552 reviews
Hank Grotowski (Billy Bob Thornton) is the middle generation of three generations of prison guards. His father Buck (Peter Boyle) is long retired and a near-invalid, using a walker and leaning on an iron lung. His son Sonny (Heath Ledger) is a novice guard. Hank and Sonny work together on Death Row and are among the guards responsible for the executions (Hank's in charge).
The first thing that strikes one about this particular group of men is the level of racism that's apparent in each one. Buck's the worst - he screams at young black kids who happen to wander onto "his" property (all three Grotowskis live together) and is liable to spout off some hateful rhetoric at any time. Hank's not a lot better, but his feelings seem tempered in contrast to Buck; he seems more weary than angry. And Sonny is actually friends with that same neighboring black family whose kids come over every now and then.
Thus the line of racism is significantly watered down as the generations progress. This is not to suggest that Sonny is an angel, or that Buck is the absolute devil. Sonny and Hank share the same hooker (though not at the same time); all three men drink, smoke, and cuss like sailors. In short, they're simply not nice folk.
While Hank and Sonny are transporting a prisoner to the electric chair, Sonny takes ill and can't continue. Because of this, the prisoner (who had bonded a little with the compassionate Sonny earlier) suffers a little during his execution. Enraged, Hank attacks his son in the locker room after the execution, and the other guards have to separate them.
That's one relationship being examined - that of Hank and Sonny. The other is the more important one, however. The widow of the executed prisoner, Leticia Musgrove (Halle Berry), is trying to make ends meet as a waitress. But her car constantly dies on her, and after being late to work repeatedly, she's fired - shortly after her husband is executed. She has one overeating kid to feed, too. She does get another job as a waitress, but has to ditch the car when it dies a final time. Walking home in the rain, her son (who has to come with her; can't leave him home to binge) his hit by a car. Hank happens to be passing by, and with some reluctance (remember, he is racist, if not as bad as his father), he stops to help.
There's a wonderful dichotomy between the relationship between Leticia and her son and that between Hank and his son. Milo Addica and Will Rokos, who wrote the screenplay, weave a very effective tale that manages to keep all of the characters interesting and relevant. What makes Hank act the way he does? What are Leticia's motivations? And it would be very easy for the actors to portray the characters as nothing more than stereotypes - Hank the nasty, racist white male, and Leticia the vulnerable, victimized African American woman. But both Thornton and Berry rise above their characters' limitations - Hank's not the devil he might think he is, and Leticia isn't the angel that a lesser actress might make her out to be.
It's also worth mentioning that each of the two leads has something shocking and powerful happen to them near the beginning of the film, before they really meet. These two events have a huge impact on the characters - you might call the events "life-altering". The events allow us to see actual change in the character. Not sudden change, which can be jarring and unrealistic, but gradual, authentic, eminently believable change.
The performances by the leads are nothing short of sensational. Berry won the Oscar for Best Actress for her work here. Yes, you read right - Halle Berry. She of The Flintstones, Swordfish, and being married to David Justice fame. See, this is what happens when you give a good actress a great role. The best actresses will rise to the level of the role; the mediocre actresses will sink below it, collapsing under its weight.
Thornton has a tendency to pick offbeat, idiosyncratic roles, albeit usually with a Southern twist. His Hank is not a carbon copy of your stereotypical Dirty White Boy; he's a multilayered character with charm and evil mixed in. The film doesn't make him out to be a complete hero; just a flawed one. By the movie's end, he has come to grips (a little) with his failures and his shortcomings.
Berry and Thornton have a great supporting cast in Boyle and Ledger. When you think of a hateful, misanthropic, misogynistic demon, you don't think of Peter Boyle, who's turning in great comedic work on the TV show "Everybody Loves Raymond". But after this movie, you sure do. Great job. And Ledger - well, I know him best from The Patriot, as Mel Gibson's oldest son. In that movie, he was tough, but he was still a boy in a world of adults. That boy's grown up, and Ledger proves his mettle as an actor in this role.
There will be some who find this movie too slow; granted, if you're looking for action, this won't appeal to you. But it's an excellent story, and not as simplistic as it may seem on the outside. It's very well written (meaning that there are few plot holes), and ably directed. You may be fascinated, as I was, with the character development from beginning to end. Things are not - pardon the expression - treated as black-and-white issues; there are varying grays that are resolved and not resolved by movie's end.
The first thing that strikes one about this particular group of men is the level of racism that's apparent in each one. Buck's the worst - he screams at young black kids who happen to wander onto "his" property (all three Grotowskis live together) and is liable to spout off some hateful rhetoric at any time. Hank's not a lot better, but his feelings seem tempered in contrast to Buck; he seems more weary than angry. And Sonny is actually friends with that same neighboring black family whose kids come over every now and then.
Thus the line of racism is significantly watered down as the generations progress. This is not to suggest that Sonny is an angel, or that Buck is the absolute devil. Sonny and Hank share the same hooker (though not at the same time); all three men drink, smoke, and cuss like sailors. In short, they're simply not nice folk.
While Hank and Sonny are transporting a prisoner to the electric chair, Sonny takes ill and can't continue. Because of this, the prisoner (who had bonded a little with the compassionate Sonny earlier) suffers a little during his execution. Enraged, Hank attacks his son in the locker room after the execution, and the other guards have to separate them.
That's one relationship being examined - that of Hank and Sonny. The other is the more important one, however. The widow of the executed prisoner, Leticia Musgrove (Halle Berry), is trying to make ends meet as a waitress. But her car constantly dies on her, and after being late to work repeatedly, she's fired - shortly after her husband is executed. She has one overeating kid to feed, too. She does get another job as a waitress, but has to ditch the car when it dies a final time. Walking home in the rain, her son (who has to come with her; can't leave him home to binge) his hit by a car. Hank happens to be passing by, and with some reluctance (remember, he is racist, if not as bad as his father), he stops to help.
There's a wonderful dichotomy between the relationship between Leticia and her son and that between Hank and his son. Milo Addica and Will Rokos, who wrote the screenplay, weave a very effective tale that manages to keep all of the characters interesting and relevant. What makes Hank act the way he does? What are Leticia's motivations? And it would be very easy for the actors to portray the characters as nothing more than stereotypes - Hank the nasty, racist white male, and Leticia the vulnerable, victimized African American woman. But both Thornton and Berry rise above their characters' limitations - Hank's not the devil he might think he is, and Leticia isn't the angel that a lesser actress might make her out to be.
It's also worth mentioning that each of the two leads has something shocking and powerful happen to them near the beginning of the film, before they really meet. These two events have a huge impact on the characters - you might call the events "life-altering". The events allow us to see actual change in the character. Not sudden change, which can be jarring and unrealistic, but gradual, authentic, eminently believable change.
The performances by the leads are nothing short of sensational. Berry won the Oscar for Best Actress for her work here. Yes, you read right - Halle Berry. She of The Flintstones, Swordfish, and being married to David Justice fame. See, this is what happens when you give a good actress a great role. The best actresses will rise to the level of the role; the mediocre actresses will sink below it, collapsing under its weight.
Thornton has a tendency to pick offbeat, idiosyncratic roles, albeit usually with a Southern twist. His Hank is not a carbon copy of your stereotypical Dirty White Boy; he's a multilayered character with charm and evil mixed in. The film doesn't make him out to be a complete hero; just a flawed one. By the movie's end, he has come to grips (a little) with his failures and his shortcomings.
