The Conversation (1974)

Posted on October 17, 2014 by 4 Star Films

Directed by Francis Ford Coppola and starring Gene Hackman, this film begins with a commonplace conversation between a young man and woman in the relatively busy Union Square in San Francisco. As they make their way around their words seem of little importance and yet unbeknownst to them they are being followed and recorded.

The mastermind behind it all is the surveillance expert Harry Caul who uses his know-how and a small team to track their words from a van. As a professional and a highly respected member of his field, Caul is guarded and he tries not to concern himself with the reasons behind his surveillance. However, as he works his magic in his private lab space, Caul finally does become affected when he picks up on bits and pieces of the conversation. It deeply troubles him and he continually plays the tapes back.

Because of his concern, Caul holds out on giving the tapes to the assistant of the Director, the man who commissioned the job. The aide pressures him more and more and then finally Caul finds the tapes are stolen. Fearing that the couple is in grave danger, Caul takes the room right next to theirs, but unfortunately despite his best efforts, his fears seem to be confirmed. After searching the empty room Caul goes to confront the Director only to find that things are not as they seem and Caul is the only one who realizes it. The disillusioned man is then threatened over the phone and informed that now the shoe is on the other foot and he is under constant surveillance. Little did he know the implications of the conversation…

Gene Hackman may have played more memorable characters like Popeye Doyle, Lex Luthor, or even Norman Dale in the Hoosiers, however, I am not sure if he played a more complex character than Harry Caul. He is a detached man who has no telephone, tells white lies about his birthday, has multiple locks on his door, keeps his equipment caged and he has no significant relationships. The other side of him loves the saxophone and is a devout Catholic. He is no hero and not what we would normally call a villain. He is Harry Caul a lonely, confused human who has tendencies for good but still constantly struggles to reconcile that with his career. Above all, The Conversation is a thought-provoking psychological thriller which gives the audience lots to mull over.

4.5/5 Stars

Persona (1966)

Posted on October 16, 2014 by 4 Star Films

“Persona: The image or personality that a person presents to other people” ~ Merriam-Webster Dictionary

Ingmar Bergman’s Persona got me thinking. About what I’m not quite sure, but it did leave me confused and utterly perplexed which I suppose is a good thing. Since I am a fan of comparisons, I will go out on a limb and say I felt like I was watching the cross between L’Avventura and Repulsion. Persona is certainly befuddling psychologically and it has the crispest, most pristine black and white cinematography I have seen in a long time, courtesy of Sven Nykvist.

The opening sequences in the hospital are noticeably minimalist with an accentuated sterile environment. The close-ups feel reminiscent of The Passion of Joan of Arc and the highly dramatic and unnerving score sends twinges down our spine. To top it off, the takes can be excruciatingly long, focusing on an inert face or a solemn figure crouching in a doorway. Silence is just as prevalent as dialogue.

At its core, Bergman’s film is an examination of individual characters in space. Alma (Bibbi Andersson) is the young sprightly nurse who is called in to take care of catatonic actress Elisabet Vogler (Liv Ullmann). Their interactions quickly move from the plain hospital room to the seaside cottage loaned out to Mrs. Vogler for her recovery.

What begins as attendant watching over patient soon evolves into a vulnerable woman finding a silent foil to confide in. The Persona is changing.

All of a sudden roles are reversed and when Alma discovers a letter Elisabet sent away to the administrator, things are never the same. She feels betrayed learning that the actress has been analyzing her in silence. All that’s left is bitterness and anger towards her mute companion. No words come out of her mouth. Only blank stairs and more silence. She remains strangely calm in juxtaposition with the agitated Alma who becomes more and more tormented. But it is at this point we have lost much of our grip on reality. The lines, as well as the images, are often blurred and warped.

Persona takes on some brazenly edgy topics with frankness that is often abrasive. A repeated monologue by Alma follows the discovery of a recovered photo of Elisabet’s little boy. In the sequence, Alma speaks the words on Vogler’s mind and we are forced to labor painfully over her words yet another time. In many ways, Alma becomes the stand in or understudy for the actress and the role is far from elegant.

By the time the film came to its conclusion I hardly knew what to think. It elicited powerful feelings and reactions of aching and apprehension. If nothing else Bergman certainly makes you think and his Persona is unquestionably a striking piece of cinematic art. He has the skill of riddling our minds like a Bunuel or even Godard. It’s powerful if not completely satisfying because we can never hope to fully understand it.

