"Teenage angst has paid off well / Now I'm bored and old," sang Cobain on Nirvana's Serve the Servants, and one can feel that infectious malaise throughout Van Sant's portrait of Blake (Michael Pitt), a grungy icon living out what a friend (Kim Gordon) dubs "a rock and roll cliché." Donning Cobain accoutrements such as a hunter's cap and a green-and-red sweater and sporting shoulder-length blond hair, Blake spends the film sleepwalking around his backwoods home and property with a mixture of drug-addled bewilderment and spiritual melancholy, and Pitt embodies this wayward soul - whose rambling exploits involve wearing a black spaghetti-strap dress and toting a rifle - with a hunched, drooping-to-the-floor sagginess (as if under tremendous strain) that's at odds with the actor's slender physique. His constantly incomprehensible muttering, such as during an amusing, chance encounter with a telephone book salesman (where the only audible Blake line is telling: "Success is subjective"), echoes Cobain's frequently indecipherable lyrics while also conveying a torturous emotional detachment. Trapped in Van Sant's constrictive full frame (employed to heighten the oppressive claustrophobia gripping the character), Pitt's Blake is a zombie who, as revealed by the film's opening scene - finding him symbolically baptizing himself in a tree-shrouded lake, and later whispering and then roaring "Home on the Range" to the empty nighttime forest - desperately seeks communion with the world around him.
Continue reading: Last Days (2005) Review
Five years after his first stint as hitman Arthur Bishop in The Mechanic, Jason Statham has returned to the role for Mechanic: Resurrection.
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