The DVD Dissection: The Lookout
Posted by Chad Webb on 08.16.2007
One of the best films of 2007 comes to DVD!
Joseph Gordon-Levitt: Chris Pratt
Jeff Daniels: Lewis
Matthew Goode: Gary Spargo
Isla Fisher: Luvlee
Carla Gugino: Janet
Bruce McGill: Robert Pratt
Alberta Watson: Barbara Pratt
Alex Borstein: Mrs. Lange
Sergio Di Zio: Deputy Ted
Written/Directed By: Scott Frank
Theatrical Release Date: March 30, 2007
DVD Release Date: August 14, 2007
Running Time: 99 minutes
Rated R for language, some violence and sexual content.
The Film
Upon viewing this a second time, I realized how cool it really was. The Lookout is the type of stellar cinema I would watch repeatedly.
The Lookout is not merely a heist film, or just a thriller for that matter. Both of those elements are certainly incorporated, but this is about living with a disability, and how it shapes you, turns your life upside down, and leaves a permanent imprint on your identity. The lead character, Chris Pratt, struggles daily with a head injury he sustained. He is played by Joseph Gordon-Levitt, a rising young actor who is now quite comfortable in the next stage of his successful career. His performances become more intriguing and complex with each passing role. He was fascinating and cool in Brick, a spellbinding high school noir gem, and now he has outdone himself in a film that’s as close to perfection as humanly possible without actually reaching it.
Chris Pratt (Joseph Gordon-Levitt) had it all, a beautiful girlfriend, an expensive car, athletic talent, and numerous peers that worshipped him. Unfortunately, his life is yanked away from him one night when his uncontrolled driving causes a tragic accident, which results with Chris suffering major brain damage, two friends dead, and one with a missing leg. Approximately 4 years later, Chris must use a small notebook to get through the day. He goes to a rehabilitation class for help with sequencing events, works as a janitor at a local bank, and lives with a blind man named Lewis (Jeff Daniels) whom he met while recuperating. All Chris wants is to be normal again, but his impairment prevents him from ever returning to his former self. One day when Chris sits at a bar drinking non-alcoholic beer, a man named Gary Spargo (Matthew Goode) starts up a conversation with him. Apparently he once dated Chris’ sister. Gary offers Chris tastes of what his life once was by accepting him into his circle of friends, and introducing him to an ex-stripper named Luvlee (Isla Fisher). It soon becomes evident that Gary has a premeditated plan in mind. He wants to rob a bank, but needs Chris’s help to pull it off.
Levitt’s transformation from 3rd Rock from the Sun and 10 Things I Hate About You, to parts that are increasingly dark and more haunting has placed him on a powerful new level. He has one of those naturally youthful faces like Leonardo DiCaprio, but that has not slowed him down, or stopped him from establishing himself as a capable talent with integrity. He brilliantly portrays a hot shot student who was on top of the world, but is now somewhat defective dealing with bad motor skills, weak impulse control, and restricted intelligence. If you think it’s easy to play a character that has undergone a traumatic change such as this, just look at anyone in I Know What You Did Last Summer. This is a passionate, profound, and pleasing turn that is not only captivating, but realistic.
It’s hard to compare the Matthew Goode from Match Point to the unplugged depiction viewers receive in The Lookout. Goode is quickly becoming an actor to pay very close attention to around awards season. This is a complete 360 from anything he has ever handed in before. Although Imagine Me & You was a poor dramedy about lesbianism, Goode’s efforts were stellar. With a shaved head, goatee, tattoos, and a leather jacket, Goode is gritty, manipulative, and lingering as Gary Spargo. His intentions are basically obvious, but it is the way in which he slowly, but surely lures and charms Chris that is so spectacularly managed. This is the modus operandi of delinquents like Gary. They have one priority, and it is not friendship.
Jeff Daniels acts as the blind roommate companion of Chris. This does not exactly sound like a poignant role, but Daniels delivers, and transcends the stereotypical qualities of Lewis to reveal the human underneath. This entire film is filled with facets that could have easily been abused, yet were skillfully conducted. This is one of them. Daniels takes Lewis and unveils his vulnerability, sardonic humor, anger, and astuteness in a most magnificent fashion. In the past two years, Daniels has risen to the top of his craft in The Squid and the Whale, Good Night, and Good Luck, and even Infamous. With or without the beard, Daniels is a joy here as he instantly shines in each and every scene.
Other notable small roles proficiently delineated are provided by Isla Fisher from The Wedding Crashers and I Heart Huckabees. As Luvlee Lemons (that is a stage name), she refuels Chris with new happiness…so to speak. Bruce McGill has popped his head into numerous films over the years, but he is truly convincing as Chris’ father. In a short time, McGill conveys the frustrations a parent faces now that his son cannot function normally. Carla Gugino is also satisfactory in her one scene at the beginning.
What I love about cinema is when someone can take a simple and basic premise, and convert the substance into an extraordinary form of art. That is what Writer/Director Scott Frank accomplishes during his first time at the helm. His screenwriting on Minority Report, Out of Sight, and Dead Again speaks for itself. Frank saw beneath the surface of Chris Pratt, and evoked both his physical and psychological dilemmas. This is a young man that is hurting inside, but Frank does not exploit this character by focusing on his popularity, he exposes the side of Chris that is not always in the spotlight. The opening minutes exhibit the horrific car crash, and it is a gripping sequence. Chris turns off the lights of his Ford Mustang, and shows his friends a road which is suddenly lit up by thousands of fireflies. This was visually stunning, especially blended with the pulsating score by composer James Newton Howard (Batman Begins, King Kong), and Frank made the wise decision to insert this right away in order to hook every single presence gazing up at the screen.
