Review by Derrick Carter
Running Time: 1 hour 33 minutes
MPAA Rating: R for Violence and Language
Directed by: Matt Shakman
Written by: Roberto Patino
Starring: Liam Hemsworth, Billy Bob Thornton, John Malkovich, Teresa Palmer, Michael Stuhlbarg, Bruce Dern & Oliver Platt
CUT BANK is a movie that I discovered through its trailer. I previously had no idea this film even existed, in spite of it receiving a VOD release earlier this year and playing a couple of big film festivals last year. The well-cut trailer intrigued me as to whether or not this might be an undersung gem of 2015. So, throwing caution to the wind, I ventured out to the nearest Redbox and spent a dollar to see this flick. It seems that this is one of those many cases where the trailer is better than the movie its advertising, because CUT BANK is a film suffering from both an identity crisis and a bland script. The end result comes off like someone trying really hard to imitate the Coen brothers and not quite understanding what makes their movies work so well to begin with.
Dwayne McLaren and his girlfriend, Cassandra, are recording a video in their small town of Cut Bank, Montana. Their little video shoot goes awry when they accidentally capture footage of a deadly crime in progress. The postman has been shot and killed by a mysterious stranger. Dwayne, who has been desperate to get out of his small town, sees this murder video as a possible ticket for a lot of money. However, the clumsy Sheriff Vogel is investigating the crime and finds that the simple crime is much more complicated than it originally appeared to be. While all of this is going on, creepy redneck Derby Milton is hunting, with deadly determination, for a mysterious package (that has disappeared with the mailman’s body). Through a series of events all of these characters will wind up encountering each other and not all of them will walk away alive.
CUT BANK has a Coen vibe to it, whether that was intentional or not. However, it doesn’t quite have the story to back that up. Once an obvious plot revelation has been revealed in the first third, it becomes pretty apparent where everything will head. The screenplay doesn’t dissuade from that predictable route. One thing that CUT BANK does attempt to do is tell it’s crime story with a sense of humor. There are tense moments as well as attempts at comedy. However, the mash-up of these two genres doesn’t work nearly as well as other, better attempts that have come long before this film (e.g. anything from the Coens or Tarantino). Even with the tonal imbalance set aside, the main two protagonists in this story are ridiculously bland. Liam Hemsworth and Teresa Palmer just don’t sell their characters well, though the writing doesn’t do them any favors either. The likes of Billy Bob Thornton (who recently impressed in the first season of FX’s FARGO) and Bruce Dern (who received a Best Actor nomination for his performance in NEBRASKA) are handed equally boring roles. Thornton acts grumpy (what else is new?) and Dern acts even grumpier. That’s about all there is to their performances.
This movie actually hits its stride in two subplots. John Malkovich is enjoyable to watch as the incapable Sheriff encountering his first murder on the job, which leads to scenes of him throwing up at crime scenes. A couple of Malkovich’s scenes also have him acting alongside Oliver Platt who plays a conniving businessman. However, Platt’s scenes only amount to about five minutes of total screen time. The best character and performance come from Michael Stuhlbarg, who’s unrecognizable as the central baddie. His character is the reclusive Derby Milton, a quiet hillbilly with a mean psychotic temper. Milton is just looking for his parcel and the mystery surrounding what exactly that is has a quirky pay-off, but not necessarily a satisfying one.
CUT BANK is a weird, but predictable, movie that seems to be trying too hard to emulate the Coen brothers. It’s NO COUNTRY FOR OLD MEN by way of FARGO and doesn’t manage to measure up to either of those films or stand by itself. The tonal shifts don’t work nearly as well as the director and writer probably intended them to and the performances are mixed across the board. The best pieces of the film come in Malkovich, Platt, and Stuhlberg. Even then, I can’t fully recommend the whole 90-minute experience for those three performances alone. If you stumble across this on late-night cable or while scanning Netflix out of boredom, then you could do far worse. However, I wouldn’t recommend going through much effort to watch this middle-of-the-road thriller.