Berry and Thornton have a great supporting cast in Boyle and Ledger. When you think of a hateful, misanthropic, misogynistic demon, you don't think of Peter Boyle, who's turning in great comedic work on the TV show "Everybody Loves Raymond". But after this movie, you sure do. Great job. And Ledger - well, I know him best from The Patriot, as Mel Gibson's oldest son. In that movie, he was tough, but he was still a boy in a world of adults. That boy's grown up, and Ledger proves his mettle as an actor in this role.
There will be some who find this movie too slow; granted, if you're looking for action, this won't appeal to you. But it's an excellent story, and not as simplistic as it may seem on the outside. It's very well written (meaning that there are few plot holes), and ably directed. You may be fascinated, as I was, with the character development from beginning to end. Things are not - pardon the expression - treated as black-and-white issues; there are varying grays that are resolved and not resolved by movie's end.
- dfranzen70
- Jun 16, 2002
- Permalink
Take away the wrapping, remove the box and see what's really inside. A powerful drama with a strong message. Superbly acted, well scripted and directed with excellent cinematography.
To delve into the plot would ruin it. Just watch it.
- paul-ayres-60784
- Dec 21, 2020
- Permalink
- philip_vanderveken
- Mar 20, 2005
- Permalink
This is the kind of gritty, fuzz-free reality drama that keeps you musing about it long past the ending credits. It is unsparing in its depiction of all the light and dark sides of the human psyche, from racism to passion to insularity and even corpulence, mounting these on a platform so stark and unambiguous that the audience is not left with many choices - the reactions evoked are exactly the ones intended to be evoked, oscillating between disgust, outrage, sympathy, tenderness and occasionally, even a surreptitious smile.
Most of the characters in the movie suffer somewhat from a lack of complexity, which is compensated for by casting them into circumstantial conflict to create the dramatic tension (a husband is electrocuted, a child dies, another child sends a bullet through his heart and into the couch behind, and so on). This is not necessarily a bad thing, especially because the remarkable performances (particularly from Halle Berry) validate this ploy. The exception to this, however, is the character of Hank Grotowski, played by Billy Bob Thornton. Billy Bob succeeds in imparting a subtle gray shade to this seemingly cardboard-cutout poster-boy-for-the-old-bigoted-south character that makes you hesitate from accepting him at face value. Is this simply about a saturnine, jaded racist being transformed by true love? Well, yes, that's part of it - the obvious part. But something keeps nagging you, preventing you from accepting this linear, justifiable inference, making you want to probe deeper, discover the reasons he has turned out this way, and even, in a perverse way, rationalize them. Is it just the provincial social climate? Is it the long proximity to his bigoted dotard of a father (played admirably by Peter Boyle)? Is he really that way or is he simply going with the flow? No simple explanation seems satisfactory - and the credit for this questioning, this need for deconstruction, goes to Billy Bob's nuanced performance.
All in all, beside the fact that some of the scenes may unsettle the squeamish, and that some promising characters like that of Grotowski's dispirited, conflicted son Sonny (played by Heath Ledger) were knocked off too early, the picture satisfies most norms for a good cinema experience - it makes you think, weep, squirm, analyze, rationalize, everything but walk out before it is over. In other words, it is what good cinema is about.
Most of the characters in the movie suffer somewhat from a lack of complexity, which is compensated for by casting them into circumstantial conflict to create the dramatic tension (a husband is electrocuted, a child dies, another child sends a bullet through his heart and into the couch behind, and so on). This is not necessarily a bad thing, especially because the remarkable performances (particularly from Halle Berry) validate this ploy. The exception to this, however, is the character of Hank Grotowski, played by Billy Bob Thornton. Billy Bob succeeds in imparting a subtle gray shade to this seemingly cardboard-cutout poster-boy-for-the-old-bigoted-south character that makes you hesitate from accepting him at face value. Is this simply about a saturnine, jaded racist being transformed by true love? Well, yes, that's part of it - the obvious part. But something keeps nagging you, preventing you from accepting this linear, justifiable inference, making you want to probe deeper, discover the reasons he has turned out this way, and even, in a perverse way, rationalize them. Is it just the provincial social climate? Is it the long proximity to his bigoted dotard of a father (played admirably by Peter Boyle)? Is he really that way or is he simply going with the flow? No simple explanation seems satisfactory - and the credit for this questioning, this need for deconstruction, goes to Billy Bob's nuanced performance.
All in all, beside the fact that some of the scenes may unsettle the squeamish, and that some promising characters like that of Grotowski's dispirited, conflicted son Sonny (played by Heath Ledger) were knocked off too early, the picture satisfies most norms for a good cinema experience - it makes you think, weep, squirm, analyze, rationalize, everything but walk out before it is over. In other words, it is what good cinema is about.
After a series of hardships Hank (Billy Bob Thornton) finds himself alone in the world, with his only son committing suicide and his ever-nagging father always riding him about every little thing. Hank is a prison guard that works on death row at a maximum-security prison where his son was also a guard. While at one of his favorite diners, he comes across a waitress whose luck is no better than his own. Leticia (Halle Berry) has also recently had to deal with the death of her husband who was on Hank's watch on death row. Leticia's son passed away shortly after his father when a car hit him as he was walking home from the diner with his mom. Hank helps her out the night he died and they form an emotional relationship. Director Mark Forster did a wonderful job showing us how in every situation some good can come out and to never give up when it seems all is lost. The character choice was great, Billy Bob Thornton is a passionate actor along with Halle Berry's flare. Tragedies like these happen every day and it was good to see some of the struggles each character faced and the positive that came from this. Monster's Ball had little suspense but all of the tragedy made up for that. Seeing outside of the box is what made this movie so interesting. Hank's father was racist toward the African American race which made the plot a little more suspenseful. The interest that I had in this movie was that it showed a person's will to move on even after a life shattering experience. The story line was catchy but for me the movie started off kind of slow. Once the plot got going, it seemed to hold me in my seat and I didn't find myself wanting to leave the room. All in all, this was a good movie. I wouldn't have given it a five out of five stars, but it earned a firm three. With this, I would definitely watch this movie again.
- whitepitbulls
- Mar 5, 2006
- Permalink
Monster's Ball is directed by Marc Forster and produced by Lee Daniels. It's written by Milo Addica and Will Rokos, who also appear in the film. They were inspired by their troubled relationships with their fathers as a starting point that eventually led to a generational tale about executioners, which eventually led to the inspiration for the title (an old term for the last meal of a condemned man and a "ball" that took place with his jailers the night before). It stars Billy Bob Thornton, Halle Berry, Heath Ledger and Peter Boyle, with Sean Combs, Mos Def and Coronji Calhoun in supporting roles.
After a family tragedy, Hank Grotowski, a racist prison guard re-examines his attitudes while falling in love with the African-American wife of the last prisoner he executed.
