin them? Far too much crap is available and far too many people are beginning to think it looks good painted in golden spray paint.