4.5/5 Stars

Gone Girl (2014)

Posted on October 14, 2014 by 4 Star Films

My only advice for Gone Girl is to leave all your preconceived notions at the theater entrance because you are about to be blown out of the water. This is not the movie you were expecting–probably very few people were.

The story is based on the source novel of Gillian Flynn who also happened to be the film’s screenwriter. Behind the camera is mystery-thriller phenom David Fincher (Se7en, Zodiac) directing his two stars Ben Affleck (Argo) and Rosamund Pike (Pride and Prejudice).

From the beginning, we get a personal view into the married life of Nick and Amy Dunne. Back in 2005, the romance was just beginning to bud. Now on their 5th wedding anniversary, Amy is gone. Nick is the obvious culprit and we suspect him from the outset of the film, but why would he call in the police to search for his wife? He seems genuinely worried and befuddled by it all.

Soon the police are being taken on a treasure hunt while the whole town becomes frenzied behind the giant media carnival which is having open season on the find Amy campaign. The underlying tension of every present day sequence makes for a nerve-wracking procedural juxtaposed with the romantic journal entries of the gone girl. The race to find Amy is on with the days counting down and Nick collaborating with Detective Boney (Kim Dickens).

By this point, it is insanely difficult to catch up with the narrative because just when a conclusion seems certain a new wrinkle is inserted. There are no givens. Is Nick good? Who is Amy really? Who Knows?

Fincher’s film has one last grand ploy. It shows its hand earlier rather than later, feeding its audience one juicy twist. Far from being done, it continues to follow the fate of poor Nick and Amazing Amy. Gone Girl grows more and more uncomfortable as the days pass and not for the reason you would suspect. On the surface, life seems perfectly normal once more to the still clamoring media, but it’s not the first time that the cameras and reporters fail to see what is really going on.

This is one of the most intense dramas that has come out in years and it in many ways functions as a thriller, a black comedy, and even a satire of the media. The often grisly depictions of violence make the proceeding moments of laughter all that more uncomfortable. Fincher made thrillers before, but nothing quite like this. It’s fidget-inducing, spine-tingling, and utterly perplexing.

4/5 Stars

Wages of Fear (1953)

Posted on October 13, 2014 by 4 Star Films

Directed by Henri-Georges Clouzot, this international thriller stars a cast headed by Yves Montand. The film opens in a hell-hole of a town in South America where many jobless drifters spend their days. The joke is that it is really easy to get there, you just can never get out again.

A Frenchman named Mario (Montand) is one of these vagabonds who has little to do except make eyes at a pretty girl (Vera Clouzot), and sit around the local hangout. Then a massive fire breaks out at a nearby oil field of the corrupt, American Southern Oil Company (SOC). In order to stop the devastation, the solution is to use explosions triggered by nitroglycerin. But the journey to the fields is extremely dangerous so there is the brilliant idea of finding four eager vagrants to transport two trucks of nitro on this 300-mile suicide mission. In need of a break, most of the town jumps at the opportunity. However, only four men actually get this “privilege.”

One is Mario, another his jovial roommate Luigi, and then the closed off and menacing Bimba. The fourth man who eventually joins this trio is Jo who is an older French fellow who befriended Mario. Then, Mario and Jo leave in one vehicle followed by Bimba and Luigi with the fun just beginning. They must navigate the treacherous roads full of not only bumps but barricades and giant boulders. All the while they are worn thin physically and psychologically.

Soon the confident Jo turns into a sickly coward, but the other three must keep on going if they want their payoff. In the end, this mission turns out to be too much for some. Eventually, Mario gets ready to return to his girl with $4,000 in toe, a deliriously happy man.

First off, when it is said that this film is a “thriller,” we are not talking about a Hollywood thriller here, with overwhelming action followed by twist after turn. What makes the Wages of Fear so powerful is the sustained intensity because every moment that the nitroglycerin is in the picture you half expect something to go wrong. As such a thriller, I almost came to expect the ending because I really do not think it could have ended any other way. In many ways, it is not simply a critique of the American oil industry, but also the American film industry, and it confidently defies both.

