Clay Pigeons (1998)

The indie quirk is a familiar substance that can be a lot of fun in the right situation. Clay Pigeons is just what we're looking for. It's an offbeat film about Clay Bidwell, played by Joaquin Phoenix, whose life takes a dark turn after his best friend commits suicide after finding out Clay has been sleeping with his wife, Amanda. Clay, not wanting anybody to find out about him and Amanda, disposes of the body. This leads to a bundle of lies that pile on one another and are further complicated by the arrival of a mysterious cowboy named Lester Long. Clay quickly learns some very dark secrets about Lester and is forced into helping him keep those secrets. It's a twisted and backwards ride that at times doesn't even feel real it is so bizarre. This film is loads of fun and is a thrilling joy to watch.Clay Pigeons is a film that seems to take itself seriously, but also has a very dark, very grim, sense of humor that pokes its head out in all the wrong places. It comes out in the form of sickening irony and strange satire that plays up the film's dark quirkiness. But these nuances never feel forced and they always seem appropriate for the kind of atmosphere Clay Pigeons tries to capture. The film stays consistent with its dark mood. It gets intense but there's always a hint of sadistic humor hidden in the seriousness of the film.It achieves this balance of two tones through a variety of things. One such element would be the ironically twangy score. There are scenes of murder and violence set to the dueling banjos we're all so familiar with. The film is consistently driven by a very country score that feels so odd and out of place that it makes the film feel just right in all its offbeat finesse. David Dobkin, the film's director, shoots Clay Pigeons with a quirky camera eye with certain shots that are set up very well and capture an ironic intensity that makes the film feel even stranger.And there's no way to talk about this film without mentioning the fantastic performances from the two leads, Joaquin Phoenix and Vince Vaughn. Phoenix is the unfortunate sucker who gets dragged into the events of the film, constantly wanting out but never being able to find a way to escape. Vaughn is the villain of the film who is entertaining yet disturbing. He is an incredibly fun character but also incredibly creepy. You're never too sure what is going on in his disturbed mind and Vaughn pulls off his offbeat edge perfectly. From the horribly stereotypical cowboy get-up to the hilarious yet slightly unsettling laugh, Vince Vaughn's portrayal of the devilish Lester Long is on the nose.Clay Pigeons is one of those films that you have to see to believe. It is very strange and it is difficult to know what to make of it, but there's something about it that is ironically fun. It is quirky, it is offbeat, and yet it is serious. Everything about the film matches this mishmash of moods and makes the film feel completely strange overall. Nevertheless, I thoroughly enjoyed this film for the strange little ball of odd it was.

I kind of liked it. Oh, it's leisurely and the plot is nothing special, but the overall impact on the viewer is likely to be positive.The acting, for instance, is pretty good. Joaquin Phoenix seems to have gotten bonier as he's matured and has acquired some character. He's alright, and the director gives him room. When his ex-girl friend shoots his current lover, he throws the perpetrator against a wall and pressing her with his left forearm he repeatedly punches his right fist against the wood panel next to her head. Then he pauses, his triceps quivering, holds the position for an unusually long period, and then he delivers another blow to the smashed wood. It's a tiny wordless explosion of impotent rage, and it's perfectly timed. Phoenix is suspected of multiple murders actually committed by a recent acquaintance. He's afraid to go to the police because, well, things would look a little fishy, what with his knowing the victims and having struck one of them just before she disappeared.Janeane Garofalo is petite and not strikingly beautiful as an FBI agent who smokes grass and then eats pizza, and all the while the gears in her brain are still whirling. She's businesslike, utters clipped, sarcastic remarks, and has a smile full of dazzlingly white teeth that belong in a commercial for Bright Strip. Okay. Strictly routine. But then we see her in a bar, getting into some scotch, and she is getting hit on by Vince Vaughn who, unbeknownst to her, is the serial killer she's searching for. Here's the thing about that scene. Considering what we've seen of her character so far, we fully expect her to advise Vaughn to take up residence in a place where the sun don't shine -- but no! Like an actor in a Greek drama, she holds up another persona. She becomes girlish and responsive, flattered by Vaughn's clumsy and overobvious attention, and playful with him before he hustles off with his next victim, leaving Garafolo clearly a little unhappy. Again, it isn't much, not a display of thespian fireworks, but it TELLS us something we wouldn't have guessed about her. She's a woman under that badge and behind that gun. Her character has acquired another dimension. She's no longer a stereotype. And the scene impresses on us the fake rapport that the killer can generate in strangers.Vince Vaughn has the showiest role, a big, affable, charming, slightly dumb cowboy with a yen for cutting up cute girls into little pieces. His performance, alas, is as bland as his face, although it's professional. He doesn't blow it. He just doesn't bring much to the party.Scott Wilson is the local sheriff. He's turned into a decent character actor, light years away from his murderer in "In Cold Blood." He's feeble, shuffling, spare of speech, and a little morose, as if filled with guilt for having slaughtered the Clutter family.The score is quite original too. None of it is what you'd expect from a movie about a serial murderer. There are some country and western tunes in the background, Elvis Presley, "Moon Over Montana," reflecting the rather dreary social atmosphere of the town. As Vaughn says at one point, "Country music is an acquired taste." (Garofalo's reply: "No it isn't. I've listened to it and hated it from the beginning. Scotch is an acquired taste.") But then the underscore comes up with some strange sounds indeed. Tympani are repeatedly swept up and down as if rolling over Montana's hills. Odd, unexpected clicks and clacks. It doesn't distract the viewer and it comes across as apt in a queer way. But the score isn't of a piece either. It's made up of multiple discordant riffs drawn from different quarters and pasted together. It's a nicely judged piece of work, striking a neat mean between being loud and edgy and being soft and dull. The script itself may be routine but the actors and the director lend it fresh dimensions.

