Sean Penn delivers a solid, mostly under stated performance as Brad Whitewood Jr., living in Pennsylvania in the late 70s with a mother (Millie Perkins), grandmother (Eileen Ryan), and half-brother Tommy (Chris Penn). Brad and Tommy's estranged father Brad Sr. (Christopher Walken) fatefully re-enters their lives, and they become intrigued with the criminal life that he leads. Ultimately, they will realize that this rediscovered father figure is as toxic as he can possibly get. Brad Sr. will stop at NOTHING to protect his interests, including murder.
This imperfect but still pretty powerful drama was inspired by a real-life case, and it's noticeably downbeat and violent. Something this viewer felt was lacking was a stronger connection to Brad Jr. and Tommy, although they are basically okay kids with a mildly punkish streak. As we can see, they're young enough to be impressionable, and the magnetic Brad Sr. messes up their lives for the worse.
Director James Foley (who also cameos as an assistant D.A.) crafts a reasonably stylish and good looking film, shot in widescreen on various scenic locations. The haunting (if also fairly repetitive) music score is courtesy of Patrick Leonard, who also wrote the classic theme song "Live to Tell" with Madonna. The use of violence is, for the most part, restrained, except for one shocking act of brutality late in the picture, when Brad Jr. is confronted with the depths of his dads' depravity.
Excellent casting in just about every role helps. The real-life Penn brothers have good chemistry, and it's nice to see them in scenes with Ryan, their mother. Mary Stuart Masterson has much appeal as the under-age girl to whom Brad Jr. is drawn. Familiar younger actors like Crispin Glover, Kiefer Sutherland, and Stephen Geoffreys of "Fright Night" turn up, as well as some of L.A.'s top character actors: Penn family friend R.D. Call ("Waterworld") as Dickie, David Strathairn ("Good Night, and Good Luck.") as Tony Pine, J.C. Quinn ("The Abyss") as Boyd, and Tracey Walter ("Repo Man") as amiable chatterbox Patch. Walken dominates it all with a performance that may not be free from standard Walken eccentricities / line delivery, but is disturbingly effective in its creepy charisma.
Overall, "At Close Range" does work viscerally, and stays with you after its final moments.
Scripted by Nicholas Kazan, based on a screen story by him and producer Elliott Lewitt.
Seven out of 10.
This imperfect but still pretty powerful drama was inspired by a real-life case, and it's noticeably downbeat and violent. Something this viewer felt was lacking was a stronger connection to Brad Jr. and Tommy, although they are basically okay kids with a mildly punkish streak. As we can see, they're young enough to be impressionable, and the magnetic Brad Sr. messes up their lives for the worse.
Director James Foley (who also cameos as an assistant D.A.) crafts a reasonably stylish and good looking film, shot in widescreen on various scenic locations. The haunting (if also fairly repetitive) music score is courtesy of Patrick Leonard, who also wrote the classic theme song "Live to Tell" with Madonna. The use of violence is, for the most part, restrained, except for one shocking act of brutality late in the picture, when Brad Jr. is confronted with the depths of his dads' depravity.
Excellent casting in just about every role helps. The real-life Penn brothers have good chemistry, and it's nice to see them in scenes with Ryan, their mother. Mary Stuart Masterson has much appeal as the under-age girl to whom Brad Jr. is drawn. Familiar younger actors like Crispin Glover, Kiefer Sutherland, and Stephen Geoffreys of "Fright Night" turn up, as well as some of L.A.'s top character actors: Penn family friend R.D. Call ("Waterworld") as Dickie, David Strathairn ("Good Night, and Good Luck.") as Tony Pine, J.C. Quinn ("The Abyss") as Boyd, and Tracey Walter ("Repo Man") as amiable chatterbox Patch. Walken dominates it all with a performance that may not be free from standard Walken eccentricities / line delivery, but is disturbingly effective in its creepy charisma.
Overall, "At Close Range" does work viscerally, and stays with you after its final moments.
Scripted by Nicholas Kazan, based on a screen story by him and producer Elliott Lewitt.
Seven out of 10.