4.5/5 Stars

Three Colors: Red (1994)

Posted on October 8, 2014 by 4 Star Films

Kieslowski’s films are mostly character driven and yet he often uses high drama to create a far more complex lens to observe his subjects. In Blue, the inciting incident was a deadly car accident. It seems only fitting that he would end this story with the catastrophic sinking of a ferry. He takes the same bleak, no-nonsense approach with little fanfare that he used before. It’s his way.

In fact Three Colors: Red as a whole is another simplistic film in plot, and yet the irony is that the film is chock full of complexity because its major point of interest is interpersonal relationships (as suggested by the intertwining phone lines shown early on). There is nothing more tangled and intricate about humanity than our relationships.

As such, this final installment is in many ways a story about love, romance, and friendship, and yet Kieslowski does not find it necessary to preach to us. He is better and more thoughtful than that, laying out the story for us to ponder and mull over. This is the story or better yet the parable he created.

Valentine (Irene Jacob) is a young student and model who is constantly an innocent and sympathetic figure with a pair of doe eyes. She is often shown in profile which continually reveals her youthful and even sullen beauty. She is even the somber poster girl of a gum campaign plastered around town. There’s a boyfriend in her life who she desires the affection of, and then there’s a brother who is hooked on drugs. In other words, life is far from rosy and secure.

One day she accidentally runs over a dog that she takes to the owner (Jean-Louis Trintignant,) who seems surprisingly unconcerned by the event. She does the only thing she can do with a clear conscious which is taking the dog to the vet and then taking care of it herself. Soon after, Valentine finds herself walking the dog by the old man’s house once more and she discovers what he does all day. It turns out he is a retired judge, and he spends his solitary existence eavesdropping on the conversations of others (including Valentine’s neighbor Auguste).

Later, through the grapevine, she finds out that a retired judge had a suit filed against him, and she rushes to his house to assure him she had no part. He already knows because he was the one who turned himself in.

Over the next days, Valentine begins to empathize more and more with Mr. Kern’s existence. As a former judge, he was forced to make decisions far more difficult than most. In fact, why do people follow laws? Is it out of goodness or purely self-serving? Is morality all relative? What really is good and bad, because how would we act in the other man’s shoes? By this point, we see Kern’s struggle a little better.

Finally, Valentine invites her new found friend to her last fashion show before she heads to England for a few weeks. It’s a touching moment when he pays her a visit after the show, but it also reveals the pain in the old man’s past. It may be a lucky guess but all we know is that Valentine figures him out. It just shows that you cannot judge others by first impressions.

So as it goes, Auguste’s life practically mirrors that of a younger Kern, and thus, so many parallels become evident. Aside from the obvious, I only figured it out after the film was done, but they are both judges, struggle in love and the like. At the end of the film when Kern sees the news about the ferry with Valentine and Auguste aboard, the only thing we know for sure is that there were seven survivors (guess who!). In a somewhat subtle way, the trilogy is connected and Kieslowski ends his tale on a fitting note. It freezes and just like that the career of one man was done for good. A couple years later he would already be gone. But he went out on top and Three Colors cemented his legacy. I always loved the color red the best. Here’s yet another reason why.

4.5/5 Stars

Three Colors: Blue (1993)

Posted on September 28, 2014 by 4 Star Films

“Now I only have one thing left to do: Nothing. I don’t want any belongings, any memories. No friends, no love. Those are all traps.”

I once thought that Before Sunrise was the type of movie that I would want to make. Three Colors: Blue is another concept that I have often envisioned without even knowing it. In fact, I had seen The Descendants, a film with a somewhat similar story arc told from a different perspective. Except whereas Clooney’s film is full of blatant drama and intense familial moments in Hawaii, Blue is far more nuanced.

The Descendants might be a more gripping drama, but Blue has the sort of complex depiction that seems to more closely mirror reality. The grieving process involves isolation, solemness, and at times few words. The easiest way to grieve is not to feel, not to fully embrace the pain. Sometimes that is the simplest if not the healthiest way to deal with it for Julie. It’s a real world approach to the scenario, and it’s no less painful to watch — perhaps even more so.

Julie’s husband Patrice de Courcy was a famous composer who was commissioned to arrange a grand piece to be performed at concerts for the Unification of Europe. It is a great honor and we quickly learn that Patrice is quite a big deal. However, after a car accident, Patrice and his 5-year-old daughter perish in the crash and only Julie gets away alive. It is a stark, unsentimental picture, and it succeeds in changing Julie’s life forever.

