TIFF Review: Into the Abyss

Into the Abyss

The issue of capital punishment has always been a hot topic of debate. Should someone die for the crimes they have committed? What if the crime was taking the life of another? Who has the right to judge who lives and who dies? Depending on whom you ask, the answers will vary drastically. Even I find myself wavering on which side of the fence I stand. It is one thing for me to say I am against capital punishment, which I am, but I honestly do not know how I would feel if I was in the same situation as the victim's family.

In his latest documentary, Into the Abyss, director Werner Herzog is clear on his stance against capital punishment. Herzog even goes as far as telling his interview subject Michael Perry, a convict schedule to die within 8 days, that he does not have to like him but respects his right to live as a human being. Into the Abyss pieces together the events of a triple homicide that took place in Conroe, Texas ten years ago. Despite each proclaiming their innocence, Perry and his friend Jason Burkett where convicted. Burkett only got a life sentence, for the senseless murders that resulted from a botched car theft scheme.

Herzog does not question whether or not Perry and Burkett are innocent, as he can only present the facts that are documented by the police. The versions of the events that both Perry and Burkett recount are vastly different from each other. The only commonality being that each man places the blame on the other for the crime. The fact that both men were in their teens at the time makes their crimes even more disturbing. Herzog skilfully uses testimony from Perry and Burkett, as well as those who knew them in the community, to show how poverty and a recurring cycle of drug abuse and violence inevitably lead the men to their current place.

Into the Abyss does not only focus on the crimes that people commit, but also those affected as result of it. This includes everyone from the families of the victims, the preacher who prays with the death row inmates in their final moments, and even the prison guards responsible for strapping the men like Perry onto the tables where the lethal injection will take place. The fascinating thing about Herzog’s conversations with these individuals is how each person, especially the victim’s families, are deeply scarred in some form or another yet still believe that life is not something the legal system should be taking away from people. In one powerful moment a prison guard ask the question “how are you going to live your dash?” He is referring to the dash that appears on tombstones in between the date of birth and the date of death. That dash represents our entire lives and the choices we make within it.

Despite the heavy subject matter, and being far more restraint than in previous films, Werner Herzog still manages to inject the film with moments of genuine humour. Whether it is discussions on squirrels, conspiracies surrounding how Burkett’s wife got pregnant despite never consummating the marriage, or tattooing the name of a girlfriend on an arm, there are plenty of lighter moments that help Herzog to reaffirm how life, even in its simplest moments, is wonderful. Into the Abyss may feature a more subdued Herzog, but it is still a documentary that should not be missed.

Lieutenant’s Bad Habits Good for Caged Prisoner

The Bad Lieutenant: Port of Call New Orleans

In my brief time on this earth, I have seen 43 films starring, featuring, or directed by Nicolas Cage. I am not bragging, in fact, I am ashamed to admit this. The majority of those 43 films have been infuriatingly bad, yet I always find myself going back for one more round of Cage. If this was a marriage, it would surely be an abusive one. After 43 films, and thanks in part to The Bad Lieutenant: Port of Call New Orleans, I think I have finally figured him out.

Nicolas Cage, similar to Hollywood stars such as Halle Berry, needs an outstanding director to work with, one who knows how to navigate his rocky terrain in order to find gold. Left in the hands of anyone else, the results can be disastrous beyond belief. When I look back at all of Nicolas Cage’s finest performances, the thing which standouts most about those films is who was behind the lens. If you can overlook Michael Bay’s inclusion on the list, ten of Cage’s top eleven works were directed by the likes of: John Dahl, The Coen Brothers, David Lynch, Mike Figgis, Norman Jewison, Martin Scorsese, Spike Jonze, Ridley Scott, John Woo and Werner Herzog.

Although Werner Herzog has been working for years, I was first introduced to his films through Grizzly Man. I was not too fond of the film, but I absolutely loved Herzog’s film Encounters at the End of the World which he made a few years later. In many ways, the sly, and at times absurd, wit that Herzog displays in Encounters is good preparation for the craziness that he throws at the audience in Bad Lieutenant: Port of Call New Orleans

Loosely based on the 1992 film, Bad Lieutenant, directed by Abel Ferrara and staring Harvey Keitel, Port of Call New Orleans looks at the year in the life of corrupt detective, Terrence McDounaugh (Nicolas Cage). Pill-popping Terrence is trying to solve a homicide case, but keeps getting distracted by his many vices. When he is not hanging out with his prostitute girlfriend, Frank (Eva Mendes), he spends his days stealing drugs from club goers and avoiding his bookie persistent whom he owes a lot of money. As Terrence spirals out of control, the line between good and evil become increasingly blurred. Soon Terrence finds himself partnering up with drug kingpin Baby Fate (Xzibit), who happens to be the lead suspect in the murder case McDounaugh is investigating.

Although similar in theme to the original Bad Lieutenant, Werner Herzog’s version is different in practically every way. I found that Herzog’s version was much lighter in tone, almost boarding on farce in several occasions. The off-kilter humour, coupled with Nicolas Cage’s wildly creative performance, makes for an oddly entertaining film. Herzog really does a great job of not only bring you into Terrence’s drug hazed world, but making it all seem natural.

While not quite as strong as Bad Lieutenant, Port of Call has its own unique charm that allows it to co-exist nicely with the 1992 film. The film tends to lag in a few parts, but really, it is not that noticeable. The Bad Lieutenant: Port of Call New Orleans is one wild ride that was far more entertaining than it really should be.