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What Doesn’t Kill You is a gritty crime thriller that was remarkably able to make its way past so many in 2008, and credit must be given to character actor and novice film-maker Brian Goodman for making pop genre films. He indeed did a commendable job in this movie.
You would at least expect to find a good Boston crime picture or a good Mark Ruffalo, who is by the way, one of my most admired actors these days. He gave an astounding leading performance in this movie.
The fact that this was Goodman’s first feature film makes it even more remarkable, since it radiates a sure exquisiteness similar to that of the films Gone Baby Gone, The Departed, and Mystic River.
Brian, played by Ruffalo, and Paulie, played by Ethan Hawke, who is also wonderful in the other role, practically grew up together. Their friendship blossomed in the tough neighborhood of Boston’s Southie, which has contributed to a life of crime. They have a perpetual boss named Pat Goodman who clutching their earnings. Things take a turn when Pat is jailed. Brian and Paulie begin to take on jobs independently, outside of Pat’s periphery.
Brian then becomes a drug addict, which infuriates Paulie. This escalated addiction takes a toll on his now horrid marriage to Stacy, played by Amanda Peet who, as always, is dependable. All of these events put Paulie and Brian on the verge of impulsively deciding whether or not to pull off a massive heist, robbing an armored truck, which could be the most lucrative job they have ever taken.
The movie is primarily a straightforward crime film, but as it reaches its conclusion, you start detecting all the bits of detail that have been cleverly added around the dirty corners. All of the elements of the genre are present: loyalty, friendship, honor, betrayal, love, and anger. However, none of it seems overused and cliche. Then one fact hits you, this is a true story, one that is based on Goodman’s life, and now we see why the movie is so riveting. Ruffalo is playing Goodman.
Goodman, who co-wrote the screenplay with Donnie Wahlberg and Paul T. Murray, directs with a grace and cold elegance that mixes perfectly with the wintery setting to the story. Goodman’s elegance in direction comes off as very effortless. Christopher Norr’s desaturated and grey-hued cinematography fitted perfectly the tone of the surroundings and morality of the characters.
One of the most important functions of Wurman’s score was that it increased the drama considerably but in a reserved manner, making sure not to conflict with any of the action or the performances. If the Yari Film Group had not gone bankrupt around the time this film came out, I believe that there would have been a good chance that Ruffalo would have been nominated for an Oscar for Best Actor. He was that great, and finally snagged a juicy lead role after all those years of interesting supporting parts.
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