After being released from the hospital she soon sells all her possessions and moves out of her family apartment to take up residence somewhere far removed from any acquaintances, including a man named Olivier who is in love with her. She has a new home and begins to sever ties to her old life. The unfinished work of her husband (and her) is trashed and that’s the end of that. In her new Parisian home, she has a rodent problem and becomes the hesitant confidant of a local exotic dancer. Furthermore, she rejects the necklace that a young man pulled out of the wreckage. Her times of solitude are spent swimming laps alone in the local pool, submerged and half-covered in shadow. Grandiose symphonies reverberate through her mind haunting her. In such moments, Kieslowski will often black out the screen in the middle of the scene, effectively interrupting the action for a few seconds before bringing us back.

Words are few and far between for Julie and when she does speak it is often brief and reserved. We are, therefore, forced to observe her without the aid of dialogue. She is certainly detached but there is a provocative side to her. Something is mystifying about her soft features, dark eyes, and short hair. She is a wonderful woman of mystery and beauty because the reality of it is, we do not know a whole lot about her. We must discover more bit by bit and she does not readily disclose information.

It is when pictures of her life literally flash before her eyes on a TV screen that the story takes its next turn. Julie learns soon enough that her husband had a mistress that he was with for a few years. In the hands of Hollywood, this would be high drama. In the hands of Kieslowski, it is far from it. Julie is still the same aloof individual she always was and even a confrontation with the mistress does not change that. She is civil and generous through it all.

Finally, she returns to her husband’s composition which she learns Olivier has started to rewrite. They agree that he will make his own work and Julie must accept it for what it is. Faces from the film float across the screen and a still solemn Julie lets out a few silent tears. The anti-tragedy is complete, a subdued, intriguing piece of cinema. Not for those with short attention spans but, I am interested to see Red and White. Kieslowski intrigues me with his thought provoking films somehow reminiscent of the likes of Bergman or Bunuel.

4.5/5 Stars

The LEGO Movie (2014)

Posted on September 26, 2014 by 4 Star Films

Kudos to the minds behind The Lego Movie, because it is unlike any animated movie I have seen before and it is due to remixing, so to speak. For one thing, their story satirizes the ever popular action-adventure trope complete with an evil mastermind who is bent on controlling the world, and an every man who ultimately becomes the chosen one to save the…Lego race.

The world that Chris Miller & Phil Lord created is filled with annoyingly popular music, a superficial television program, overpriced coffee, and of course cities full of Lego people living in Lego places. They’ve taken the pieces and people that every little boy knows and spliced it into their own little unique universe.

In their world, Emmett (Chris Pratt) is a simpleton construction worker who is suspected to be the chosen one by the fugitive master builder Wyldstyle (Elizabeth Banks). They track down the prophetic Vitruvious (Morgan Freeman) and after gathering support, they enact a plan to take down the evil Lord Business (Will Ferrell) who wants to subject the world to the Kragle super weapon. I might as well stop the synopsis here because for one I do not want to spoil the film, and for another, it probably sounds like I am speaking complete gibberish.

That is the beauty of this film because it takes a previous concept like Legos and builds on it. After all, that is what you are supposed to do with Legos. Build things! In many ways, I could easily see a version of myself making a movie like this when I was younger. In the Lego world, everything collides into a wonderfully beautiful collage. You have cities, Cowboys, Pirates, Superheroes, Basketball players and Star Wars all tossed together in a giant melting pot. Thus, the Lego movie I would have made would have been a lot different than this one, but that is absolutely okay. Legos are meant to stimulate the mind and allow the bricklayer to build and tell any story they might want to. The minds behind this film certainly did that to great effect with a story that is clever, witty, and even touching.

Furthermore, it is necessary to give a shout out to the voice actors. The two leads in Christ Pratt and Elizabeth Banks did well with their roles. However, they were also surrounded by the likes of Morgan Freeman, Will Ferrell, Will Arnett, Liam Neeson, Nick Offerman, and Alison Brie. Parks and Rec, Arrested Development, and Community were all represented here.

You cannot leave out cameos by Jonah Hill, Channing Tatum, Cobie Smulders, Anthony Daniels, Billy Dee Williams, and Shaq. There are undoubtedly others that I left out. Hopefully, they forgive me.

By the end of the film you will probably be convinced that everything is AWESOME and that each one of us is, in fact, a chosen one, we just have to truly believe it.