The film received numerous accolades and nominations, and was nominated twice at the 74th Academy Awards for Best Actress (Berry) and Original Screenplay (Addica and Rokos), with Berry winning for her performance. I can say with ease that the acting in Monster's Ball is excellent, especially Halle Berry but also Billy Bob Thornton and Heath Ledger. Halle Berry and Billy Bob's performance is extremely powerful and they portray them in such a realistic and human way, making us feel what they're feeling and ultimately contributing hugely in making us emotionally invested in the characters and story, the screenplay along with the direction by Marc Forster is too a huge factor in that. But would the film be as good if it would had a different cast? I don't think so, Billy Bob and Halle Berry completely nailed their roles. My only real criticism of the film is the pacing and the lack of music, but the latter actually works in its favor because of how the quietness make it more of an impact regarding the sad and grim story being told. But the pacing could have been improved, so if you're not in the mood for a slow paced drama then this film isn't for you, but the acting is unforgettable and absolutely fantastic, a great film.
After a family tragedy, Hank Grotowski, a racist prison guard re-examines his attitudes while falling in love with the African-American wife of the last prisoner he executed.
The film received numerous accolades and nominations, and was nominated twice at the 74th Academy Awards for Best Actress (Berry) and Original Screenplay (Addica and Rokos), with Berry winning for her performance. I can say with ease that the acting in Monster's Ball is excellent, especially Halle Berry but also Billy Bob Thornton and Heath Ledger. Halle Berry and Billy Bob's performance is extremely powerful and they portray them in such a realistic and human way, making us feel what they're feeling and ultimately contributing hugely in making us emotionally invested in the characters and story, the screenplay along with the direction by Marc Forster is too a huge factor in that. But would the film be as good if it would had a different cast? I don't think so, Billy Bob and Halle Berry completely nailed their roles. My only real criticism of the film is the pacing and the lack of music, but the latter actually works in its favor because of how the quietness make it more of an impact regarding the sad and grim story being told. But the pacing could have been improved, so if you're not in the mood for a slow paced drama then this film isn't for you, but the acting is unforgettable and absolutely fantastic, a great film.
It's a well known fact that MONSTER'S BALL won Halle Berry an Oscar for best actress and led to one of the most bizarre sites in the history of the ceremony where Berry shrieked , wept and gnashed her teeth in an uncontrollable manner . She probably wasn't overcome with emotion - She was impersonating the average person's reaction to seeing this film !
Depressing doesn't even begin to sum up this movie . It starts with the domestic life of three generations of prison officers the Grotowski family , two of which give racist redneck scumbags a bad name . A black prisoner is about to be executed and the middle and younger Grotowski ( Hank and Sonny respectively ) are looking after him and these scenes are amongst the most feel good moments of the story ! Words fail to describe what a bleak depressing movie this is . It's about redemption and finding love in the worst of circumstances but it's never entirely convincing . The fate of Sonny Grotowski didn't ring true and in the case of Berry's character just how unlucky can someone be in such a short period of time ?
I will congratulate the performances of the cast in this very well acted movie . Billy Bob Thornton is probably best remembered as " one of the men who married Angelina Jolie " but is also one of America's underappricated actors ( His screen writing abilities are also overlooked ) who manages to rise above the sometimes inconsistent material while Halle Berry what can I say ? Apart from that she really did deserve the Oscar . Well regarded character actor and acting guru Peter Boyle might be disappointing as Hank's reactionary father but since his character spends most of his time sitting in a chair slowly dying from respiratory failure he's not given much to do
But it should be pointed out once again that this is a very sad and melancholy film that won't have anyone dancing in the aisles I did appreciate the good performances but I doubt I'll be watching it again in a hurry
Depressing doesn't even begin to sum up this movie . It starts with the domestic life of three generations of prison officers the Grotowski family , two of which give racist redneck scumbags a bad name . A black prisoner is about to be executed and the middle and younger Grotowski ( Hank and Sonny respectively ) are looking after him and these scenes are amongst the most feel good moments of the story ! Words fail to describe what a bleak depressing movie this is . It's about redemption and finding love in the worst of circumstances but it's never entirely convincing . The fate of Sonny Grotowski didn't ring true and in the case of Berry's character just how unlucky can someone be in such a short period of time ?
I will congratulate the performances of the cast in this very well acted movie . Billy Bob Thornton is probably best remembered as " one of the men who married Angelina Jolie " but is also one of America's underappricated actors ( His screen writing abilities are also overlooked ) who manages to rise above the sometimes inconsistent material while Halle Berry what can I say ? Apart from that she really did deserve the Oscar . Well regarded character actor and acting guru Peter Boyle might be disappointing as Hank's reactionary father but since his character spends most of his time sitting in a chair slowly dying from respiratory failure he's not given much to do
But it should be pointed out once again that this is a very sad and melancholy film that won't have anyone dancing in the aisles I did appreciate the good performances but I doubt I'll be watching it again in a hurry
- Theo Robertson
- Sep 18, 2005
- Permalink
Independent filmmaking is alive and well and evident in Monster's Ball. This film had a minuscule $4 million budget, a terrific script and a director not afraid to take some risks. Billy Bob Thornton and Halle Berry practically donated their time they were paid so little. The result is a powerful and disturbing film that walked off with a boatload of awards, not the least of which was a best actress Oscar for Berry.
Director Marc Forster conjures a forceful presentation with stark sets, next to nothing in the way of props and other set decoration, and a non existent soundtrack. Forster does it with innovative use of the camera, sharp editing and most importantly excellent actor direction. Forster could have done better at character development and the ending is nebulous and unsatisfying, but these shortcomings can be partially forgiven for the films many assets.
This is an actors' showcase, with outstanding performances all around. Heath Ledger makes a short but intense appearance as the son that Hank (Billy Bob Thornton) despises. Ledger pumps the character full of repressed anger and disappointment, simultaneously resenting him and seeking his father's approval. Peter Boyle is despicable as Hank's bigoted and self centered father. Billy Bob Thornton delivers his best performance since `Sling Blade' with a complex character torn between his prejudices and his attraction to Leticia (Halle Berry).
Of course the big story here is Halle Berry. Berry shows once again that she is not just another pretty face. I first took serious notice of her after seeing her performance in `Introducing Dorothy Dandridge', a little seen TV movie in which she won both a Golden Globe and an Emmy. After that marvelous dramatic performance, I was surprised that she couldn't land roles any better than `Swordfish' and `X-Men', which tapped nothing more substantial than her looks.
In this film, Berry is sexy and alluring, but these are only incidental attributes. She displays a full range of emotions from vibrant elation and unbridled passion, to utter despondency. She practically rips her heart out and throws it at the camera. She can convey volumes with a single look, or come completely unglued with equal impact. Her Oscar for this performance was richly deserved and had nothing to do with her race as so many have rationalized. She just flat out won it going away. As good as Nicole Kidman was in `Moulin Rouge', it wasn't even close.
This is an excellent film that is worth seeing for the acting alone. I rated it a 9/10. It is a compelling and deeply disturbing drama that serious film lovers will surely enjoy.
Director Marc Forster conjures a forceful presentation with stark sets, next to nothing in the way of props and other set decoration, and a non existent soundtrack. Forster does it with innovative use of the camera, sharp editing and most importantly excellent actor direction. Forster could have done better at character development and the ending is nebulous and unsatisfying, but these shortcomings can be partially forgiven for the films many assets.
