Daniel Barber's Harry Brown (2009)

To those of you who thought that Gran Torino would've been better if Clint Eastwood had channeled his 70s era self and shed some young gang banger blood -- Harry Brown is the movie for you. Michael Caine plays, you guessed it, Harry Brown, a retired ex-Marine widower who lives in a, how shall I say it, less than savory housing project. You see, the local youth has a penchant for driving around on motorbikes and shooting young mothers to death, selling smack in broad daylight, and generally scaring the living daylights out of anyone who dares cross their path. After Harry's only friend is brutally murdered by the gang, our geriatric pensioner sets out to put things right in his neighborhood. What follows is a grisly and satisfying, if somewhat unbelievable ride through one man's quest to clean up the streets -- no cape and cowl needed.

Predictably, Caine is fantastic in the role. When we first see Harry Brown he is a relatively meek man, or at least not a man prone to confrontation, much less violence. A theme throughout the beginning of the film is Brown's reluctance to travel the pedestrian subway, even if that means missing his comatose wife's last breath. His ill-fated friend and frequent chess opponent takes a more aggressive approach towards the young gang that is terrorizing their neighborhood. This approach proves to be an unwise fit for this particular pensioner and it is only after his friend's death that Brown finally snaps. Caine plays it straight, with no histrionics, opting instead for a very subtle slow burn. The gravitas and screen presence that Caine brings to the role can't be overstated and he effortlessly shows us a man who used to be a killer but has moved on in his life. His wife, his friends; they have helped to turn him into the kind and gentle old man that inhabits the first act of the film. However, with all of these calming influences gone, Brown soon reverts to the violent and aggressive tendencies of his past and the result is a thoroughly engrossing, if at times hard to watch, spectacle of bloody revenge. Emily Mortimer plays the inspector who, while investigating the death of Brown's friend, soon begins to suspect that the gentle old witness may be doing his best Charles Bronson impression. Sadly, Mortimer is largely wasted in the role, only getting to show her talents as an actress in the film's final reel. The rest of the cast does a fine if not entirely memorable job, but make no mistake, this is Caine's picture through and through.

Barber's direction, in his first feature-length effort, shines in just the way it should as he utilizes many long shots, many of which are eye-catching and creatively framed. This is not a flashy movie, and nor should it be, but Barber knows when to hold back and when to spice things up, such as the opening scene captured on one of the young thug's cellphones. For such an unassuming and straightforward picture, Barber manages to create a memorable look and feel which is no small feat and thus deserving of acknowledgment. The film's message, and underlying tone, however, is a little bit muddier territory. It's important not to delve too deep into the underlying theme of Harry Brown as the film does seem to deliver the message that it's OK to take justice in to your own hands and ruthlessly murder and torture in the name of the common good. That said, the audience must realize that this isn't Michael Clayton, nor is it Gone Baby Gone. Harry Brown is not a morality play, but a modern-day Death Wish, starring the one and only Michael Caine, and it aims to entertain. Mission accomplished. While currently showing only in England, I have high hopes that we will soon see Michael Caine unleash his brand of blood-soaked justice on American shores. 4 out of 5 stars.