4/5 Stars

Star Trek: Into Darkness (2013)

Posted on September 25, 2014 by 4 Star Films

Every film franchise needs an installment where the stakes get higher and the outlook gets a lot bleaker, dropping lower into the darkness. Star Wars has Empire Strikes Back, The Hunger Games has Catching Fire and the new Star Trek series has this film. The opening gambit exhibits all the problems that normally arise with the enterprise crew. Kirk acts rashly not following protocol, Spock is far too logical for his own good and the native population sees far more than they should. All in a day’s work except their exploits get Kirk relieved of his command and Spock transferred. It’s not a good situation by any means.

Then out of the woodwork comes John Harrison a former Star Fleet weapons expert who has gone rogue and induced a man to blow up a seemingly insignificance archives building, but its all a ploy to get at the command. The aftermath leaves Kirk’s mentor dead and Kirk himself reinstated bent on revenge. The Enterprise heads after Harrison who fled to Kronos, part of the airspace of the dreaded Klingon. In a heated confrontation the unstoppable fugitive mows down the Klingons and allows himself to be taken in, but obviously something is not right.

Now Admiral Marcus is on their tale bent on finishing off Harrison and doing it by any means necessary even going so far as shooting down the Enterprise. The balance of right and wrong is completely off kilter by now. Once again Kirk chooses to ally with Harrison to take down Marcus, a risky proposition to be sure. Little does he know who Harrison actually is and what his mission entails. Ultimately Kirk is left with a few options with a ship without little power and a crew that are sitting ducks. In a fitting role reversal, he does the only logical thing he can and Spock takes over the bridge using Kirkian-like tactics. But the mission is far from over with danger still afoot. It takes a little ingenuity from all hands on deck including Spock, Uhura and Dr. McCoy. They cannot be expected to stop there however because their true mission is to go where no man has gone before. Gear up for another 5 years in space or possibly 5 years until the next movie.

I must admit I am not a true Trekkie but I did appreciate a few of the nods in this film including the appearance of Leonard Nimoy and the resurfacing of Khan. Now I really want to go back and see the classic Wrath of Khan too. However, I found this film to have nice pacing some good about-faces and a generally good story line. There are times when I get sick of the drama and picture perfect special effects but Star Trek Into Darkness is undoubtedly good blockbuster fodder. For Trekkies, it certainly is worth it and the cast is endearing. I must say I miss Deforrest Kelly especially, though. Bones is just too overdramatic in this film for his own good. But what do I know? Since villains are always so important Benedict Cumberbatch did a wonderful job raising the stakes by playing the audience beautifully. Well done.

4/5 Stars

The Kid with a Bike (2011)

Posted on September 25, 2014 by 4 Star Films

To say this is an affecting film would be an understatement, because if you want, to be honest, it is truly heart wrenching and painful to watch. From the beginning moments, this film brought to mind a modern-day hybrid of The 400 Blows with a bit of The Bicycle Thief mixed in. However, comparisons are always unfair, because this film will never be either of those and that is fine.

Cyril (Thomas Doret) is a young red-headed boy whose most prize possession is his bicycle. Now his mother is non-existent (either dead or gone) and his father might as well be. The boy lives at a foster home, but he is an unruly occupant who is prone to flee. The reason being is that Cyril clings to the hope that his father will come and get him or that his father will call him soon. It never happens.

On one such escape attempt, Cyril clings to a lady hairdresser (Cecile de France) as his caretakers pry him away. Soon she comes to see him and brings his prized bike which had been stolen. Next, she graciously agrees to take him for the weekends after he asks her. However, he is far from a perfect child, often detached, prone to disobey, and can even be violent at times. Things get worse when Cyril goes with Samantha to talk to his father. It’s a happy moment for Cyril until his father reluctantly tells him to his face that he will not take him back. He had initially asked Samantha to do it showing his lack of a spine and self-respect. You cannot much blame Cyril, but he gets worse before he gets better. He spends time with a local thug who ingratiates himself to Cyril with bike repairs, Assassins Creed, and soda. The motive being he needs a new accomplice to take part in a small-time robbery. The worst part is Cyril does it after Samantha specifically tells him not to hang out with the guy.

