Written and directed by Wayne Kramer, Running Scared (no relation to the 1986 buddy-cop flick starring Billy Crystal and the late Gregory Hines) is a “gritty,” urban crime actioner. For those with a strong stomach for gratuitous violence, a convoluted, nonsensical storyline, cartoon-deep characters, Running Scared turns out to be a head-spinning exercise in “cartoon noir.” For its target demographic of 18-24 (or is 18-29?), Grand Theft Auto-playing males and who look at last year's Sin City as the epitome of cool, edgy filmmaking, Running Scared will be as close to their sensibilities they'll find this weekend at the local multiplex.
Joey Gazelle (Paul Walker), a low-level soldier for an Italian mob family in the so-called garden state (New Jersey to those of us who once lived there but who have, thankfully, fled to warmer, more hospitable climes), finds his criminal life turned upside down when a routine drug buy goes bad, leaving a trail of dead dealers (not a problem) and equally dead narcotics officers (definitely a problem). Joey's captain, Tommy "Tombs" Perello (Johnny Messner), gives Joey the revolver to dispose of. Joey hides the gun in a stash in his basement, hoping to provide future insurance for himself and his family (one of the dumbest judgment calls by a fictional character in recent memory).
Joey's wife, Teresa (Vera Farmiga), tolerates Joey's criminal lifestyle. Joey's pre-teen son, Nicky (Alex Neuberger), seems fully aware of what Joey does for a living. Nicky hangs out with his next-door neighbor, Oleg (Cameron Bright), an American-born Russian. Oleg lives in a volatile, violent household. His stepfather, Anson (Karel Roden), runs a meth lab from their home, beating Oleg's mother, Mila (Ivana Milicevic), or Oleg when his temper gets the better of him. Oddly, Anson worships John Wayne, specifically the John Wayne that appeared in 1972's The Cowboys. Anson's uncle, Ivan (John Noble) also happens to be the head of the local chapter of the Russian mob.
Post ill-fated drug deal, Joey and his family settle down for an evening meal. Seconds later, bullets fly from across the yard. Oleg has lifted one of Joey's “hot” pieces, specifically the gun used in the drug deal. Oleg goes into hiding, with Joey and Nicky in hot pursuit. With the gun traceable to Tommy and Joey, Joey's life hangs in the balance. A duplicitous narcotics detective, Rydell (Chazz Palminteri), makes an appearance, demanding a bribe from the Perellos in exchange for incriminating evidence. As Joey searches for Oleg and the gun, Oleg has several, bizarre experiences, including an encounter with a shadowy Rastafarian, another with an overdressed, short-tempered pimp, Lester (David Warshofsky, channeling his inner Mickey Rourke), a hooker with a heart of gold, and later, a couple of creepily cheery suburban types.
Running Scared's hectic plot twists and turns go from the absurd to the ridiculous and back again to the absurd. Kramer borrows plot points from just about every urban crime film and TV-crime drama (e.g., The Sopranos, Law and Order: SVU) of the last twenty years. Kramer, eager to cover SUV-sized plot holes, coincidences, and a derivative storyline from superficial scrutiny, throws in plenty of shootings (including shotguns to the chest, gunshots to the crotch and head), throat stabbings, even a beating by hockey puck (sadly, no eye gougings, though). In a film filled with ludicrous plot turns, Kramer proves that he'll leave no clichéd plot turn unused by transforming the reasonably mild-mannered Teresa go from caring mother and loving wife to well-armed vigilante (yes, it's as ridiculous as it sounds). And before you know, Kramer slips in not one but two more plot “twists” before the end credits make their appearance.
If the ultra-violence wasn't enough, Kramer kicks in “gritty” visuals (e.g., nighttime shooting, underlit cinematography, and, of course, a desaturated color palette), quick cuts, and overemphatic camerawork into the mix. And if all that's not enough to get Kramer some street cred with the 18-24, male, videogame playing target demographic, Kramer's screenplay makes liberal use of F-bombs. F-this, F-that pretty much sums up his characters' inarticulate dialogue (this reviewer lost count of the F-bombs thrown around by the various characters at 259, more or less). Kramer can direct a suspense sequence, though, a talent he'll hopefully put to better use next time around. And in the what the heck department, jock-turned-actor Paul Walker gives the first credible performance of his career (he might just escape that "blonde Keanu Reeves" tag yet). How exactly did that happen?
Running Scared pretty much throws in everything the target demographic is likely to look for in an action/crime film, second- or third-hand grit and grime, crude language, gratuitous, non-erotic nudity, and wall-to-wall ultra-violence. And if Kramer wants to make his central character travel the path from self-interest to hero, he can't help but cheat in the end, giving the audience a positive ending (it's undeserved). Does it make a difference? Not really. After all, if you're in the target demographic, you'll see Running Scared and probably find a lot to like. If you're not in the target demographic, Running Scared, not so much.
© Mel Valentin, 24th February, 2006
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