So much for the writer and director John Lee HancockPsychological cop thrillerThe little things“Seems to be recognizable and predetermined on the surface. The drama features the trope of a grizzled veteran cop (Denzel Washington) in conflict with a talented younger detective who got the grade (Rami Malek), the way they crash, break balls, their various obsessions, a haunted past, and a quirky, suspected serial killer (Jared Leto), don’t be afraid to tease and ridicule the police. But as the slowly burning, seemingly conventional image unfolds and develops, it actually surprises the viewer. Hancock’s picture shows that it has a lot more on its mind than expected and becomes a thoughtful meditation on the rigors of police work and the psychological toll on the soul that comes with it.
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Something like a dad-rock version of “Meat and Potatoes” from “Se7en, ”Or one of David FincherThe biggest psychological crime hit “The Little Things,” nonetheless, is a compelling thriller with a resonant ending that undermines almost all of the traits and expectations of the cop trying to catch a serial killer drama.
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starts in 1990, as a core
The county sheriff’s assistant Joe “Deke” Deacon (Washington) is sent to his old stomp
Reasons in Los Angeles for supposedly routine evidence gathering
Assignment. Instead, the spirits of his past are soon awakened and he becomes involved
looking for an assassin who is terrorizing the city, led by his old police department.
The L.A. County Sheriff’s Homicide Division is at the forefront of the investigation
Sergeant Jim Baxter (Malek).
Baxter’s boss (Terry Kinney) doesn’t want anything to do with Deke and implies that the cop, who lives in a self-proclaimed exile north of town, is Damaged Goods. Yet so much of Dke’s mysterious past taints him – why he suddenly quit the police five years ago after having a heart attack – his reputation precedes him, and Baxter, who shits him but is impressed by his cop instincts, unofficially asks him to recruit Help . Soon, disturbing secrets of Dee’s past emerge in old echoes, and Baxter realizes that the killer they are looking for is the same one the classic car couldn’t catch five years earlier. Obsession is part of the game – it’s the inventory and trading of serial killer films, of course, and those that try to catch them – but surprisingly, not everything is focused on Hancock’s image.
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“The Little Things” is pretty safe in the first act. As the film pinpoints the damage Deke sustained at work – to his previous marriage, health, sanity, and more – it gives a better picture of the cost of the work, the fixations that prevail, and the Lines That Flow From This Some men will cross to find justice.
Hancock is something of a journeyman, but the craft of “The Little Things” is impressive. It’s patient, deliberate, and features stunning nighttime cinematography that allows one to be forgiving of the more conservative elements of the script.
Three Oscar-winning winners go head to toe in the film, and while Washington is obviously the most standout of the trio, Malek and Leto are definitely giving as best they can. Half amusing, compared to most traditional cop drama, “The Little Things” is arguably a subtle testosterone festival. Everyone chews the scene, trying as cautiously as possible, but it’s still recognizable (I can’t help but imagine scenarios in which Malek and Leto are both standing in the mirror and saying to each other: “You” We will this scene own! But be careful! ”)
“The Little Things” may sag a little in the middle as the two detectives approach Leto’s potential killer, but there’s an ambiguity about him and her case that gives the film a certain texture and nuance. Leto certainly seems like the killer, but there’s no trace of evidence to tie him to – and in the past he has confessed to crimes he clearly did not commit. Perhaps this is part of the wise killer’s long game schedule of adding reasonable doubt to the mix, but it creates a scenario where the cops have to start pushing ethical and moral boundaries where “The Little Things” get really interesting.
“It’s never over,” Deke says to himself late at night in a fantastic moment when he sees all the ghosts of the women who have died on his watch, the crimes unsolved. It’s a seemingly questionable choice that might seem really trite and cheap, but Washington is really selling the moment, and that’s all that matters. It is clear that Deke will never recover from her death, and that element of the film, and the burden that Washington’s character clearly carries, affects the soul and is even emotionally melancholy (after all, it is Denzel Washington, and he carries the movie).
And that’s exactly what sets “The Little Things” apart – something Deke repeats, the devil is in the details of detective work, but also in the imperceptible moments when you will find you will never get over it – from most cops and Killers Films, this film is completely disinterested in the ideas of justice or even a crime. This is a film about a ruthless job, the grizzly work, and the price you will pay for it. The question is, how much do you allow yourself to be consumed and deprived of your humanity?
Washington really is the walking dead and above all a lost soul. There will be no redemption for his character – a surprise in a movie like this – and in fact, he will only fall down the slippery slope of moral boundaries that he continued to cross by the end of the frame. But there is still hope for Baxter to learn from the mistakes Deke made. This is essentially the farewell to “The Little Things”: don’t hold onto the angels and try, if you can, to get out of this brutal, unforgiving situation and work as unscathed as possible. [B]
“The Little Things” hits theaters January 29th and on HBO Max.