Without getting into all the gory details Cyril runs into more problems, Samantha gives up her boyfriend, and there are more repercussions for his actions. However, unlike The 400 Blows, this film ends on perhaps a more positive, although altogether odd, note. We can only hope that Cyril and Samantha gel even more because they deserve to be happy, but that is a story for another film. Or maybe it is better not knowing.

I had yet to see anything from the Dardenne Brothers, but I can see why their type of film-making is so popular. It’s “European film” at its best with simple storylines, realistic and humble camerawork that is brought to life by complex characters. There is a lot of raw emotion and character traits that must be parsed through. Motives and actions must always be questioned since we cannot understand everything. We just know they happen. That is a beautiful thing I suppose because these characters are not often two dimensional and that is a service to the audience. These are the type of films people deserve to watch whether they know it or not. If all we see are summer blockbusters and Oscar contenders we would be missing out on a whole different niche of film entirely. Give it a chance and just maybe you’ll like it.

4.5/5 Stars

Serpico (1973)

Posted on September 25, 2014 by 4 Star Films

“Come on Frank. Let’s face it. Who can trust a cop who don’t take money?”

This is the state of affairs in the police department that green police academy grad Frank Serpico (Al Pacino) finds himself thrown into. At first, he is unaware of it all as he moves up the ranks as a young uniformed cop. In fact, he looks exactly like a post-war Michael Corleone at this point. His new role seems like an honorable life of camaraderie, duty, and public service. The corrupt is obvious and distinct from the good. Soon his brash, forthright style creates waves, but it soon becomes apparent that he is not one to care about hurting egos.

He moves on with his career working in plainclothes and getting a new apartment followed by a new dog. His appearance begins to change as well as he starts wearing a thick bushy beard and wearing hippy garb. It suits him fine in his work and outside he meets a pretty girl named Leslie Lane, but it’s not meant to be.

Serpico corroborates with colleague Bob Blair (Tony Roberts) trying to figure out how to bring attention to the bribes he has 60789-serp2b4 been offered. But honest help is hard to find especially from someone who makes it stick. The higher ups care more about the reputation of the department over corruption, making progress difficult to come by. He continually bounces around from division to division and nobody seems to want him, or trust him for that matter. There are only a few honest Joes around and they are few and far between. Serpico gets transferred this time to the “upright” 7th division and begins seeing his next door neighbor named Laurie. Too soon he learns that one of his acquaintances is instrumental in the extortion that takes place department-wide. By now Frank is feared, hated, and despised because he will not take money under any circumstances. It takes its toll to be all alone in the force, and he lashes out at Laurie who leaves him for good. Now he truly is alone.

He becomes increasingly combative and paranoid as he gets ready to testify before the grand jury. Another case of bribes comes out and when Serpico and his upright partner try and report it nothing is done. As a last resort, Frank goes to The New York Times and they blow the cover right off. He soon receives an ominous death threat and gets shot when trying to bust someone.

He lays in the hospital recuperating asking for his guards to be relieved and watching the hate mail pile up. His badge is returned to him, but he rejects it in disgust, soon resigning from the police and waiting for a slow boat to Switzerland. That’s as far from New York as he could get.

It seems like there are so very many close-ups of Frank Serpico, and thus, over the course of the film we get the opportunity to truly study his face, or rather the face of Pacino as he embodies this character. His cold, aloof eyes, his facial hair that goes under several transformations, but that is only the outward appearance. It is his inner transformation that is most important because that is where his conscience lies, to guide him each and everyday on the beat.

My New York geography leaves something to be desired but that’s not the problem of native New Yorker Sidney Lumet. This is a story that takes place in New York, made for New York, and fit perfectly with its director. It seems like he knew the streets of the New York like the back of his hand, really creating an authentic atmosphere for this police biopic. It has a touch of The French Connection and yet it is a far more personal look at the life of Serpico himself.

This is also extraordinary because the story of Serpico was so fresh, still only a year or two old at most. Furthermore, the film has the same disillusioning and depressing tone of other dramas that came out of the 1970s. Back in the 1950s films like 12 Angry Men (Lumet’s debut) still had an air of idealism. That had mostly dissipated in the New Hollywood period, because the good guys aren’t black and white. Serpico is not the greatest guy around, but the one thing he has going for him is that he is not crooked and that’s saying a lot in the corrupt world he exists in. This is his story told with all the blemishes, personal troubles, and drama that went with it. The greatest service to him is that his story got told and hopefully truthfully enough.