Although many of the actual names and locations have been changed for the movie, Nick Cassavetes' "Alpha Dog" tells the largely fact-based story of a particularly heinous homicide that took place in Southern California in the summer of 2000 (changed to the fall of 1999 for the film). The crime involved a group of young drug dealers who kidnapped, then eventually murdered, the 15-year-old brother of a fellow drug dealer who owed the ringleader money and who, largely out of stubbornness and pride, refused to pay up the debt. After the discovery of the body, most of the perpetrators were convicted and sent to prison, but the mastermind, Jesse James Hollywood (called Johnny Truelove in the movie), managed to flee to South America where, in 2005, he was eventually arrested and sent back to the States to face trial on the charge of murder-in-the-first-degree.
"Alpha Dog" provides a grim, depressing look at the dark underbelly of American society where amoral, disenfranchised and disaffected youth play life-and-death games with drugs and guns, often with tragic consequences. In the case of this story, what begins almost as a spontaneous lark suddenly turns into deadly serious business as events begin to spiral further and further out of control as the story races ever more rapidly to its pre-ordained and inexorably tragic conclusion. Cassavetes has written a tight script that captures the fast-paced, drug-soaked milieu in which these young people do their "business." Yet, even though a number of the boys display a callous disregard for life, there are others who see the wrongness of what they are doing but who, through fear or misplaced loyalty or simply a belief that things "would never really go that far," fail to put the brakes on the whole sordid affair before it is too late. It is in that context that Truelove relinquishes his role as the main focal point of the film in favor of Frankie Ballenbacher, a cheerfully sardonic wise guy whose job it is to watch over the boy while Johnny figures out what next to do with him. As Frankie becomes more and more attached to the kid, it becomes harder and harder for him to comply with Johnny's ultimate order of liquidating him. Frankie, thus, becomes the emotional buy-in point for the audience, even more so than the kidnapped boy himself.
There are fine performances by Emile Hirsch, Shawn Hatosy, Ben Foster ("Six Feet Under"), Bruce Willis, Harry Dean Stanton and Sharon Stone, among others, but it is Justin Timberlake, as the high-strung but basically goodhearted Frankie, who walks off with the film. In his every moment on screen, the charismatic Timberlake brings an intensity, shrewdness and liveliness to his performance that bodes well for his future career in movies.
In his direction, Cassavetes generates a starkness of vision and moodiness of tone that are greatly enhanced by the brooding, darkly-lit camera-work of French cinematographer Robert Fraisse.
The movie has a few weaknesses. The faux-interview scenes, which Cassavetes periodically interjects into the film, don't do much to enhance the storyline and succeed only in confusing the audience and interrupting the action. Moreover, the ending comes upon us much too abruptly, depriving us of a sense of completion and catharsis, particularly in regards to Frankie's apprehension and feelings of remorse over what he did, as well as the older brother's reaction to the discovery of his sibling's body. And there are sporadic rare moments, mainly in the early part of the film, where one gets the sense that the cast members are "playacting" rather than truly inhabiting their parts. But these impressions are few and very fleeting and, for the most part, the actors do an admirable job of conveying the down-and-dirty reality of the life they are portraying.
"Alpha Dog" turns the spotlight on a subset of society we may not want to admit is there but which nonetheless exerts a tremendous negative influence on all our lives. The film serves as an alarm signal and a wakeup call that we ignore at our own peril.
"Alpha Dog" provides a grim, depressing look at the dark underbelly of American society where amoral, disenfranchised and disaffected youth play life-and-death games with drugs and guns, often with tragic consequences. In the case of this story, what begins almost as a spontaneous lark suddenly turns into deadly serious business as events begin to spiral further and further out of control as the story races ever more rapidly to its pre-ordained and inexorably tragic conclusion. Cassavetes has written a tight script that captures the fast-paced, drug-soaked milieu in which these young people do their "business." Yet, even though a number of the boys display a callous disregard for life, there are others who see the wrongness of what they are doing but who, through fear or misplaced loyalty or simply a belief that things "would never really go that far," fail to put the brakes on the whole sordid affair before it is too late. It is in that context that Truelove relinquishes his role as the main focal point of the film in favor of Frankie Ballenbacher, a cheerfully sardonic wise guy whose job it is to watch over the boy while Johnny figures out what next to do with him. As Frankie becomes more and more attached to the kid, it becomes harder and harder for him to comply with Johnny's ultimate order of liquidating him. Frankie, thus, becomes the emotional buy-in point for the audience, even more so than the kidnapped boy himself.
There are fine performances by Emile Hirsch, Shawn Hatosy, Ben Foster ("Six Feet Under"), Bruce Willis, Harry Dean Stanton and Sharon Stone, among others, but it is Justin Timberlake, as the high-strung but basically goodhearted Frankie, who walks off with the film. In his every moment on screen, the charismatic Timberlake brings an intensity, shrewdness and liveliness to his performance that bodes well for his future career in movies.
In his direction, Cassavetes generates a starkness of vision and moodiness of tone that are greatly enhanced by the brooding, darkly-lit camera-work of French cinematographer Robert Fraisse.
The movie has a few weaknesses. The faux-interview scenes, which Cassavetes periodically interjects into the film, don't do much to enhance the storyline and succeed only in confusing the audience and interrupting the action. Moreover, the ending comes upon us much too abruptly, depriving us of a sense of completion and catharsis, particularly in regards to Frankie's apprehension and feelings of remorse over what he did, as well as the older brother's reaction to the discovery of his sibling's body. And there are sporadic rare moments, mainly in the early part of the film, where one gets the sense that the cast members are "playacting" rather than truly inhabiting their parts. But these impressions are few and very fleeting and, for the most part, the actors do an admirable job of conveying the down-and-dirty reality of the life they are portraying.
"Alpha Dog" turns the spotlight on a subset of society we may not want to admit is there but which nonetheless exerts a tremendous negative influence on all our lives. The film serves as an alarm signal and a wakeup call that we ignore at our own peril.