Undeniably one of the more powerful films you'll see this year, "American History X" is a thought-provoking, moving, and visually stunning first effort from former TV commercial director, Tony Kaye.
Despite recent, and quite vehement disagreement over the final cut on this film (that had Kaye wanting his name removed from the finished product and replaced with, of all things, "Humpty Dumpty"), this is an impressive feature that will not only stick with you long after you've seen it, but should also whet one's appetite for what Kaye might deliver in the future.
Strutting his technical visual prowess -- he also served as the film's cinematographer -- Kaye may occasionally go a bit too far with the slow motion effects. After all, how often have you seen water slowly cascading onto a person in the shower? For the most part, however, his overall visual style is impressive and often viscerally stunning.
Effectively and efficiently mixing present day color footage with the film's many (and often prolonged) flashbacks shot in black and white, Kaye delivers some of the more chilling and taut sequences that I've seen in a film in a long time.
Ranging from the gripping, stunning and decidedly disturbing opening sequence where Derek kills two thugs, to a harrowing rape in the prison showers, Kaye delivers scene after enthralling scene that are relatively unmatched by even the best suspense thrillers in today's market.
All of this praise doesn't mean the picture's perfect, however. Beyond the mild overuse of dramatically slowed footage, the film is occasionally too "on the nose," particularly involving the scenes telegraphing the fact that hatred is often born through contactual osmosis (although it certainly makes up for the complete omission of such matters in last week's "Apt Pupil").
On several occasions the dialogue feels contrived and forced, such as when the boys' long suffering mother -- otherwise effectively played by Beverly D'Angelo -- chats with Danny about not knowing how they "got here" (their living conditions and problems).
In addition, the editing -- Kaye's main point of contention with the producers and the studio, New Line -- is sometimes a bit rough. In one instance, we hear Danny's voice, but clearly see that his lips aren't moving -- a glaring technical error.
While some may make a big fuss about those problems and perhaps Kaye's vivid shooting style, such problems aren't horrible and certainly not bad enough to do much harm in distracting the viewer from the proceedings. For the most part, the gripping story and first-time screenwriter David McKenna's often brilliant and rapid fire dialogue easily allow the audience to overlook any minor deficiencies.
What you won't be able to overlook, however, is the amazing performance from Edward Norton ("Primary Fear," "Rounders"). Furthering my belief (that's similarly propounded by many others) that he's simply one of the best and most gifted actors working today (and perhaps of all time), Norton brilliantly plays his character on so many levels -- not to mention physical appearances -- that his performance is as equally mesmerizing as it is disturbing.
There's little doubt that this role -- that portrays one of the more menacing and scary characters to come along in years -- will earn him yet another Oscar nomination, and he may just be the odds on favorite to take home that statuette.
Edward Furlong ("Pecker," "Terminator 2") is also quite good as the quickly maturing, but still impressionable young skinhead. Like his onscreen character, however, he can't help but be overshadowed by his more charismatic costar. Even so, this is probably Furlong's best role in his still relatively young career.
Avery Brooks (TV's "Star Trek: Deep Space Nine") delivers a believable performance as the tough, but caring high school principal, while Stacy Keach (TV's "Mike Hammer, Private Eye") is appropriately creepy and deranged as the near mythic leader of the skinheads. Other minor supporting performances are also first-rate.
Despite a few glitches and a limited amount of voice over (which is mostly acceptable since the story's told in flashback anyway), this is an impressive picture. Featuring a good score by Anne Dudley, a bold and visually stunning shooting style, and a stellar performance from Norton, this is one of the better films of the year and clearly one you soon won't forget. We give "American History X" an 8.5 out of 10.