![]() ![]() His portrayal of a conflicted, power hungry youth plays out more like the na¯ve boy from The Girl Next Door, just with more hours logged playing Grand Theft Auto. Similar sentiments can be expressed about the performance laid down by Emile Hirsch, who has faired well in more simple roles in the past. Unfortunately it is too late to save his performance as a whole, as most of us had already lost interest. ![]() In the final moments of the film, his performance sures up considerably, allowing him to show off what those pesky marketers want you to see, he can actually act. Timberlake, who spends much of the first two thirds of the film gallivanting around like the court jester in Johnny Truelove’s kingdom of wannabe gangsterism. As you can imagine, what began as a fun game with some pot dealing breaks into what can only be described as terribly formulaic studio drama that ends as you would expect, just not soon enough.Īdding to the otherwise predictable plot, penned by Nick Cassavetes ( The Notebook), is the annoyance of Mr. In order to best live up to the legacy of Scarface (whose poster adorns his bedroom wall), this Halfling gangster decides to kidnap Jake’s brother (Anton Yelchin) and hold him as collateral until the debt is paid. Hirsch plays Johnny Truelove, a neighborhood drug runner in suburban California who takes up a beef with Jake (Foster) over a deal gone sour. But Timberlake ends up playing second fiddle to other young talents, such as Emile Hirsch ( The Girl Next Door) and Ben Foster ( Six Feet Under, X-Men: The Last Stand). Now, marketers over at Universal Pictures would have you believe that Alpha Dog is to be the breakout vehicle for pop star turned Saturday Night Live host turned actor Justin Timberlake. This year gives us Alpha Dog, a film that is doomed to be more of a lukewarm January filler than a serious late season contender. On the flipside, every year gets its share of Oscar bait-and-switch, movies that show promise but don’t quite make the cut. In some cases, films of this nature are held until the end of the year in order to maintain that fresh Oscar scent. With that onslaught come some excellent films, as seen this year with the likes of Pan’s Labyrinth or Children of Men. Toward the end of the year, and on into the month of January fans of cinema everywhere are bombarded with the last ditch efforts of studios to capture the limelight and rake in some coveted Award season hardware.
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