‘Lake George’ Review: Two Fugitives Try Sticking It to the Mob in an Unpredictable Neo-Noir

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As a seasoned cinephile with over three decades of moviegoing under my belt, I must say that “Lake George” is a refreshingly subtle and nuanced addition to the film noir genre. Jeffrey Reiner’s directorial debut, after a prolific career in television, feels like a labor of love, a testament to his formative viewings of classic film noirs and the works of Ross Macdonald.

Jeffrey Reiner, with “Lake George,” embarks on his first indie feature as both writer and director since the 1990s, marking a shift from a long-standing career directing television shows. Drawing inspiration from classic film noirs he watched on TV, this movie, however, bears a resemblance to the somber genre stories of late Ross Macdonald – subtle, witty, melancholic explorations of the complexities and disillusionment in the lives of Southern California residents.

Although this film has a significant number of deaths, the journey taken by uneasy partners Shea Whigham and Carrie Coon feels more like a sorrowful dark comedy filled with blunders, rather than a typical thriller. Even the most aggressive characters exhibit a certain empathy. This thought-provoking production is sure to captivate discerning viewers amidst the influx of flashier year-end releases. Magnet will be releasing it in select U.S. theaters and digital platforms on December 6.

Instead of being like hard-boiled detective Sam Spade, middle-aged Don (Whigham) finds himself in a mundane motel room, struggling to find a reason to rise from bed, apart from the fact his funds are rapidly dwindling. A series of unanswered phone calls illustrates his lack of options: His potential employers seem disengaged or unreachable, and he appears to be distant from his family. It takes some time before we understand the circumstances – including a spell in prison – that led Don to this impasse.

His last resort is a reluctant visit to former boss Armen (Glenn Fleshler), who in theory owes him some cash. But despite living in considerable splendor from various criminal schemes, Armen resents not being even richer — and blames this erstwhile flunky for messing up “so spectacularly that it cost me a lot of money.” As strongarm Harout (Max Casella) looks on, Armen offers a deal: He will cough up the sum owed if Don “takes care of” his apparently duplicitous mistress-turned-business partner Phyllis (Carrie Coon), i.e. killing her. No coldblooded hitman, our hero declines. But he’s given no choice in the matter, so he grudgingly begins staking out the quarry. 

Phyllis, around fifty, is initially seen caring for an elderly lady outside a nursing home. After being kidnapped, she presents herself as an innocent figure caught up in these events, stating that she’s merely the victim of Armen’s unstable affections and the hostility of his loyal followers due to jealousy. Don drives her to a secluded desert area, but hesitates to carry out the act; instead, he tells her she must vanish for both their sakes. Remarkably quick to recover from near-death, Phyllis soon persuades her would-be killer that, given her inside knowledge, they can effortlessly steal Armen’s hidden wealth from various associates’ homes. With this loot, they could then create new identities and move to different locations.

It’s no secret that things aren’t going as smoothly as she claims. In the meantime, Phyllis, who presents herself as the victim, becomes increasingly bold and assertive. Given her claim of never having harmed anyone, it’s surprising how nonchalant she seems about overstepping boundaries…repeatedly.

Traveling from Glendale to the towering Sierras, passing numerous houses burglarized and motels, “Lake George” employs common pulp noir themes, but deviates from the customary melodies. It lacks the usual sexual tension between the main characters; he’s too ordinary for her, and passion might be one of the many things that harsh fate has already stripped away from Don. Although Phyllis’ actions appear more and more like those of a typical, treacherous femme fatale, neither the script nor Coon’s understated performance portray it this way – her actions stem from such casual, impulsive self-interest, she likely doesn’t even perceive them as “wrong.

Phyllis repeatedly claims she’s a good person, but over time it becomes clear that she doesn’t truly believe in such ideals herself. Contrastingly, she comes to view Don as good, perhaps even seeing it as a flaw. Whigham portrays a character so skillfully drawn that the subtle hints of his joy at the end are incredibly touching, despite his character having nearly given up on life after unintentionally losing everything he cares about.

In “Lake George,” the assortment of secondary characters, though vibrant, steer clear of stereotypes. Characters like Armen and Harout, typically associated with violence, surprisingly elicit a hint of audience empathy in the end. The film is frequently humorous, yet never cruel, and without being overly sentimental, it possesses more emotional depth than most films of its kind might attempt. Reiner’s skillful storytelling is accentuated by Tod Campbell’s unpretentious wide-angle cinematography, which gradually captures breathtaking landscapes, mirroring Rene Boscio’s gradual expansion upon his subtly bluesy, jazz-influenced score. The narrative is filled with poignant ironies, yet it is told in a refreshingly subtle and non-exaggerated manner, making for an incredibly rewarding viewing experience.

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2024-12-04 03:16