This is an actors' showcase, with outstanding performances all around. Heath Ledger makes a short but intense appearance as the son that Hank (Billy Bob Thornton) despises. Ledger pumps the character full of repressed anger and disappointment, simultaneously resenting him and seeking his father's approval. Peter Boyle is despicable as Hank's bigoted and self centered father. Billy Bob Thornton delivers his best performance since `Sling Blade' with a complex character torn between his prejudices and his attraction to Leticia (Halle Berry).
Of course the big story here is Halle Berry. Berry shows once again that she is not just another pretty face. I first took serious notice of her after seeing her performance in `Introducing Dorothy Dandridge', a little seen TV movie in which she won both a Golden Globe and an Emmy. After that marvelous dramatic performance, I was surprised that she couldn't land roles any better than `Swordfish' and `X-Men', which tapped nothing more substantial than her looks.
In this film, Berry is sexy and alluring, but these are only incidental attributes. She displays a full range of emotions from vibrant elation and unbridled passion, to utter despondency. She practically rips her heart out and throws it at the camera. She can convey volumes with a single look, or come completely unglued with equal impact. Her Oscar for this performance was richly deserved and had nothing to do with her race as so many have rationalized. She just flat out won it going away. As good as Nicole Kidman was in `Moulin Rouge', it wasn't even close.
This is an excellent film that is worth seeing for the acting alone. I rated it a 9/10. It is a compelling and deeply disturbing drama that serious film lovers will surely enjoy.
- FlickJunkie-2
- Jul 26, 2002
- Permalink
A father and son (Billy Bob Thornton and Heath Ledger) are correctional officers in Louisiana who live with their father, a former corrections officer and hateful racist (Peter Boyle). After overseeing the execution of a black man (Sean 'Diddy' Combs) a couple of tragedies compel the father, Hank (Thornton), to meet the struggling ex-wife of the executed man (Halle Berry).
The cast, locations, score and directing are all excellent. The problem is the contrived script, which tends to focus on the worst in humanity and sometimes creates a feeling of surreal un-reality. As far as the former goes, the first half features ugly racism, prostitution (and the corresponding overt sex scene), hate, a prison execution, an unforeseen suicide and a sudden hit-and-run. If you can handle all that in the first 55 minutes, you might appreciate this movie.
Some of these sequences work (the prostitute scene and the execution) and some don't (the racism, suicide and hit-and-run). The latter ones have a sense of unreality either because of dubious writing or weak execution, or both. Take, for instance, the racist remarks by the old patriarch (Boyle). They come off unbelievable and laughable (or maybe they wanted them to come off laughable?). With better writing/acting/directing they would've worked. Or take the hit-and-run: it's totally off-camera; and the segue into the aftermath is weak. The viewer is left asking, "What just happened? Did I miss something?" As for the suicide, it was just unconvincing in more than one way.
Halle won an Oscar for her performance, but I found her miscast. She was too white, too intelligent and too young/gorgeous for the role. As for being "too white," her son would've had lighter skin. In regards to being "too intelligent," when she has a long talk with Hank on the couch I didn't buy her character. It came across as an obviously enlightened Berry ACTING uneducated and low class. As for being too young/hot, are we to believe she's been drinkin' and smokin' for ELEVEN YEARS waiting for her former husband to be put to death without any dudes sniffin' around and no worse for the wear? She should've been made up to look older or, at least, more drained. Instead, she looks fresh and thoroughly beautiful from head-to-toe.
Despite all these considerable negatives, the movie conveys a well thought-out message and contains some worthy intricacies, not to mention it refuses idiotic political correctness. For instance, the prisoner honestly admits what he did was wrong and accepts his fate as just, even while he's clearly repentant. Moreover, the wife wants nothing to do with him and only visits for the sake of their son.
A critic wrongly argued that a certain character was a hardcore racist and wouldn't have such a "sudden change of heart." Well, this critic wasn't watching closely. At the beginning of the movie this character was well into the process of metamorphosizing from his father's odious mindset. Yes, he does something hateful with his rifle near the opening, but this was a PERFORMANCE for his dad who was peering through the window with approval. In short, the hateful patriarch still exercised his insufferable iron will over the family even while he was restricted to a wheelchair and stroller. The film's about freeing oneself of that power and that hate; and much more.
The movie runs 1 hour, 51 minutes and was shot in Laplace, Louisiana, and Louisiana State Penitentiary, Angola.
GRADE: C+/B-
The cast, locations, score and directing are all excellent. The problem is the contrived script, which tends to focus on the worst in humanity and sometimes creates a feeling of surreal un-reality. As far as the former goes, the first half features ugly racism, prostitution (and the corresponding overt sex scene), hate, a prison execution, an unforeseen suicide and a sudden hit-and-run. If you can handle all that in the first 55 minutes, you might appreciate this movie.
Some of these sequences work (the prostitute scene and the execution) and some don't (the racism, suicide and hit-and-run). The latter ones have a sense of unreality either because of dubious writing or weak execution, or both. Take, for instance, the racist remarks by the old patriarch (Boyle). They come off unbelievable and laughable (or maybe they wanted them to come off laughable?). With better writing/acting/directing they would've worked. Or take the hit-and-run: it's totally off-camera; and the segue into the aftermath is weak. The viewer is left asking, "What just happened? Did I miss something?" As for the suicide, it was just unconvincing in more than one way.
Halle won an Oscar for her performance, but I found her miscast. She was too white, too intelligent and too young/gorgeous for the role. As for being "too white," her son would've had lighter skin. In regards to being "too intelligent," when she has a long talk with Hank on the couch I didn't buy her character. It came across as an obviously enlightened Berry ACTING uneducated and low class. As for being too young/hot, are we to believe she's been drinkin' and smokin' for ELEVEN YEARS waiting for her former husband to be put to death without any dudes sniffin' around and no worse for the wear? She should've been made up to look older or, at least, more drained. Instead, she looks fresh and thoroughly beautiful from head-to-toe.
Despite all these considerable negatives, the movie conveys a well thought-out message and contains some worthy intricacies, not to mention it refuses idiotic political correctness. For instance, the prisoner honestly admits what he did was wrong and accepts his fate as just, even while he's clearly repentant. Moreover, the wife wants nothing to do with him and only visits for the sake of their son.
A critic wrongly argued that a certain character was a hardcore racist and wouldn't have such a "sudden change of heart." Well, this critic wasn't watching closely. At the beginning of the movie this character was well into the process of metamorphosizing from his father's odious mindset. Yes, he does something hateful with his rifle near the opening, but this was a PERFORMANCE for his dad who was peering through the window with approval. In short, the hateful patriarch still exercised his insufferable iron will over the family even while he was restricted to a wheelchair and stroller. The film's about freeing oneself of that power and that hate; and much more.
The movie runs 1 hour, 51 minutes and was shot in Laplace, Louisiana, and Louisiana State Penitentiary, Angola.
GRADE: C+/B-
MONSTER'S BALL / (2001) **** (out of four)
When I finish reading a great book, I don't close it right away. Treasuring the story's emotional grasp, I just sit there and hold it for a minute, enthralled, sensing the character's lives are continuing even as I put the book away.
"Monster's Ball" is a similar experience. The film contains so much truth, vigor, and so many harrowing moments, I just stared at the screen through the ending credits. Even after a second viewing the conviction did not diminish. It really says something about a movie when you know what happens and you're equally as mesmerized every time you watch it.
