Reviews - Specialty Releases


Film Review: Cold Comes the Night

He's playing a bad guy again, but Bryan Cranston's Slavic-accented criminal is no Walter White and this is no "Breaking Bad."

Jan 10, 2014

-By Frank Scheck


filmjournal/photos/stylus/1392408-Cold_Comes_The_Night_Md.jpg

For movie details, please click here.

Serving as another reminder of the gap in quality between dramatic episodic television and most of what shows up on theatre screens, Cold Comes the Night marks Bryan Cranston’s first big-screen appearance since wrapping up his award-winning run on “Breaking Bad.” While the actor lends his formidable presence to the proceedings, this rote thriller mainly succeeds in squandering his talents. Being given a limited theatrical release, the film will likely generate some interest on home-video formats thanks to the cast that also includes British actress Alice Eve ( Star Trek Into Darkness) and Logan Marshall-Green ( Prometheus).

Cranston, looking much like he did in his last season as Walter White, plays Topo, a visually impaired career criminal running drug money through upstate New York en route to Canada. When his hapless nephew/driver gets killed in a violent encounter with a prostitute at a seedy motel, their car containing the loot gets impounded by the police. 

The half-blind Topo is thus forced to resort to kidnapping the motel’s proprietress, Chloe (Eve), and her young daughter (Ursula Parker) to retrieve the money with the help of her former boyfriend (Marshall-Green), a crooked cop who has access to the impounded car. Double-crosses and violent confrontations ensue, with Chloe attempting to score some of the cash herself to stave off the state authorities who threaten to take her daughter away.

Director Tze Chun manages to provide some taut atmospherics to the proceedings but is ultimately hampered by the contrived situations and cliché-ridden dialogue of the screenplay he’s co-written with Nick Simon and Osgood Perkins (Anthony’s son). Not helping matters is the thick Slavic accent Cranston employs, making him sound like he’s auditioning for a regional theatre production of Dracula.

Still, the actor is undeniably compelling, delivering a physically minimalist performance that generates much tension with mere stillness. And, in a marked departure from her usual eye-candy roles, Eve, sporting a credible American accent, is also very effective, providing unexpected layers of toughness to her sympathetic character.

-The Hollywood Reporter


Film Review: Cold Comes the Night

He's playing a bad guy again, but Bryan Cranston's Slavic-accented criminal is no Walter White and this is no "Breaking Bad."

Jan 10, 2014

-By Frank Scheck


filmjournal/photos/stylus/1392408-Cold_Comes_The_Night_Md.jpg

For movie details, please click here.

Serving as another reminder of the gap in quality between dramatic episodic television and most of what shows up on theatre screens, Cold Comes the Night marks Bryan Cranston’s first big-screen appearance since wrapping up his award-winning run on “Breaking Bad.” While the actor lends his formidable presence to the proceedings, this rote thriller mainly succeeds in squandering his talents. Being given a limited theatrical release, the film will likely generate some interest on home-video formats thanks to the cast that also includes British actress Alice Eve (Star Trek Into Darkness) and Logan Marshall-Green (Prometheus).

Cranston, looking much like he did in his last season as Walter White, plays Topo, a visually impaired career criminal running drug money through upstate New York en route to Canada. When his hapless nephew/driver gets killed in a violent encounter with a prostitute at a seedy motel, their car containing the loot gets impounded by the police. 

The half-blind Topo is thus forced to resort to kidnapping the motel’s proprietress, Chloe (Eve), and her young daughter (Ursula Parker) to retrieve the money with the help of her former boyfriend (Marshall-Green), a crooked cop who has access to the impounded car. Double-crosses and violent confrontations ensue, with Chloe attempting to score some of the cash herself to stave off the state authorities who threaten to take her daughter away.

Director Tze Chun manages to provide some taut atmospherics to the proceedings but is ultimately hampered by the contrived situations and cliché-ridden dialogue of the screenplay he’s co-written with Nick Simon and Osgood Perkins (Anthony’s son). Not helping matters is the thick Slavic accent Cranston employs, making him sound like he’s auditioning for a regional theatre production of Dracula.

Still, the actor is undeniably compelling, delivering a physically minimalist performance that generates much tension with mere stillness. And, in a marked departure from her usual eye-candy roles, Eve, sporting a credible American accent, is also very effective, providing unexpected layers of toughness to her sympathetic character.

-The Hollywood Reporter
Post a Comment
Asterisk (*) is a required field.
* Author: 
Rate This Article: (1=Bad, 5=Perfect)

*Comment:
 

More Specialty Releases

Momo
Film Review: Letter to Momo

Literally beset by goblins, this strained animated effort should have concentrated on the human elements of its story rather than the supernatural. More »

A Master Builder
Film Review: A Master Builder

A personal project which should have stayed personal, this turgid yet flat Ibsen adaptation is third-time unlucky for Wallace Shawn and Andre Gregory. More »

Fanny
Film Review: Fanny

"Classic" is a word all too casually bandied about, but for Daniel Auteuil's screen adaptation of this beloved French trilogy it is completely apropos. More »

Alive Inside
Film Review: Alive Inside

Incredibly moving and powerful documentary about combatting Alzheimer's with music. Without the use of a single CGI effect, you see literal miracles happening here. More »

ADVERTISEMENT



REVIEWS

Sex Tape review
Film Review: Sex Tape

Couple's homemade porn circulates on the web in an R-rated comedy that wastes the talents of its stars. More »

The Purge: Anarchy
Film Review: The Purge: Anarchy

A modest but noticeable improvement on its predecessor, The Purge: Anarchy offers a more effective—if still far from ideal—realization of the series' killer premise. More »

Player for the Film Journal International website.


ADVERTISEMENT



INDUSTRY GUIDES

» Blue Sheets
FJI's guide to upcoming movie releases, including films in production and development. Check back weekly for the latest additions.

» Distribution Guide
» Equipment Guide
» Exhibition Guide

ORDER A PRINT SUBSCRIPTION

Film Journal International

Subscribe to the monthly print edition of Film Journal International and get the full visual impact of this valuable resource for the cinema business.

» Click Here

SPONSORSHIP OPPORTUNITIES

Learn how to promote your company at the Film Expo Group events: ShowEast, CineEurope, and CineAsia.

» Click Here