Lake George

Ever since his big screen debut in Joel Schumacher's 'Tigerland,' Shea Whigham has been a compelling force. Consistently reliable, he has delivered nuanced performances in everything, from Goran Dukic's 'Wristcutters: A Love Story' to the TV shows 'Boardwalk Empire' and 'Gaslit'. Ever versatile and understated, Whigham brings a captivating authenticity to his roles, always seeming perfectly cast.

That proves to be the case once more in Jeffrey Reiner's 'Lake George.' A comic crime drama, it follows Don, an ex-con. In debt to a gangster, he is hired to kill Phyllis, an ex-employee of the thug. Don reluctantly takes the job, though the savvy Phyllis proves to be more than she seems. She and Don team up, and as they navigate the sun-drenched streets of California, they dodge danger, scheming their way through tricky situations, as they develop an unexpected bond.

Akin to a Coen Brother film or an Elmore Leonard adaptation, it's a fantastic neo-noir, brimming with dark comedy. The narrative unfolds with a blend of wit and grit, with a careful balance of tension and humour. As Don and Phyllis hit the road, one is treated to a taut caper, full of strong dialogue and engaging moments. Reiner's characterisation is deft; every personality is well-rounded. Tense and darkly funny, the film is compelling from start to finish.

Moreover, beneath the surface lies a poignant exploration of redemption and human connection. Don and Phyllis, despite their criminal inclinations, find themselves reflecting on their pasts and questioning their futures in a world that's seemingly set against them. It's this emotional depth, woven seamlessly into the narrative, that elevates the film beyond its premise.

Reiner avoids the usual tropes found in films like this, subverting our expectations. Don is a sensitive soul, who wants nothing more than to get to the eponymous lake and rest. He isn't a stoic gunman, walking with steely determination like Lee Marvin in 'Point Blank.' He's an uncertain chap, struggling with an existential crisis- not exactly your usual main character in a neo-noir. He's a refreshingly atypical protagonist, who is hard not to root for.

In addition, Phyllis isn't just your usual smart-mouthed moll going along for the ride. She's clever, witty and resilient and will do whatever it takes to survive. Her relationship with Don is complex and layered, evolving from mere convenience to a genuine bond forged by their shared struggles. This evolving dynamic adds an emotional resonance, making their journey not just a thrilling romp, but also an exploration of trust and redemption.

One minor drawback is the third act, which feels slightly rote. As the narrative edges toward its conclusion, the film leans on familiar neo-noir beats, such as a predictable final confrontation, that is less inventive and unexpected than previous acts. However, even as it trades some of its earlier unpredictability for convention, the characters' arcs still land with a satisfying resonance, making the climax a powerful moment.

Furthermore, Tod Campbell's vibrant cinematography is striking, enhancing the film's tone and atmosphere. From the busy streets of L. A. to the serene landscapes approaching Lake George, every shot is meticulously crafted. Campbell captures the contrast between the chaos of urban life and the calm, almost dream-like quality of the destination Don yearns for. This visual storytelling not only enriches the narrative but also adds depth.

In addition, Stuart Blatt's production design heightens the film's immersive effect and noiresque qualities. Moreover, Rene G. Boscio's evocative score complements the visual storytelling, underscoring the tension and humour throughout. Brian Beal's editing is also a key factor, establishing a steady pace that never lets up.

Having said that, the film could have easily failed were it not for its two stars, Shea Whigham and Carrie Coon. Whigham delivers a layered performance, showcasing a man torn between his past and his desire for a peaceful future. He makes the fragile Don a compelling character, imbuing him with a sense of vulnerability that is both touching and relatable. Grounded and believable, Whigham is terrific.

Coon is similarly good, blending sharp intelligence with resilience and depth. Her Phyllis is not one to be fooled, and Coon brings a fierce determination to the role that is captivating to watch. She masterfully balances Phyllis's toughness with moments of vulnerability, creating a complex and multi-dimensional character. Her and Whigham's palpable chemistry ensures the film is a smooth ride from start to finish. Meanwhile, all in the supporting cast- particularly Max Castella as one of the gangster's henchmen- deliver strong performances.

With 'Lake George,' Jeffrey Reiner has made a gripping, darkly funny crime flick that is sure to please. Boasting striking cinematography and a stirring score, it works on multiple levels. Reiner reworks the archetypes of noir storytelling- offering a 'hitman and moll' dynamic that defies cliché. His narrative is engaging and the characters within compelling. Stars Shea Whigham and Carrie Coon are both brilliant, while their supporting cast don't let them down. In short, the clever crime caper 'Lake George' makes waves and sails smoothly.

Carrie Coons does an incredible job of making her role completely believable. You are pulled along on her story, never knowing if she is telling the truth or not. Great surprise ending. Ever since the Leftovers I've followed her movies and shows and she never failed to deliver. Wingenhame (?) is also very believable in his role. Never out of character. He was the yacht pilot in the Wolf of Wall Street. A character actor who excelled in this role.

Excellent pace, you never feel that the movie is dragging.

The supporting cast is also very good.

The actors actions are always consistent with the role they are playing.

This movie is far better than its rating.

You won't be disappointed watching it.

Sometimes a decent indie film comes along and makes a pleasant change from all of the big-budget tripe being shown.

Shea whigham is always great to watch and this time plays a down-on-his-luck bum. He approaches a gangster for money he's owed after being in prison.. the gangster refuses the money unless he does one last job. Carrie Coon plays the gangster's humorous ex who teams up with Shea and end up in a few dilemmas.

It's a simpleslow-burn movie but it's definitely an enjoyable film with some nice California scenery thrown in.

I would say it's a comedy/noir/thriller/road movie.

Not bad at all.

The story unfolds at its own pace. Neither lead character is particuarly compelling, but the actors do an excellent job of making the audience care about them. We get just enough back story to be intrigued. This was not meant to be Pulp Fiction or Fight Club. As subdued stories go, this was excellent. There is enough money on the line to make this story interesting. Well-written, well-directed. I would have no idea how much of an audience a film like this can hope for, but I watched a lot of movies, always looking for something different, something to show me a story in a way I haven't seen before and this fit the bill. Well done to the cast and crew. Very glad I saw this movie!

This movie stands tall in its genre (neo-noir). The movie's greatest strength is the chemistry between the two main characters and how their relationships develop throughout the movie.

This is a love letter to some of the most beautiful areas in Southern and Central California and is shot beautifully. The cinematography on display seems to ramp up throughout the movie and gradually becomes grander.

The plot of the movie did more than enough to keep me interested. The ending had me thinking for a few days, which is always a sign that the movie stuck with me.

This is one of Shea Whigham's best performances. Carrie Coon is also great. I have not watched Jeffrey Reiner's work in TV, but this guy is a capable movie director and I hope he makes his transition to movie directing permanent.