Running Scared

‘Running Scared as Hell’

I don’t believe I can begin to explain how disappointed I am with Wayne Kramer’s Running Scared starring Paul Walker. I recently reviewed Kramer’s more famous work The Cooler and so when I found out Running Scared was his most recent film, I had to see it. In truth, I feel that Kramer must have been struck by the inconsistency bug since he wrote both films and directed them both but one is infinitely better than the other. The reasons why? The writing, acting, and length.

Notice I did not mention direction because it is obvious in this movie that Kramer is a natural director. The visualization of scenes and shootouts and how to piece it all together must have required great vision and a hell of a lot of planning. The effects are mind-boggling and the editing is exquisite. The only real editing/directorial problem is the time. By the end of the movie, you will probably find yourself in the lobby trying to get away for a breather at least before you have to go endure more badly planned twists and turns. The last 30 minutes of the movie should have been cut down and should have been made clear. I still have no idea what Paul Walker was talking about that caused everyone to kill each other on the ice for the big shootout finale. At least the cinematography never relents. Kramer layers on the gritty feel in the scenes and the lighting and camera angles only accent this visual idea. Now if only it had been a good script.

Kramer’s writing isn’t bad, it just is devoid of almost all character emotions. It rambles and twists taking the audience along for a ride to …? Anyone? It honestly reminds me of Ultraviolet, the sophomoric failure of director Kurt Wimmer which, interestingly, share one of the same kid actors. The story of both tend not to follow any emotional continuity between scenes and therefore are strong on style but very weak on plot and acting. Running Scared almost feels like a poorly sketched commentary on corrupt city society. The cops are corrupt, mafia kills at will, pimps will kill their hoes whom have dreams, fathers are abusive, etc. Only at the end of the film after the fake burial of Walker’s character does it seem that the main character’s find peace out on a farm. Other ideas that support this theory that it is really a commentary on corrupt city society is the John Wayne thing going on with Oleg’s tweaked out abusive father and the stupid lines given by the pimp right before he is killed, “say hello to my little friend”, (WTF!!) and even the tangential storyline of Oleg being kidnapped by some scary crazy child molesters and killers. It makes me scared as hell of ever thinking of living near LA (I think that is where it takes place). However, the twists and turns are never explained in any rational manner. Some of it is honestly just too coincidental to be believable which supports my theory, but takes any emotional interest out of the film. For example, after killing the murderous molesters, Walker’s wife (Vera Farmiga) meets with Walkers character and decides to say then that she has seen real evil tonight. No remorse, just regret, probably at living in the city. Well, enough with this theory, time to move on to the acting theory.

The acting theory for this film is very simple. Perhaps if the leading man had been better or at least a more honed actor, the film and it’s underlining points could be emphasized better and contain more empathy from the audience. Walker plays his character a little too angry and over the top all the damn time and honestly I’m hoping he dies by the end of the movie. The character’s one time to really grab the audience is when he tries to have sex with his wife, a little too roughly, when she doesn’t seem that interested. He comes across as a rascist anti-russian sort of thug. At the end, pointing out he is an undercover cop does not excuse his behavior before. The one saving grace for him and his family is that he never hits his family or even threatens to unless he is joking with them. That is it. He treats his poor ailing father appalingly (who never has a real point in the story). Walker feels like someone just walking through the emotions of anxious, angry, and upset all the time and he is such a crummy person that I doubt anyone cares for him. As for his family, Vera Farmiga does a decent job as his wife and there does seem to be some sort of caring for Walker’s character. She plays the part of the distressed mother well. Alex Neuberger does a decent job of being Walker’s son and even Cameron Bright, whom I wonder about being a potential killer of films, gives a great show. I’m sorry if I seem harsh on Bright, but I haven’t seen much acting out of the kid to warrant being a lead kid actor in two movies now. I will say this, he looks creepy as hell and seeing him with a gun brings back memories of the Gorillaz song “Kids with Guns”. It’s true, the kid would be great in a remake of the Caulkin classic The Good Son. Everybody pulls off only an okay job in this film, which is impressive given the wandering storyline. Yet, the main lead actor, who we as an audience should worry about getting killed, does worse than the rest. I was worried throughout the movie for his family, never for him. Walker shows some possible potential, but right now he needs to focus on expanding himself and stick to supporting roles. He’s just not ready to carry a movie. The only actor I found myself truly interested in was Karel Roden who plays a despicable father for most of the film.

Conclusion

A good try on this film and it is very appealing visually, but Kramer needs to make it more concise and clear as a story just what the hell is going on. It needs some better actors in the cast or at least more emotional writing. Perhaps if Kramer had focused more on the relationships between characters instead of the visual tone, the film could have been better. In the end, interesting but might want to be left off of Kramer’s resume.

2.6 out 5

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