Review of “Black Snake Moan” & “Zodiac”

David Fincher, yes, you, the director of “Zodiac,” listen up. Repeat after me: Less is more. Again: Less is more. One last time, so you’ll remember: Less is more.

Fincher’s new film is a compelling look at those who became obsessed with the Zodiac killer, the serial murderer who transfixed and terrorized California in the late 60’s and early 70’s. Those enthralled with police whodunits — Who isn’t in this age of CSI Steubenville? — will find this mesmerizing cinema. The problem is the film goes on. And on. And on.

Fincher has said that the entire two hours and forty minutes were necessary. He should have trusted a good film editor. At one hundred twenty minutes, “Zodiac” would have been taut and award-worthy.

This is a true story. It is said by those involved in the real deal that Fincher gets the details right. Mark Ruffalo plays the lead detective, trying to solve the case. He is full of resolve. He is frustrated with impediments to solution at every turn. Jake Gyllenhall plays an editorial cartoonist who becomes obsessed with discovering the killer’s identity. Robert Downey Jr. plays the San Francisco Chronicle reporter who became intimately involved inside the story he was covering.

As always, Ruffalo is a stalwart. He’s steady, reliable, most professional. It’s a character who might have been overplayed. There are no faux fights with his boss or partner. It’s a good thing. He doesn’t get unduly hyper. Downey Jr. always overplays his characters a bit — sometimes a lot — but he gets away with it. He certainly does here. He’s an alcoholic and a drug addict, so, hey, typecasting ‘r’ us. The camera loves Downey Jr., who is inclined to posture. He’s just a hoot to watch even if he does chew scenery. His is ever a compelling screen presence. Fincher gives Gyllenhall some face stubble so he doesn’t look 14 years old. Doesn’t really work. Jake will look 14 when he’s sixty four. But he’s serious about his acting chops and his character is well conceived and rendered, if a might out of control as the film wends to conclusion.

If you’re familiar with the Zodiac case, you know it was never solved. Which may be a problem for today’s film goers who insist on resolution. It mattered not a wit when considering the quality of the movie. This film is about process and investigatory tedium and the obsession that overcomes those who care and are involved in such a high stakes cat and mouse chase.

If you forget about the length — not easy if you find yourself looking at your watch — Fincher has done a superb job. The film is of the time and place. What’s not to like about a soundtrack that includes classic Santana and Donovan?

The director is best known for “Se7evn,” “Fight Club,” and “Panic Room.” (Here’s a rental tip: His best flick is “The Game.” Check it out.) “Zodiac” is a worthy addition to his resume.
* * * * *

Speaking of directors who try to do too much, let’s talk about Craig Brewer. To much acclaim, he was in charge of “Hustle & Flow” several years back. It was around at award time. He’s back with the provocatively marketed “Black Snake Moan.” The poster features a glowering Samuel L. Jackson, with subservient Christina Ricci, chained at his feet.

If only Brewer had made this a true B movie. Instead he essentially remade “Hustle & Flow,” with similar high-minded intentions to deliver a message. A somewhat mean but repentant black man is looking for a way out, looking for redemption. A petite poor white trash sex bomb overcomes her meager lot in the end. Music as the catalyst for salvation. The audience walks out of the film with a salacious smile, convinced its seen something, well, “important.”
Don’t misunderstand. “Black Snake Moan” is evocative film fare. It just strives for too much message that becomes garbled in lost detail. Ricci’s character is a nymphomaniac, a legitimate affliction that is harshly overwrought in the character. Jackson finds her half dead by the side of the road. He wants to help her, not take advantage. So he chains her to his radiator at his home. And forgets to give her some proper clothing. She, of course, wears her short shorts and cut off stars & bars t-shirt for most of the film.

Justin Timberlake does an better than ok job as her anxiety-ridden soldier boyfriend, but there’s too little back story to make any true sense of his important role near the flick’s finale.

It’s enjoyable but could have been so much better.