Most movies about depravity are really about entertainment, but director Marc Forster avoids preachy speeches, big sappy moments, and melodramatic music. Even during the movie's most important scenes, Forster does not overplay the material. He knows that careful, quiet dialogue, and long, silent pauses speak louder than lengthy emotional summaries.
Consider a scene where a character checks his father into an old folk's home. It does not feature long good-byes or conclusive hugs. Instead, it projects unflinching, raw emotion. "You must love him very much," reassures an attendant to the character who replies, "No I don't, but he is my father "
The character, Hank, is played by Billy Bob Thornton, who makes his Academy Award-winning performance in "Sling Blade" look like SNL material. Hank, bitter and racist, lives in a Southern country house with his son, Sonny (Heath Ledger), and father (Peter Boyle).
Hank and Sonny work as prison guards on death row. Sonny desperately wants out of the family business, especially after an unpleasant emotional reaction to the latest execution. When Hank explodes at him for his mistake, Sonny teaches his father a lesson he will never forget.
The film eventually becomes a story about the relationship between Hank and the widow of the man he has just executed. She's played by Halle Barry, who was paid an extra one-million dollars for doing an extended sex scene completely nude. This is a gradual, yet sudden relationship that is not based on physical attraction or love, but emotional need and depravity.
Forster makes interesting editing choices. During certain scenes, he cuts back and forth between separate occurrences while the central action fills the soundtrack. Especially unique is how he handles a sex scene. While two characters engage in some of the most graphic stimulated sex of last year, Forster flashes images of a caged bird before us. A metaphor of shattered innocence or repressed emotion, perhaps?
Actually, Forster fills "Monster's Ball" with metaphors, including the title itself. He even includes a moving soundtrack of timid rhythms and sudden beats, symbolizing the characters complex states of mind. Forster's haunting, daring feature reminds us why we all love the movies.
When I finish reading a great book, I don't close it right away. Treasuring the story's emotional grasp, I just sit there and hold it for a minute, enthralled, sensing the character's lives are continuing even as I put the book away.
"Monster's Ball" is a similar experience. The film contains so much truth, vigor, and so many harrowing moments, I just stared at the screen through the ending credits. Even after a second viewing the conviction did not diminish. It really says something about a movie when you know what happens and you're equally as mesmerized every time you watch it.
Most movies about depravity are really about entertainment, but director Marc Forster avoids preachy speeches, big sappy moments, and melodramatic music. Even during the movie's most important scenes, Forster does not overplay the material. He knows that careful, quiet dialogue, and long, silent pauses speak louder than lengthy emotional summaries.
Consider a scene where a character checks his father into an old folk's home. It does not feature long good-byes or conclusive hugs. Instead, it projects unflinching, raw emotion. "You must love him very much," reassures an attendant to the character who replies, "No I don't, but he is my father "
The character, Hank, is played by Billy Bob Thornton, who makes his Academy Award-winning performance in "Sling Blade" look like SNL material. Hank, bitter and racist, lives in a Southern country house with his son, Sonny (Heath Ledger), and father (Peter Boyle).
Hank and Sonny work as prison guards on death row. Sonny desperately wants out of the family business, especially after an unpleasant emotional reaction to the latest execution. When Hank explodes at him for his mistake, Sonny teaches his father a lesson he will never forget.
The film eventually becomes a story about the relationship between Hank and the widow of the man he has just executed. She's played by Halle Barry, who was paid an extra one-million dollars for doing an extended sex scene completely nude. This is a gradual, yet sudden relationship that is not based on physical attraction or love, but emotional need and depravity.
Forster makes interesting editing choices. During certain scenes, he cuts back and forth between separate occurrences while the central action fills the soundtrack. Especially unique is how he handles a sex scene. While two characters engage in some of the most graphic stimulated sex of last year, Forster flashes images of a caged bird before us. A metaphor of shattered innocence or repressed emotion, perhaps?
Actually, Forster fills "Monster's Ball" with metaphors, including the title itself. He even includes a moving soundtrack of timid rhythms and sudden beats, symbolizing the characters complex states of mind. Forster's haunting, daring feature reminds us why we all love the movies.
A racist prison guard begins an affair with the black widow of a prisoner that he recently led to the electric chair.
Halle Berry's dubious Oscar has probably driven half the audience towards this movie blind and I bet a good half of of those I-know-nothings wish they had read the small print. This is a very downbeat movie. I doubt I have ever seen such a pile-on-the-agony plot in all my life. Talk about things going wrong! The writers have taken the whole soap opera textbook of cliches and problems and then dumped them all on two people like a sack of rubbish.
This is really a low budget movie with a plot that wouldn't be out of place in a Hallmark TV feature. Indeed only the sex scenes makes it clear it is not! The kind of project that would sink like a stone without solid pro's infront and behind the camera. Did Berry - third choice according to the producers and this site - really have to cry at the Oscars? Is this really that great a performance technically? We see black women endorsing products, walking down catwalks and even being the richest people on TV, is this really a breakthrough?
I am sure she has cried, screwed, shouted and got drunk in real life - as we all have - so what is so difficult here? Maybe her "sponsors" prevented her from waiting tables in real life, but I am sure even that wasn't a stretch.
Thorton's performance is just as good as Berry's, although it is rather Kevin Cosner like in being over-the-top polite and attentive after he has fallen in love. Amazing how quickly people can change habits of a lifetime in movies.
(If screenwriters wrote about Hitler surviving the war they would have him seeing the error of his ways and helping build the Israeli state. Probably having been done a good turn by a blind Jew or something!)
I am glad I saw this movie, but I was left with a feeling of so-what? Too many people are dead that I didn't know well enough to feel anything about. The principle characters haven't done anything that warrants my respect other than surviving a whole pile of problems. What happens next - is this a happy ever after story? Couldn't tell you and - quite frankly my dear - I couldn't give a damn...
Halle Berry's dubious Oscar has probably driven half the audience towards this movie blind and I bet a good half of of those I-know-nothings wish they had read the small print. This is a very downbeat movie. I doubt I have ever seen such a pile-on-the-agony plot in all my life. Talk about things going wrong! The writers have taken the whole soap opera textbook of cliches and problems and then dumped them all on two people like a sack of rubbish.
This is really a low budget movie with a plot that wouldn't be out of place in a Hallmark TV feature. Indeed only the sex scenes makes it clear it is not! The kind of project that would sink like a stone without solid pro's infront and behind the camera. Did Berry - third choice according to the producers and this site - really have to cry at the Oscars? Is this really that great a performance technically? We see black women endorsing products, walking down catwalks and even being the richest people on TV, is this really a breakthrough?
I am sure she has cried, screwed, shouted and got drunk in real life - as we all have - so what is so difficult here? Maybe her "sponsors" prevented her from waiting tables in real life, but I am sure even that wasn't a stretch.
Thorton's performance is just as good as Berry's, although it is rather Kevin Cosner like in being over-the-top polite and attentive after he has fallen in love. Amazing how quickly people can change habits of a lifetime in movies.
(If screenwriters wrote about Hitler surviving the war they would have him seeing the error of his ways and helping build the Israeli state. Probably having been done a good turn by a blind Jew or something!)
