Bayou Caviar

فيلم جيد!

فيلم جيد!

فيلم جيد!

source: Bayou Caviar

Nothing original here. Though the cast is terrific, (particularly the love scene between the gracefully aging Famke Jansen and the lovely, underwear-clad Katherine McPhee) it's the lack of originality that torpedoes this loser. The dialogue is among the worst ever written, particularly those lines from fat little Richard Dreyfus posi g as a scary bad guy and speaking in an indistinguishable accent that's supposed to be Russian (the villains are always white Russians these days). And what movie set in Louisiana would be complete without a body being fed to alligators? They even leave the guy's red socks on his chopped up body so you can see that part was his lower leg and foot. SNOOZE!

The great thing about watching a movie that slipped by under the radar, and that one watches without so much as checking a one-line premise, is that it can be viewed with as much objectivity as is possible. We meet a lot of characters, and get a lot of hints of activity, from the start, but there's no meaningful suggestion of plot until 29 minutes in, and up to that point it's much wondering of "Well, okay, but what is this for?" 'Bayou caviar' happily takes its time to go anywhere. One could call it a slow burn, but it's more like the gradual rot of a dead body in the oppressive Louisianan heat - and it never truly picks up. And like that sweltering decomposition, the story being told here is unseemly, and reeking of murder, conspiracy, sex, and exploitation. It's not particularly pleasant, and the characters herein are at best dubious if not altogether slimy. Yet it's hard to not keep watching to see just exactly where it all ends up. The cast embodies their characters well, believably portraying the muck their roles swim in. Cuba Gooding, Jr.'s turn as washed-up boxer Rodney is a portrayal of aggrieved sleaze quite different from anything he's done before. I especially enjoy Famke Janssen as hard-bitten photographer Nic; the spite and desperation she puts across is one of the most immediately noteworthy elements of the whole picture. That's not to say that 'Bayou caviar' is bad. Far from it - I quite liked this movie. But it's distinctly understated, with every act of sex and violence, and many of the performances, captured on film with the cold calculation of a distant neutral observer. We see the events transpire, yet there's little emotional attachment to the miasma on show - save, perhaps, for inherent disgust at the treatment of young Kat (Lia Marie Johnson). I understand that this was Gooding Jr.'s first time serving as director, and his first writing credit, too. I do rather hope it's not his last: The subject matter, slow pace, and downplayed story beats mark this as a feature that won't sit well with everyone. But I think 'Bayou caviar' is a fine slow burn thriller, well worth checking out if one has the chance.

NYC was killed right. She was captured and taken into a car

Bayou Caviar is a seedy yet engaging film, though lacks grit. Cuba Gooding Jr's directorial debut isn't outstanding in any way and there are odd scene and casting choices, but the realism's there and the film's made with purpose. He will always be one the greats acting-wise and I look forward to seeing more of his future work. Dreyfuss playing a villain is different and non impactful, he's neither bad nor great. Lia Marie Johnson a Miley Cyrus lookalike, doesn't shine in the spotlight.

Kudos to Gooding for this effort. Credible acting, great editing, imaginative cinematography, great locations and a complex story that is layered with subplots. Gooding seems to have made a real comeback with his acting career. And a wonderful directorial debut. Hope Gooding keeps making films. A bit of a boxing subplot which keeps up the interest.

Overall, I go e a mild r dumbs up to Cuba Gooding, Jr. Considering this is his first time directing a film, I put him some slack. The fasting is very good. It was nice for him to give Richard Dreyfuss a role, as he has been pretty much invisible lately. Frank's Potente is terrific as always. The first time I saw her was in the short film "Run Lola Run" (1988). She then got a huge break in "The Bourne Identity" (2002); the first (and best, I think) of all the Jason Bourne series of movies. They were wildly successful. Regardless, this film does work, albeit with some flaws. Much license is taken with the "Russian Mafia" aspect. Still, its worth a watch.