The best way to approach Ryan Gosling’s debut as a writer/director is to imagine what might happen if David Lynch were ever to shoot a nature documentary. Or if a consortium of mumblecore filmmakers dropped acid and decided to make a horror film. Something that Terence Malick might have tossed together after bumming around Detroit for a few weeks. The worst way would be to watch the film and try and determine afterwards what that was all about…
Philip Seymour Hoffman and John Turturro in ‘God’s Pocket’ (image courtesy of IFC Films)
For his directorial debut, John Slattery (Mad Men) chose to adapt a seamy crime novel by Pete Dexter, stock it with a couple Academy Awards’ worth of talent—Richard Jenkins, John Turturro, Philip Seymour Hoffman in one of his three posthumous roles to hit theaters this year—and then play the whole thing as a kind of cosmic gag. It very nearly works.
The title comes from the neighborhood where all the action is set. It’s a scabrous, Southie kind of place where the bars are packed, the walls are covered in wood paneling, the air is thick with cigarette smoke and barely controlled rage, the mood black, and the faces white. As the beautiful wounded bird at the center of all the story’s ugliness, Slattery’s “Mad Men” co-star Christina Hendricks plays Jeanie Scarpato. She’s the blinded-by-love mother to Leon (Caleb Landry Jones), a drugged-out, scrubby kid who doesn’t make it too far into the film. He’s so busy at his job one day ranting and raving and spitting racial slurs that when his sole black co-worker clocks him with a lead pipe, it’s a complete surprise…
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