I am glad I saw this movie, but I was left with a feeling of so-what? Too many people are dead that I didn't know well enough to feel anything about. The principle characters haven't done anything that warrants my respect other than surviving a whole pile of problems. What happens next - is this a happy ever after story? Couldn't tell you and - quite frankly my dear - I couldn't give a damn...
It's very rare, but occasionally a film comes along that plays out so realistically that it doesn't even seem like you're watching a movie, but participating-- albeit as an observer-- in this particular drama of life that is unfolding around you. And so it is with `Monster's Ball,' a riveting film, directed by Marc Forster, that is so real it transcends entertainment and becomes a voyeuristic experience that leaves you with the sense that you've been through everything that's happened yourself. It's a thought provoking examination of relationships and perspectives, including the ingrained, subjective attitudes-- especially prejudices-- that have such a profound and lasting affect on our lives, as well as the lives of those around us. It's a film that says so much about the way we respond to one another, as well as certain situations, and why; in short, it's about the world that we, as a society, have created and must live in together-- right or wrong, good or bad, black or white. And at the heart of the story is a message that rings through loud and true; a perception that we can do better-- and must-- if we are to survive as a civilized, dignified and progressive species. In the final analysis, we are, all of us, members of the family of Man; and it's time we realize and acknowledge it.
After eleven years on death row at a Georgia State Penitentiary, Lawrence Musgrove (Sean Combs) is out of appeals and is headed for the electric chair. There to make their final visit is Musgrove's wife, Leticia (Halle Berry), and their son, Tyrell (Coronji Calhoun), while veteran corrections officer Hank Grotowski (Billy Bob Thornton) oversees the proceedings. Also on hand is third-generation corrections officer Sonny Grotowski (Heath Ledger), who during Musgrove's final walk discovers he doesn't have the stomach required to perform his duties, which will later create some conflict with his father.
Bigotry, it seems, is something of a family trait; Hank's father, Buck (Peter Boyle), a retired corrections officer, is the product of a time when African Americans `knew their place.' But it's an attitude that's apparently become somewhat watered down in his family from one generation to the next. Hank seems almost indifferent, even apathetic, when it comes to race, though under stress, especially, he defers to his father's views. Sonny, however, has a mind of his own, and by nature is more willing to embrace all of the myriad and diverse aspects of life as he sees it. And with the three generations of Grotowski men living under one roof, needless to say, there is more than some tension in the household, which inevitably leads to tragedy.
Leticia, meanwhile, is riding a downward spiral in her own life, attempting to cope with both her husband's situation and a problem with her son, while having to make a living on top of it all. And just when it seems that her world is about to fall into total collapse, circumstances bring her into contact with-- of all people-- Hank Grotowski. Call it fate, or just one of those things; but it becomes a turning point, not only in their lives, but in the lives of a number of people close to them. And very soon, for Hank and Leticia, especially, the world becomes a very different place.
Working from a screenplay by Milo Addica and Will Rokos that is intelligent, incisive and uncompromising, Forster delivers an emotionally absorbing drama that is raw, insightful and presented with a subtle intensity that is so thoroughly engrossing it becomes mesmerizing. It's a film that does not allow the viewer the luxury of casual observation or an indifferent attitude; the story is told in terms that are so brutally honest and starkly realistic that it does not provide for neutral ground or ambiguity on the part of it's audience. This is powerful drama, and Forster makes sure that everyone watching has the sense of actually being included as the story unfolds. He makes you a part of this world in which Hank, Leticia and the others live-- there's no standing on the sidelines with this one. As in real life, with this film you are confronted with situations that demand resolution and force you to make decisions.
It takes a number of elements to make a truly great film, of course, and in this one they all come together beautifully-- especially in the performances, beginning with Billy Bob Thornton, who is without question one of the best leading men/character actors in the business. He's a true chameleon who never ceases to amaze with his versatility and his ability to create believable, interesting and memorable characters, from Karl (arguably his most memorable) in `Sling Blade,' to Jacob in `A Simple Plan,' or Russell in `Pushing Tin' to Hank in this film, whom he captures with absolutely incredible subtlety and depth. It's a terrific performance, delivered with nuance and restraint, and it should have earned him an Oscar nomination, as it was clearly one of the best performances of the year.
What really takes this film to a higher level, though, is the extraordinary performance by Halle Berry as Leticia, in whom she creates a finely layered, three-dimensional character that is singularly effective and entirely believable and real. In Leticia, you will find every conceivable emotion woven around conflicts born of the definitive complexities of life, the things we all experience in one way or another at one time or another, and to which everyone will be able to relate on some level, according to personal experience. In this performance, Berry does it all and gives her all, and it's work for which she deservedly was awarded the Oscar for Best Actress. When you come away from this film, it's with the indelible images of Leticia and Hank burned into your memory, thanks to the talents of Berry, Thornton and Forster. `Monster's Ball' is compelling, unforgettable drama, and an example of filmmaking at it's best. 10/10.
After eleven years on death row at a Georgia State Penitentiary, Lawrence Musgrove (Sean Combs) is out of appeals and is headed for the electric chair. There to make their final visit is Musgrove's wife, Leticia (Halle Berry), and their son, Tyrell (Coronji Calhoun), while veteran corrections officer Hank Grotowski (Billy Bob Thornton) oversees the proceedings. Also on hand is third-generation corrections officer Sonny Grotowski (Heath Ledger), who during Musgrove's final walk discovers he doesn't have the stomach required to perform his duties, which will later create some conflict with his father.
Bigotry, it seems, is something of a family trait; Hank's father, Buck (Peter Boyle), a retired corrections officer, is the product of a time when African Americans `knew their place.' But it's an attitude that's apparently become somewhat watered down in his family from one generation to the next. Hank seems almost indifferent, even apathetic, when it comes to race, though under stress, especially, he defers to his father's views. Sonny, however, has a mind of his own, and by nature is more willing to embrace all of the myriad and diverse aspects of life as he sees it. And with the three generations of Grotowski men living under one roof, needless to say, there is more than some tension in the household, which inevitably leads to tragedy.
Leticia, meanwhile, is riding a downward spiral in her own life, attempting to cope with both her husband's situation and a problem with her son, while having to make a living on top of it all. And just when it seems that her world is about to fall into total collapse, circumstances bring her into contact with-- of all people-- Hank Grotowski. Call it fate, or just one of those things; but it becomes a turning point, not only in their lives, but in the lives of a number of people close to them. And very soon, for Hank and Leticia, especially, the world becomes a very different place.
Working from a screenplay by Milo Addica and Will Rokos that is intelligent, incisive and uncompromising, Forster delivers an emotionally absorbing drama that is raw, insightful and presented with a subtle intensity that is so thoroughly engrossing it becomes mesmerizing. It's a film that does not allow the viewer the luxury of casual observation or an indifferent attitude; the story is told in terms that are so brutally honest and starkly realistic that it does not provide for neutral ground or ambiguity on the part of it's audience. This is powerful drama, and Forster makes sure that everyone watching has the sense of actually being included as the story unfolds. He makes you a part of this world in which Hank, Leticia and the others live-- there's no standing on the sidelines with this one. As in real life, with this film you are confronted with situations that demand resolution and force you to make decisions.
