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It contains beguiling episodes-Eli’s purchase and use of a toothbrush (the movie’s main symbol of progress)-and excruciating incidents of horror, like the amputation of a forearm.
By the end, the action is disarming in multiple ways. They must work through the psychic legacy of a substance-abusing parent on horseback, on the trail. Charlie and Eli are as individually twisted and inextricably entwined as Jamie and Edmund in Long Day’s Journey Into Night. This potent, eerie image helps eliminate any notion that we know what’s coming.Īs soon as we get a good look at them, Phoenix and Reilly generate a startling rapport that becomes the stuff of down-home and sometimes down-and-out tragicomedy. Then a string of horses, set ablaze, creates a hellish nightscape as they escape a burning barn.
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For a second or two the explosive “shock humor” of this juxtaposition makes us fear that we’re in for a series of hip, sadistic riffs on classic chases and shootouts. The distanced gorgeous-ugly spectacle contrasts with the casual, up-close brutality of the brothers dispatching survivors an instant later.
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The movie begins as Charlie and Eli square off against a gang holed up in a farmhouse: we witness the slaughter in flashes of gunfire that cut through the jet-black night.
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Their personalities couldn’t be more different, but when the bullets fly, their brotherly instincts and crack shooting make them a lethal combination. (Reilly’s next role sounds perfect: Oliver Hardy.) He’s also oddly poignant-a hopeful romantic who carries a lady’s gift of a red shawl to remind him of more tender emotions.
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He knows how to get laughs from frustration, notably when Eli hears a thud, turns around, and sees that Charlie is too hungover to stay on his horse.
He brings spontaneous, imaginative energy to his threats, as when he moves his head to jangly music-box rhythms before telling a terrified boss-woman, “You’re not going to like what comes next.” Reilly is a master of marathon slow burns.
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Phoenix, an old pro at inchoate turmoil, proves that he can be scary-funny, not just one or the other, especially when he toys with people who double-cross him or think they can give him the jitters. They’re odd-couple hit men: a sober gentle giant (Reilly’s Eli) and a seething alcoholic killer (Phoenix’s Charlie). Reilly (respectively), are as droll as Reilly and Will Ferrell in Step Brothers. This emphasis on character dynamics serves the film well, and makes it an overall strong noir piece.In The Sisters Brothers- a violent, whimsical, transfixing, and ultimately moving Western-frontier assassins Charlie and Eli Sisters, played with deadpan bravura by Joaquin Phoenix and John C. While offering us the intrigue of a good noir film, Deep End never forgets to keep the emphasis on the characters and their plights. This smart script is complemented by tight direction, which creates a magnificent atmospheric yet intense tone, in the vein of other great noir films, such as In the Bedroom. We understand why they act the way they act, and are therefore invested in both the decisions they make, and the situations they find themselves in. It gives us scenarios that are grounded in reality, characters with motivations and actions that we can identify with.
She is surrounded by other strong performances, the most impressive of which being Goran Visnijic, with whom she held a great deal of chemistry. Swinton's acting range has long been lauded, and here she completely inhibits her character, conveying a powerful sense of desperation, while also employing a smart cunning. What catapults Deep End over typical noir films is, without question, Tilda Swinton. The end result is a film that is smart, engaging, well acted, and often compelling. The story, revolving around a housewife caught in the midst of a blackmail scheme involving her son, is told in way that creates constant tension, being truly suspenseful. The Deep End is a well-executed all around noir, one that features yet another powerhouse performance from Tilda Swinton.
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