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When arrested for stealing, Brian is forced to confront his life, attending Alcoholic Anonymous meetings for his addictions. You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. We want to hear what you have to say but need to verify your email. Please click the link below to receive your verification email. Cancel Resend Email. You might also like. Rate And Review Submit review Want to see.
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How did you buy your ticket? View All Photos Movie Info. Crime has always been part of their lives, and now they find themselves on the payroll of a hoodlum named Pat Kelly Brian Goodman. While Brian sinks deeper into the criminal cesspool, Paulie plans one last heist, one that he hopes can pull them both out of their dead-end lives. Crime, Drama. Brian Goodman.
Dec 12, limited. Apr 28, Yari Film Group. Mark Ruffalo Brian. Ethan Hawke Paulie. Amanda Peet Stacy. Will Lyman Sully. Brian Goodman Pat. Donnie Wahlberg Det. Lenny Clarke Hogie. Angela Featherstone Katie. Lindsey McKeon Nicole. Brian Goodman Director. Brian Goodman Screenwriter. Donnie Wahlberg Screenwriter. Paul T. Murray Screenwriter.
Bob Yari Producer. Marc Frydman Producer. Rod Lurie Producer. William J. Immerman Executive Producer. Peter McIntosh Executive Producer.
Chris Norr Cinematographer. Robert Hoffman Film Editor. Alex Wurman Original Music. Henry Dunn Production Design. Roemehl Hawkins Costume Designer. There's little plot to latch onto here, just a string of seedy vignettes with Brian and Paulie as they violently work over their neighborhood for profit while keeping peace with local crime bosses and tending to nagging domestic duties.
Murray, based loosely on his own experiences isn't consumed with an exhaustive narrative drive that pushes the duo to a tightly scripted breaking point. Instead, the films plays loose like jazz, wandering around rooted South Boston locations built on criminal whim, gathering atmosphere to embroider the characterization and harvest enthralling, unexpected angles of tension.
It's a direct punch of filmmaking from Goodman that takes a few moments to accurately process trajectory, but soon begins to show remarkable depth and command of the Beantown felon maze. While the gentlemen portray common thuggery with all the profanity-laden machismo they can muster, the dimension of the roles is located within the consequences of their actions, as both Brian and Paulie labor to keep their heads above water. Programmed to lie, steal, and cheat at a tender age, the pair exhibit little control over their lives, a problem exacerbated by Brian's dalliances with crack and booze.
Goodman doesn't push sympathy here, he just underlines the vulnerability, especially when Brian seizes a jailhouse opportunity to rebuild his life through proper channels of employment and domestic respect. Ruffalo is a marvel in the role, nailing Brian's gut-churning typhoon of emotions with a special collection of defeated reactions that are far and away the most compelling and natural moments of acting to ever emerge from this actor.
Hawke nails his provocateur moments with silver-toothed allure, and Peet gives a standard wifely plea role some needed hurt, but Ruffalo conveys colossal turmoil with minimal showmanship, helping Goodman find needed elements of shame that make the material all the more hypnotic. Forget about the relentless cop character played by Wahlberg looking to harass Brian, the booze-guzzling Boston brotherhood who keep the characters company, and the lure of recidivism as Paulie plots his armored car takedown dreams.
We've all seen these moments before. Instead, plug into the elegant emotional current of the feature, observing these actors attempt to articulate the hopelessness and exhaustion of lawlessness. The beauty of this film is found in less obvious areas, and while the effort could incite impatience, the reward is the opportunity to watch a crime film actually honor the concept of silenced redemption without the use of hackneyed acts of tragedy to sell the gravity of the situation.
December 17, David Noh Film Journal International Been there, seen that—many times—is the best one can say for this wholly predictable autobiographical account of a life in crime. Mark Ruffalo has always struck this critic as one of the most interesting, appealing actors in the business, deserving of strong, tailor-made vehicles.
Sticking with him through thick and thin is his slightly better-adjusted boyhood pal Paulie Ethan Hawke , who joins him in running shady little errands for Pat Brian Goodman , the local kingpin. Hawks works overtime with pit-bull intensity, but, as usual, comes off as merely manic, lightweight and actor-y.
Peet does a credible Boston accent but is—surprise! Murray - generally does a nice job of infusing the proceedings with a gritty sensibility that feels authentic, yet it's hard to deny that there's just something egregiously familiar about the whole thing.
The uniformly superb performances notwithstanding - Ruffalo and Hawke's expectedly stellar work is matched by a supporting cast that includes Wahlberg and Amanda Peet - What Doesn't Kill You primarily unfolds in a manner that's often just a little too reminiscent of other efforts set within South Boston's rough streets. That being said, there's no denying that the film improves considerably once it hits the one-hour mark - as Goodman's decision to take the proceedings into an entirely unpredictable direction proves effective at resuscitating the viewer's dwindling interest.
The end result is a sporadically stirring endeavor that undoubtedly benefits from Ruffalo's electrifying turn as Brian, and it's consequently not a stretch to label What Doesn't Kill You the best of Ruffalo's three film fest flicks after Blindness and The Brothers Bloom. The movie is surprisingly uninteresting and not dramatic for all the dramatic things that happen.
Ruffalo and Hawke are both terrific actors, but neither does anything special here. It's nothing extraordinary--it just is, and there's something endearing about that. Ruffalo deserves his due. Ruffalo and Hawke are very well cast. I was so engaged watching the film, I never commented on my girlfriend's new wig until we were sitting in a restaurant eating a late night meal.
Actually the waiter commented on her great hair style. I took a real look at her and realized "OMG she was wearing a wig. Not that it looked like a wig.
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