Flashbacks and dreams are utilized, but not in the way that they appear as filler material. This is vital information to the plot. It is not forced upon viewers all at once either, but steadily, step by step, disclosing various points that fit the pieces of the puzzle together at a leisurely pace. The mood and atmosphere of Kansas City, where the film is set, is eerily reminiscent of Fargo to some extent, by mixing authentic thriller elements with a harsh snowy background. Shades of Christopher Nolan’s masterpiece, Memento can be found here as well, but Chris’ troubles are more complicated, and demand further examination. A few portions can be carped about, but to dwell on them is ridiculous.
Chris Pratt is a vulnerable young man who is looking for someone to pay attention to him, respect him, and aid his internal scars out of compassion, not obligation. That is why he ends up in the situation he does. He has not healed mentally from the accident. Any man like Gary Spargo could have been waiting to corrupt his mind, and that is where the thriller aspects come into play. This is not about the other people in the wreck, it is about Chris. The audience is viewing things from his point of view; hence certain characters are not the focus. The rules are broken in that they are apart of his life, but we must read into them ourselves. Expecting the minor ones to return would make for trivial and unnecessary added minutes to the running time. With the possible exception of Isla Fisher, every character is provided with the justified amount of dialogue and scene appearances.
The Lookout is a breath of fresh air before entering into the summer blockbuster season with crowded theaters and unruly gatherings of ticket holders. For casual viewers, you will not grow tired, or restless with the storyline. It will excite, arouse, and awaken the senses. The film aficionados will no doubt have a smile across their face as they admire this exemplary submission from Scott Frank, a man who has proven to possess a keen eye, gentle hand, and cautious approach that will hopefully create many more exceptional films in the future.
The Audio
The sound is managed very agreeable and healthy from start to finish. Much of the film is talked until the action picks up toward the end, but each transition is pitch perfect. Chris’ alarm clock, the music, the gun shots, and all the sounds of the tow, are rendered to thriving effect. Every person was lucid, understandable, and clear throughout with no distortion or fuzzy spots. This features a French language track, and subtitles in French and Spanish. A Dolby Digital 5.1 audio option is also available.
The Video
Being a neo-noir film, the resulting picture is dark, moody, and filled with dazzling uses of shadow and light. The balance of color is first-class, and true to what the filmmaker would have wanted. This is rich with an absorbing atmosphere, and this transfer illustrates how detailed, deliberate, and undeviating Frank’s approach was. The town setting, costumes, and various shots are great examples of how rhythmic and lingering each sequence is. This is presented in anamorphic widescreen with an aspect ratio of 2.40:1 that is enhanced for 16x9televisions.
The Packaging
The Lookout is distributed in a standard black keep case some artwork that would have been more attractive as the original poster, but I always say that, and it never changes. Anyway, the menus are nice, and a chapter listing sheet is inserted.
The Extras
Audio Commentary - This includes Writer/Director Scott Frank and Director of Photography Alar Kivilo. Frank makes many statements on the mistakes he made in his rookie venture here, but that’s to be expected I think. I would be critical of my first effort also. I loved how this track had very little blank spots. Both men are very intelligent, and have no trouble discussing varying topics throughout the running time. They shed light on many key scenes, and describe important details about them. This is a fine little commentary that is of course good or b ad depending on well you liked the film. Admittedly, certain conversations are more interesting to them than they are to us listening, but this is rare. What keeps us going is how engaging the voices of the commentators are. These two are very clear laid back.
Behind the Mind of Chris Pratt (9:25) – The first of two mini-featurettes focuses on the character of Chris Pratt, and his disorder, which is known as a moderate traumatic brain injury. Interview with Gordon-Levitt, Daniels, and Scott Frank are included. Gordon-Levitt chats about the research he did, working with the director, and how he chose to play Pratt. I approve of extras like this. It is better than nothing at all, and the interviews are always delightful to watch.
Sequencing the Lookout (19:58) – This mini-documentary is divided into many sections such as script making, actors, telling story, and so forth. This is your typical making of bonus that touches on all the stuff one would expect. The weather, locations, light of day, risks of the project, etc. are all appropriate. Some nifty tidbits of info are revealed. As is the trend with many Independent DVD’s these days, not many special extras are given, but what is here, is fantastic.
Sneak Peeks (15:31) – Trailers for the DVD’s of Renaissance, Neverwas, The Hoax, Our Very Own, Becoming Jane, Eagle vs. Shark, and The Invisible are available to watch when the disc is popped in, or from the menu.
The Film: 9.5/10.0
The Audio: 9.0/10.0
The Video: 8.5/10.0
The Packaging: 7.0/10.0
The Extras: 8.0/10.0
The 411: The Lookout should have had a bigger audience while in theaters, but now that is has arrived on DVD, I urge everyone to give it a shot, and discover the brilliance of Joseph Gordon-Levitt. The rest of the cast is outstanding also. Matthew Goode, Jeff Daniels, and Isla Fisher supply haunting and mesmerizing performances. It is impossible not to appreciate the abilities of Writer/Director Scott Frank. His actions are carefully executed and delivered with a profound vision. The storyline structure is just electrifying, and because of how passionate the cast and crew are towards their individual tasks, The Lookout takes a relatively worn premise, and converts it to something extraordinary. This is destined to be a noir-ish cult classic much like Brick was. Go rent it.
