Few actors are as naturally captivating as Michael Shannon. It’s important to remember this before he makes his big budget debut as the villain Zod in Man of Steel, only because the role is new territory for the indie star. Before his summer blockbuster reveal, however, The Iceman stands as a reminder of the understated style that caught the attention of critics and audiences in Take Shelter. As a hitman of few words, Shannon conveys more with his unusual, deadpan mug than a few lines of dialogue ever could. If only his performance wasn’t wasted on such a generic film.
The crime drama from director Ariel Vromen chronicles the career of Richard Kuklinski, a real life hitman believed to have murdered over 100 people before his arrest in 1986. His story begins in the 1960s, where he quickly rises from schleping boxes of porn movies to working for a New Jersey mobster (Ray Liotta). Over the years, he becomes notorious for his ability to kill without remorse, earning him the titular nickname. Meanwhile, at home he’s a dutiful husband and father to his wife (Winona Ryder) and two daughters. Little do they know that their suburban house, private school and other luxuries are paid for by the lives of men unfortunate enough to cross Kuklinski’s path.
As expected, Shannon carries the film, which straddles the line between forgettable and bizarre. The story often feels confused, especially when time is elapsed through montages depicting Kuklinski shooting, stabbing and choking his many victims. Yet despite efforts to establish the passing of decades -– in one of the most uninspired ways possible -– the story often jumps ahead without warning. On more than one occasion I found myself asking, ‘What year is it? What’s going on? Why does everyone suddenly have mustaches?’
The film also fails to develop the closed-off Kuklinski by choosing to instead focus on his mythical status as a killer. In some ways, the decision works to Shannon’s favor, as he is then able to make the most out of his six-foot four-inch physique by deftly shifting between an imposing criminal monster and a gentle domestic giant. Regardless of motivation, he’s ideal in both worlds, a legend on the streets and a worthy contender for world’s greatest dad. Even when background is provided through Stephen Dorff’s cameo as Kuklinski’s incarcerated, equally violent brother, Joey, it’s dismissed as quickly as it’s introduced and never revisited.
But who needs a cohesive timeline or believable characters when you have one of the most eclectic ensemble casts ever assembled in a mob movie? Besides Liotta, whose Goodfellas cred allows him to phone in his performance, the film becomes a jarring parade of unexpected actors. One of the biggest surprises is David Schwimmer, who, in his supporting role as a petty thug, becomes virtually unrecognizable in the standard-issue gangster uniform of a greasy ponytail, thick facial hair and velour tracksuit. James Franco also provides a bit of star power in a brief throwaway part that seems to exist solely to remind us of his creepy omnipresence.
Overall, the film benefits the most from Captain America star Chris Evans, who plays freelance hitman, Mr. Freezy. Freezy is a glaring, out-of-place misfit in this genre piece, as he suddenly appears in an ice cream truck — which he uses both as a front, and as a place to store bodies — to offer Kuklinski work. He serves as a less principled opposite to the protagonist, who refuses to harm women and children. Compared to the malicious, uncaring Freezy, who relishes the act of chopping up corpses for disposal, the Iceman manages to appear more human. Though Shannon finally gains a worthy co-star in Evans, their on-screen partnership doesn’t last long enough to salvage an already uneven and unconvincing story.
The Iceman is now on VOD and in limited release.