Starts off well but only goes downhill from there. Down, down, down... The plot is outrageously far-fetched, illogical, and full of numerous mind-blowing coincidences.How is it, for example, that a suicidal person, a murdering whore, and a mass murderer ALL happen to be involved with Phoenix? And this is just one of many bits of nonsense. Another one: how the hell did Vaughn know about all that happened?! Rather predictable, too; particularly in the last half-hour.Some silly details: Garofalo identifying killer through cigarette stub(!), deputy's helper falling asleep, and many others. (Can't be bothered to list them.) An insane bit of (mis)casting was to make Garofalo and FBI agent - and she has been on the force for 12 years!!! So when did she start?! At 18?! And 12 years doing what?? Shopping for generation X clothes? What's next, Drew Barrymore as the US President? Tom Cruise as a brilliant scientist? Matt Damon as a heterosexual? Vaughn, on the other hand, simply hams it up, as he always does. One of the few roles in which Phoenix isn't that bad.

"Clay Pigeons" was a pleasant surprise to discover. Director David Dobkin, working with Matt Healye's screen play, has created a film with a western flavor in which a young man has the bad fortune of being around when different dead bodies are found; it doesn't take too long when Clay will be implicated in them.Clay is an auto mechanic who made the mistake of having an affair with one of his buddies' wife. Earl reminds Clay at the beginning of the film when he decides to kill himself. He is convinced his death will have "Clay" written all over it. What's more, his widow, Amanda, the young and sexy woman who had the affair with Clay wants to continue the relationship now that her old man is gone. Clay, who has been scared out of his mind with what he had witnessed wants to be millions of miles apart from Amanda, who keeps pressuring the young man for sex.One night at the local tavern, Lester Long, a stranger to the town, witnesses how Clay slaps Amanda in front of everyone because he has had it with her. Lester, who appears to be a friendly guy, strikes a conversation with Clay and invites him to go fishing in a nearby lake. That same lake is the place where Clay had taken the corpse of Gloria, who was killed while having sex with him by the deranged Amanda. Little does Clay know who his new friend really is.When the FBI is called to investigate Amanda's own death, things begin to spiral for Clay. Everything is out of control. Agent Shelby thinks Clay is the one responsible for Amanda's killing and a string of others like it in the area. Clay puts two and two together and he realizes who is the killer and puts a plan into action. The last thing we see is Clay leaving town and driving in the opposite direction.Joaquin Phoenix makes Clay come alive in a great reading of this character. Mr. Phoenix is at times the confused man who is perplexed and wonders how anyone can be accusing him of the crimes he supposedly committed. Vince Vaughn is perfect as the reptilian Lester Long. He adds a layer to his character with the nervous laugh he doesn't seem to control. Janeane Garofalo plays FBI agent Shelby with good results. Scott Wilson is seen as Sheriff Mooney who believes in Clay's innocence.The excellent music score provided by John Lurie serves the movie well as does the cinematography of Eric Edwards. David Dobkin directed with assurance, making this film become a good way to spend some time.