Out of the Furnace review: brothers in yawns

Get new reviews in your email in-box or in an app by becoming a paid Substack subscriber or Patreon patron.

Out of the Furnace yellow light Christian Bale

A pungent reek of testosterone stinks up this high-toned apologetic for vigilantism and revenge. Still: great performances!
I’m “biast” (pro): nothing

I’m “biast” (con): the trailer looked like the film was treading well-worn ground

(what is this about? see my critic’s minifesto)

First scene: Woody Harrelson rape-ily shoves a hot dog down a woman’s throat, and then beats up a guy who points out that, hey, buddy, not cool. Woody (The Hunger Games: Catching Fire) is the villain, so this is “okay,” but that’s the sort of movie you’re in for here. The pungent reek of testosterone off screen is deafening. Oh, is that a mixed metaphor? Kinda like the title of the film: out of the furnace… and, what? into the frying pan?

Writer (with Brad Ingelsby) and director Scott Cooper follows up his first film, Crazy Heart, with a similarly familiar tale of manly dysfunction, one he is desperate to inject with a sense of Significance. Upshot: this ends up little more than a high-toned apologetic for vigilantism and revenge. Cuz the movies haven’t seen enough of those.

Christian Bale’s (American Hustle) Russell Baze is “the good brother” to younger Rodney (Casey Affleck: ParaNorman), constantly saving his ass when Rodney owes too much money to the wrong people, etc. But even though this is Russell’s story — there’s some no-good-deed tragedy that befalls him, for instance, because he can’t help himself looking after Rodney, who is majorly fucked up after too many tours in Iraq — there is precious little drama in it. The plot treads water for fully half of its two-hour runtime before the actual story kicks off; even that tragedy is presented and dismissed with a stunning lack of drama. A protagonist standing around a rundown mill town waiting for something to happen to his brother — Rodney gets mixed up with illegal bare-knuckle fighting, so that was bound to happen; also: testosterone! — so he can finally do something does not a satisfying story make.

The whole shebang is all to support, I suspect, the visual metaphor Cooper makes love to, intercutting Russell on a hunting outing and the buck in the woods he just can’t shoot (but which ends up dead anyway) with Rodney getting into big trouble with the gangsters he has pissed off. It never really makes any sense — is Rodney helpless prey? should Russell have shot his brother in the head to save him from the bad guys? — but it sure does feel Significant.

Still, with a cast like this — it also includes Sam Shepard (Safe House), Willem Dafoe (Odd Thomas), and Forest Whitaker (Lee Daniels’ The Butler) (plus poor Zoe Saldana [Star Trek Into Darkness] in the thankless token-woman role) — there is plenty to satisfy your jones for performance porn. But that’s the most enjoyment that can be wrung out of this overly earnest and underly planned flick.

share and enjoy
             
If you’re tempted to post a comment that resembles anything on the film review comment bingo card, please reconsider.
If you haven’t commented here before, your first comment will be held for MaryAnn’s approval. This is an anti-spam, anti-troll measure. If you’re not a spammer or a troll, your comment will be approved, and all your future comments will post immediately.
subscribe
notify of
2 Comments
oldest
newest most voted
Inline Feedbacks
view all comments
RogerBW
RogerBW
Tue, Mar 11, 2014 11:31pm

Oh, I see. We’re supposed to find manly men intrinsically interesting, without their needing to do anything.

Jason
Jason
Thu, Jul 24, 2014 8:00am

Ms johanson, I think you’re analysis of this film was poor at best. It sounds like you wrote this film off before you even started watching, angry that your “feminism” was under-represented in it. All in all, you’re horribly biased and a sub-par critic. I can give you a more detailed critique if you like, just reply.