It takes a number of elements to make a truly great film, of course, and in this one they all come together beautifully-- especially in the performances, beginning with Billy Bob Thornton, who is without question one of the best leading men/character actors in the business. He's a true chameleon who never ceases to amaze with his versatility and his ability to create believable, interesting and memorable characters, from Karl (arguably his most memorable) in `Sling Blade,' to Jacob in `A Simple Plan,' or Russell in `Pushing Tin' to Hank in this film, whom he captures with absolutely incredible subtlety and depth. It's a terrific performance, delivered with nuance and restraint, and it should have earned him an Oscar nomination, as it was clearly one of the best performances of the year.
What really takes this film to a higher level, though, is the extraordinary performance by Halle Berry as Leticia, in whom she creates a finely layered, three-dimensional character that is singularly effective and entirely believable and real. In Leticia, you will find every conceivable emotion woven around conflicts born of the definitive complexities of life, the things we all experience in one way or another at one time or another, and to which everyone will be able to relate on some level, according to personal experience. In this performance, Berry does it all and gives her all, and it's work for which she deservedly was awarded the Oscar for Best Actress. When you come away from this film, it's with the indelible images of Leticia and Hank burned into your memory, thanks to the talents of Berry, Thornton and Forster. `Monster's Ball' is compelling, unforgettable drama, and an example of filmmaking at it's best. 10/10.
- steinbeck_53
- Nov 28, 2002
- Permalink
This movie was not a big favorite with audiences and I figured I would be among the majority on this one......but I wasn't - I like this film. In fact, I liked it even better on the second viewing.
I found it to be one of those rare movies that deals with racism that doesn't come on too heavy-handed with all the political correctness nonsense. It handled the problem intelligently, I thought.
The cinematographer, Robert Schaefer, did a terrific job with this, too, and that is another reason I have come to really enjoy this film. The visuals - and the audio - are outstanding.
None of the characters are particularly likable but I thought Billy Bob Thornton's "Hank Grotowski" was so interesting a character that I concentrated more on that than whether I liked him or not. However, I wound up liking him, anyway, and boy, did his character change in this film. There is a steamy sex scene in here with Billy Bob and Halle Barry that was quite the talk when the film was released. I didn't think it was all that it was made out to be. I've seen steamier moments such as Alec Baldwin and Kim Bassinger going at it in the non-rated version of "The Getaway."
Overall, this a rough film in spots but I think it is a solid, underrated drama that offers far more than the "celebrated" sex scene. This is a well-made movie.
I found it to be one of those rare movies that deals with racism that doesn't come on too heavy-handed with all the political correctness nonsense. It handled the problem intelligently, I thought.
The cinematographer, Robert Schaefer, did a terrific job with this, too, and that is another reason I have come to really enjoy this film. The visuals - and the audio - are outstanding.
None of the characters are particularly likable but I thought Billy Bob Thornton's "Hank Grotowski" was so interesting a character that I concentrated more on that than whether I liked him or not. However, I wound up liking him, anyway, and boy, did his character change in this film. There is a steamy sex scene in here with Billy Bob and Halle Barry that was quite the talk when the film was released. I didn't think it was all that it was made out to be. I've seen steamier moments such as Alec Baldwin and Kim Bassinger going at it in the non-rated version of "The Getaway."
Overall, this a rough film in spots but I think it is a solid, underrated drama that offers far more than the "celebrated" sex scene. This is a well-made movie.
- ccthemovieman-1
- Oct 26, 2006
- Permalink
Greetings again from the darkness. It has been a rough week. I saw "Monster's Ball" and "In the Bedroom" in a 5 day span. I consider myself fully educated on how to conduct a doomed relationship. "Monster's Ball" is exceedingly well acted. Billy Bob Thornton, Halle Berry and Peter Boyle are all at the top of their game. I didn't even realize Halle Berry had a game to be on top of! Much more than a great body and beautiful face, she brings her character to life ... at least what little life it has. Peter Boyle does a wonderful job of capturing the hateful bigotry of an unforgiving b**tard. Many young viewers may be surprised at the ability of Boyle to do anything except deliver one liners in stupid sitcoms, but he was one of the best character actors of the 70's and 80's. The problem with the movie is the story is delivered in a chopped up manner and it does not really give us a reason to get close to the characters. It just kind of expects us to. Billy Bob's obstacles for a normal life seem to be at the heart of the story, but a couple of scenes are not enough for us to muster empathy. Same with Halle's character. Superb brief role for Puff Daddy as the soon to be executed father to Halle's son. Many will have a difficult time recognizing Heath Ledger in his first down and dirty role. This is a teen heart-throb? Maybe ... but he is showing flashes of becoming a real actor. Overall, a masterpiece of acting, but a tough movie to watch due to the subject matter and the choppy direction.
- ferguson-6
- Mar 10, 2002
- Permalink
After a series of hardships Hank (Billy Bob Thornton) finds himself alone in the world, with his only son committing suicide and his ever-nagging father always riding him about every little thing. Hank is a prison guard that works on death row at a maximum-security prison where his son was also a guard. While at one of his favorite diners, he comes across a waitress whose luck is no better than his own. Leticia (Halle Berry) has also recently had to deal with the death of her husband who was on Hank's watch on death row. Leticia's son passed away shortly after his father when a car hit him as he was walking home from the diner with his mom. Hank helps her out the night he died and they form an emotional relationship. Director Mark Forster did a wonderful job showing us how in every situation some good can come out and to never give up when it seems all is lost. The character choice was great, Billy Bob Thornton is a passionate actor along with Halle Berry's flare. Tragedies like these happen every day and it was good to see some of the struggles each character faced and the positive that came from this. Monster's Ball had little suspense but all of the tragedy made up for that. Seeing outside of the box is what made this movie so interesting. Hank's father was racist toward the African American race which made the plot a little more suspenseful. The interest that I had in this movie was that it showed a person's will to move on even after a life shattering experience. The story line was catchy but for me the movie started off kind of slow. Once the plot got going, it seemed to hold me in my seat and I didn't find myself wanting to leave the room. All in all, this was a good movie. I wouldn't have given it a five out of five stars, but it earned a firm three. With this, I would definitely watch this movie again.
- stef_nijssen
- Aug 15, 2008
- Permalink
Directed by Marc Forster. Starring Billy Bob Thornton, Halle Berry, Peter Boyle, Heath Ledger, Sean Combs, Mos Def, Coronji Calhoun, Amber Rules. (R)
Odyssey of misery for broken people, two of which connect in unexpected ways--Thornton is a beaten-down corrections officer who can't stand his "weak" son (Ledger) and has learned hate and racism from a lifetime with his father (Boyle, doing what he can with a despicable, one-dimensional role); Berry is a tired and frustrated waitress about to be evicted from her home, with a husband (Combs) on death row and a dangerously overweight son (Calhoun). That they come together at all is one of several contrivances that are difficult to shake, as are the cruel calculations of a plot that overdoses on depression through a series of soul-shattering events (it's produced by "Precious" director Lee Daniels, after all). Overcoming these unshakable flaws in the writing and direction are the exceptional lead performances (Berry, never better, won an Oscar) and its open-ended but cautiously optimistic ending.
