L.I.E. (Unrated Version)

New Yorker | minutes | | | Standard DVD reviewed by: Fusion3600

Howie Blitzer (Paul Franklin Dano) is a fifteen year old living in Long Island, but his life is not all that he would like it to be. His mother was killed in an accident on the Long Island Expressway and his father Marty (Bruce Altman) has been unable to give him the support he needs, to say the very least. His dad is always busy with work and when he is home, he is yelling at Howie or having sex with his new girlfriend. He has found some solace with his friend Gary (Gary Terrio), to whom he has unusual attractions and gets into some nefarious activities with, mainly breaking into homes in the area. The two friends and a couple of others will storm into a house, grab everything of value they can, then just sit back and enjoy the newfound riches. Gary plans to use some of the money to leave town and of late, Howie has wished to join him. But when the two break into the house owned by Big John Harrigan (Brian Cox), Howie's life is altered forever. Big John is an ex-marine and a pillar of the community, so Howie knows he could be in real trouble. His father now under investigation for underhanded business tactic and Gary becoming distant, Howie finds himself getting closer with Big John. As Howie soon discovers, Gary had some secrets he withheld from him but Big John has some secrets of his own...

Although a lot of films use controversial topics as their basis, most tend to use the subject matter for shock value and little else. In L.I.E., we have an example of how controversial material can be explored without resorting to mere shock tactics, but I have to be honest, it still contains some moments that will stun some viewers. In other words, L.I.E. deals with subjects that will shock some people even though the material is not exploitative, as even in this modern age, some topics remain off limits for most audiences. In this case, child molestation is the main issue at hand, but the film takes a closer, harder look at the kind of people involved on both sides, both the older man and younger boy have perspectives here. In the end, I'd say L.I.E. is more of a character study almost, as more time is spent learning about the characters, as opposed to lurid scenes or the like. Yes, L.I.E. still comes across as an unabashed, sometimes shocking piece of filmmaking, but give credit to director Michael Cuesta, as he refuses to let his film be simple exploitation. I highly recommend this film to anyone interested and New Yorker has issued a terrific disc also, so whether you rent or purchase, your money is well spent. If you do decide to pick this up, be aware that New Yorker has released two versions, so make sure the unrated one is the one you grab, as that is how the film was intended to be seen.

This is the kind of role that takes immense skill to pull off, but Brian Cox is able to do so in grand form and deliver a stunning performance. In truth, his work here is downright chilling at times, as he is able to seem so restrained, but we know that predatory instinct lurks just below the calm surface, powerful stuff indeed. Cox is best known for countless smaller roles in high profile films and in most cases, he adds depth and steals several scenes. He is the kind of actor you don't always recognize at first, but once you look closely, you remember who he is. This means his presence isn't a distraction, unlike some actors who you instantly recognize and in that moment, you're taken out of the picture. Other films with Cox include Manhunter, The Minus Man, Rushmore, Super Troopers, and The Rookie. The cast also includes Paul Franklin Dano (The Newcomers, The Palace Thief), Bruce Altman (Rookie of the Year, Changing Lanes), Billy Kay (Nathan Grimm, Time Share), and Marcia DeBonis (The Truman Show, Angela's Ashes).

L.I.E. is presented in a 1.85:1 anamorphic widescreen transfer. I was surprised to find such a rich, vibrant image on this release, as I expected a solid, but limited visual presentation. But New Yorker has done some fine work here, giving us a clean and very sharp overall picture, terrific work on all fronts. The colors come through as bold and bright, but also natural in scope, while flesh tones remain warm and normal throughout. No issues with contrast either, as black levels are well balanced and detail is strong at all times. I commend New Yorker for their work on L.I.E., as the movie looks better than I ever expected.

The audio here is basic on the whole, but that is all we need really, as the film is driven by dialogue and low impact audio. At times, the music will pick up and enhance the audio environment, but in the end, this is a conservative experience. No complaints however, as the material is well represented and that's what matters, of course. The various sound effects come through well and dialogue is razor sharp, no flaws in the least there. Not a memorable track, but it covers the bases and that's all we can ask in this case.

The main draw here is a pair of audio commentary tracks, one with director Michael Cuesta and the other with star Brian Cox. Although both have a lot of silent spaces, I found them to be interesting and worthwhile sessions. Cuesta talks about how some of the scenes were filmed, why he took on this subject matter, and details some of the obstacles involved, while Cox provides an actor's perspective, as expected. I think both could have been combined to cut down on silence, but in any event, fans of the film will be pleased with both. This disc also includes a selection of deleted scenes, as well as the film's theatrical trailer.