The story comes from a pulp fiction novel from the 50s, by author Jim Thompson, and Winterbottom adapted it for the screen.  It centers around Lou Ford (Casey Affleck), a young sheriff in west Texas.  He’s called to run a prostitute named Joyce (Alba) out of town, but he falls in love with her.  Love is probably too strong a word here, since it becomes slowly clear that Lou is a psychopath.  He’s also sleeping with his high school sweetheart Amy (Kate Hudson).  Sex with the two women is rough and sadistic, and frequently enjoys ritual spanking.  There’s a grand, complicated story that explains what his motives are, but he ends up killing Joyce and another man, and framing them for it.  He gets deeper and deeper, and he has to keep working harder to keep himself in the clear.

The film is almost entirely character driven, so it’s fortunate that they are written so well (there’s all sorts of fantastic peripheral characters acted by Elias Koteas, Ned Betty, Simon Baker, Bill Pullman, and more).  All the acting is great, especially Affleck, and even, surprisingly, Ms. Hudson.  Anyone who watches this, and think that this is an endorsement to act violently, is ridiculous, because all of the characters are damaged, unhinged souls with no basic barometer of right and wrong.  Winterbottom (and perhaps the source material, I’m not sure), was smart enough not to ask the audience to put their sympathies with Lou.  He’s insane, dangerous, and unworthy of any sort of mercy.  The full horror of his acts are on display, and it’s hard to stomach.  The most disturbing scene of all comes after he’s beaten Amy to a point she’s unable to control her bodily functions (it seems Kate Hudson is frantically trying to get us all to forget Fool’s Gold).  The plot is complex, and quickly paced, and if you can handle the violence, it’s entertaining from beginning to end.  And, while saying this sometimes makes people dubious, the ending is sufficiently shocking to leave you a little speechless as you leave.

The Killer Inside Me

There is no plot in this film.  Really, there’s not.  It follows two friends, both named Gerry, as they wander into the desert to go to a ‘thing.’  After getting half way to the ‘thing’ they decide to turn back, but they get lost.  For (as I count it) four days, they stumble around the desert looking for their car, climbing hilltops.  Not only are the two both named Gerry, but they use the word gerry (probably why it’s not capitalized on the poster) as a transitive verb, meaning to screw up.  The dialogue is completely useless, never discussing anything of value.  In fact, the most interesting topics talked about are Pat Sajak, and a fictional video game.  Click here for mindnumbing memorable quotes.  The best part of the whole film is the cinematography, which was brilliant.  Filmed in the Salt Flats of Utah, the scenary is breathtaking, and a welcomed contrast to the situation the two twenty somethings find themselves in.

The film is more experimental than it is a coherent narrative.  Director Gus Van Sant chose (well, he was forced by budget constraints) to preserve film.  This led to extremely long shots (some approach ten minutes).  One shot focuses in on the profiles of the the two Gerrys (played by Casey Affleck and Matt Damon who also co-wrote the script with Van Sant) as they walk side by side.  For ten minutes.  In silence.  It’s understandable why this movie decisively split critics.  It seems that Van Sant, feeling a little icky after going so mainstream with his previous three films: Psycho, Finding Forrester, and Good Will Hunting, decided to return to his minimalist indie roots, but went a little too far in that direction.  Despite all the these complaints, I couldn’t bring myself to turn off the film.  Gerry, for one reason or another, fascinated me, and even though I saw another fantastic movie immediately after it, I couldn’t stop thinking about Gerry after both were over.  Check it out if you think you have the patience.

3 out of 4 stars

Rottentomatoes: 61% – Cream of the Crop: 50%

Gerry