One
of the hallmarks of the noir genre is that no crime is perfect and there is,
ultimately, no escape from the darkness. Independent director Brett
Bentman has been quietly carving out his own niche within neo-noir cinema,
exploring the underbelly of modern-day Texas. His latest offering, Copper
Bill, is a claustrophobic nightmare of things gone awry. Smaller
in scope than his familial epic 90 Feet From Home, this is a criminal
fable about the dangers of greed and the paper tribe loyalty of thieves.
Featuring a plethora of twists and turns, some genuinely hilarious moments in
between the bloodshed, and Bentman's patented stalwart command, this is the
best film of the year thus far.
Degenerate
gambler Jessup recruits fellow criminal Mitchell to invade the home of the heir
of the Cowboy Mafia, hoping to find the score of a lifetime. Things are
complicated when the heiress, a mute femme fatale, enters the fray, leading to
series of double crosses and murder under the blistering Texas sun. Thom
Hallum's performance as Jessup is diametrically opposed to his endearing
performance in 90 Feet From Home. He disappears inside Jessup,
a world weary criminal desperate for a big win. One of the most
intriguing aspects of the film is in how Hallum's chemistry with the other
principles transforms along with the narrative. In the first act, Jessup
appears in control, yet his relationships are at arm's length, both with fellow
criminals and his quarry. This evolves into a form of humorous fatalism
as the walls begin to crash down around him, and it is Hallum's undeniable
charm that sells it.
WWE
Superstar Dustin Rhodes gives the most nuanced performance. His Mitchell is equal parts terrifying,
cunning, and vulnerable. It is a testament to his talent how much his
physicality falls to the wayside during the tense moments in between: whispered
conspiracies and unsaid realities are the fabric of Copper Bill and
Rhodes is a totem of dangerous energy. Katy Harris rounds out the leading
trio as Lilly, the mute hostage who may hold the key to either financial heaven
or bullet laced hell. Her dynamic, particularly with Hallum is the heart’s
blood of the production. In true noir form, the principals vacillate
between hostile enemies and harried bedfellows at the drop of a hat and Harris'
ability to communicate this without speech is remarkable. The supporting
cast includes Arthur Redcloud as a legendary loan shark "The Indian"
and Billy Harris as Brady, a repugnant criminal. Everyone of Harris'
lines are laugh out loud hysterics, a perfect tonal break in the unbearable
pressure of the situation. Redcloud's Indian is a figure of criminal myth
and appalling brutality, and his performance anchors the final act.
Anthony
Gutierrez's cinematography continues to be one of the most refreshing aspects
of independent cinema. While his shots in 90 Feet From Home were
filled with unobtrusive wide shots of the characters and locales, everything in
Bill has a suffocating quality that can't be escaped. Even in the wide-open
shots of the ranch, Gutierrez frames everything; the trees, the blood, even the
characters, as pieces in a game that is almost over. Everything is
brought together with Jeff Hamm's astute editing, allowing things to play out
whenever possible, and using quickfire cuts in several keys scenes to mimic the
sense of confused mystery that hangs over the proceedings.
Debuting
at the end of the month and then hopefully coming to digital on demand as soon
as possible, Copper Bill is a taught, intelligent thriller masterfully
woven together by Bentman and his crew of cinematic rogues. It is films
like this; small, passion projects that are the fabric of film. In a time
when capes and explosions are the ruling class, Bentman et al have chosen to
create a lean, nihilistic, crime caper that delivers everything it promises,
including the realization that this talented group has more offer.
--Kyle
Jonathan