69/100
Odyssey of misery for broken people, two of which connect in unexpected ways--Thornton is a beaten-down corrections officer who can't stand his "weak" son (Ledger) and has learned hate and racism from a lifetime with his father (Boyle, doing what he can with a despicable, one-dimensional role); Berry is a tired and frustrated waitress about to be evicted from her home, with a husband (Combs) on death row and a dangerously overweight son (Calhoun). That they come together at all is one of several contrivances that are difficult to shake, as are the cruel calculations of a plot that overdoses on depression through a series of soul-shattering events (it's produced by "Precious" director Lee Daniels, after all). Overcoming these unshakable flaws in the writing and direction are the exceptional lead performances (Berry, never better, won an Oscar) and its open-ended but cautiously optimistic ending.
69/100
- fntstcplnt
- Apr 18, 2020
- Permalink
This is a very brave movie. Not because of the racism or the sex or the execution, but because it trusts its viewers. It does not insult us by making the characters chatter for hours beating the themes into the ground until even the most simple-minded viewer "gets" it. The screenwriters (like William Faulkner and Hemingway and Welty before them) understand that they won't reach most of the population. They teach to the top of the class by entrusting the theme to a few well-placed, well-acted lines. In a culture where few people have ever read a novel, much less a good novel, much less a great novel, this movie is brave enough to be literary. It challenges the viewer to draw from his or her own emotions and life experiences to meet it half-way. Most aren't willing to do that. They take their movies like they take their food, fast and easy. But for those of us looking for more, this is art. 10/10
- SparxDragon
- Jun 23, 2023
- Permalink
The theme of this movie includes racism (without cliches though), generational gap, and healing after tragedy. It is a heavy and sad film, with a very thoughtful and intelligent script, which was nominated for an Oscar. The performances of both leads, especially Halle Berry's, are stunning. She won an Oscar for that, the first and only one so far for African-American actresses. But I think the movie would be better without the sex scenes, as that transient physical feeling cannot heal spiritual wounds anyway.
- LawrenceofAsia
- Nov 27, 2021
- Permalink
"Hank Grotowski" (Billy Bob Thornton) is a prison guard at a state corrections facility in Georgia who, along with his son "Sonny Grotowski" (Heath Ledger) lives with his racist father, "Buck Grotowski" (Peter Boyle). Buck was a prison guard in his prime but is now a widower and suffers from a severe lung disease resulting in Hank, who is also a widower, taking care of him. Sonny is also a prison guard and works with his father on the same shift but is often derisively compared by the two of them to his deceased mother who they considered to be weak. Love is in short supply in this house. Be that as it may, both Hank and Sonny have been assigned to escort a prisoner on death row by the name of "Lawrence Musgrove" (Sean Combs) to the electric chair. In the process of doing this Sonny allows his emotions to get the better of him and becomes physically ill. This in turn angers Hank who feels that Sonny behaved unprofessionally during an extremely important phase of the execution. Meanwhile, Lawrence's wife "Leticia Musgrove" (Halle Berry) sits on her couch at her small house simply trying to get through the final minutes and wondering what is to become of both her and their son "Tyrell Musgrove" (Coronji Calhoun). Conversely, despite living with his father and son, Hank also shares the same feelings of loneliness but for entirely different reasons. Now rather than reveal any more I will just say that this was an intense drama which managed to capture the racism that has existed in the South for several generations while at the same time highlighting the humanity that exists as well. Also worth noting are the good performances by both Halle Berry and Billy Bob Thornton who each seemed tailor made for their respective roles.
One of my favourite films of all time. A powerful story of people lost and how love can save them. The father son relationship between Billy Bob Thornton and Heath Ledger is particularly emotional and feels very real. All the characters are so unwilling to change but desperately need to. When they do, redemption awaits. This feels like a European film with its simple approach to storytelling and focus on character and it's all the more affecting for it.
- thisyear-10904
- Jan 5, 2019
- Permalink
MONSTER'S BALL eventually becomes a pretty good film. I say eventually because it takes nearly an hour for the film to get to the point where the characters rise above clichés and their lives become compelling. That is when the two main characters finally meet and their romance -- such as it is -- begins. It is a strange romance and often strains credibility. Billy Bob Thornton is an executioner at an unspecified Southern prison, who, by chance, meets and begins a relationship with Hallie Berry as the wife of one of his executions. The added twist is that he is white and raised in an extremely racist atmosphere and she is black, That is complication enough to carry any film, but director Marc Foster and screenwriters Milo Addica and Will Rokos provide the film with a lot of other baggage, most of which is stacked high at the front end of the film.
It is not that the first 45 minutes of the story aren't important, only that it is all so badly handled. The opening sequences all seem trite, awkwardly staged, simplistic and just plain poorly written, especially when compared to most of the rest of the film. Yes, these scenes set up the subsequent story, but they come off as embarrassingly unrealistic and melodramatic. The characters are introduced as clichés (especially Peter Boyle as Thornton's racist father) and one key scene, a suicide, is laughable in its ineptitude.
Nothing in these scenes could not have been handled much better as flashbacks or explained in poignant monologues. Indeed, letting the audience learn about the two main characters slowly and haphazardly as the characters themselves learn about each other would have made more sense and been much more effective,
But what does eventually develop is a touching story about two people who have haunted pasts and have literally seen their futures die before their eyes. They meet at a place where neither have much to look forward to and little to lose. They subsequently build a romance and a shaky future based on fear, pity, guilt and dependency. But, the film suggests, that may be enough on which to build actual love. Maybe.
Berry's Oscar-winning performance is certainly well done, but Thornton surpasses her with quietly somber work that relies on a fraction of the hysterics. Together, they have chemistry. Together they overcome a poorly written script and sloppy direction.
One can quibble about the lame beginning and other matters (Thornton's change from bigot to liberal is a stretch and there is an extended, unnecessary and extremely tacky sex scene that flirts with being little more than gratuitous soft-core porn), but get past that and you get a story of depth and insight and human compassion. You just have to be patient. Very patient.
It is not that the first 45 minutes of the story aren't important, only that it is all so badly handled. The opening sequences all seem trite, awkwardly staged, simplistic and just plain poorly written, especially when compared to most of the rest of the film. Yes, these scenes set up the subsequent story, but they come off as embarrassingly unrealistic and melodramatic. The characters are introduced as clichés (especially Peter Boyle as Thornton's racist father) and one key scene, a suicide, is laughable in its ineptitude.
Nothing in these scenes could not have been handled much better as flashbacks or explained in poignant monologues. Indeed, letting the audience learn about the two main characters slowly and haphazardly as the characters themselves learn about each other would have made more sense and been much more effective,
But what does eventually develop is a touching story about two people who have haunted pasts and have literally seen their futures die before their eyes. They meet at a place where neither have much to look forward to and little to lose. They subsequently build a romance and a shaky future based on fear, pity, guilt and dependency. But, the film suggests, that may be enough on which to build actual love. Maybe.
Berry's Oscar-winning performance is certainly well done, but Thornton surpasses her with quietly somber work that relies on a fraction of the hysterics. Together, they have chemistry. Together they overcome a poorly written script and sloppy direction.
One can quibble about the lame beginning and other matters (Thornton's change from bigot to liberal is a stretch and there is an extended, unnecessary and extremely tacky sex scene that flirts with being little more than gratuitous soft-core porn), but get past that and you get a story of depth and insight and human compassion. You just have to be patient. Very patient.
- galileosgal
- Dec 10, 2002
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