The Strange And Wonderful Discrepancies Of Colin Farrell

The last time we saw Colin Farrell play a colorful supporting bad guy in a superhero movie was nearly 20 years ago, at a time when he looked everywhere.

After just appearing as the crazy killer Bullseye against Ben Affleck in Daredevil, Farrell underwent the ritual of the young actor, instructed by Al Pacino in The Recruit; it wasn't long before he wore Joel Schumacher's thriller Phone Booth almost entirely on his own and dressed for the summer action S.W.A.T. All of these 2003 films made money - but just a year or two later, Farrell was labeled in need of a comeback.

Maybe with his roles in the upcoming blockbuster Batman and the quieter After Yang, both coming out on Friday, his need to return reappeared. After all, Farrell's last few films - the science fiction film for young people "Voyagers" (forget it), the soap opera killer Ava (delusion) and the Disney fantasy Artemis Fowl (almost invisible) - had a distinctive pattern of decline.

As Tim Grierson wrote for MEL nearly five years ago, however, Farrell is a man with endless second chances - not because he's constantly down and out, but because his career has never sustained the kind of long hot series that rises in such a way. when he was a young and always charismatic star like Tom Cruise, Will Smith, Brad Pitt or even his constellation Ben Affleck. With his constant stream of great films (In Bruges; The Lobster), character roles (Widows; Gentlemen) and shit (Winter's Tale; a remake of Total Recall), he looks more like Jude Law or Ewan McGregor - other British actors with long and impressive careers that never involve a world megastar.

Like these performers, Farrell sometimes takes on roles that deliberately ignore his beautiful charm with stranger, more showy demeanor and dress. But in the later part of his career, Farrell seems to be doing his best as he pushes to even greater extremes at both ends of his range. On the one hand, he has become a silent muse for directors such as George Lantimos, mastering the slightly distant humanity of dark comedies such as The Lobster and The Murder of a Sacred Deer, and Martin McDonagh, who acts in a more outspoken comic book while still using his star anxiety. Farrell, on the other hand, will wear a plaid suit, large glasses and a newspaper hat to play the leader of a group of young gangsters on YouTube in the Guy Ritchie Capers' Capers. He doesn't always portray either of the two characters when expected: for the perfect freak Tim Burton, he played a gentle father in Dumbo, while in the second season of the deeply serious HBO drama "The Real Detective," he left his ridiculous black gaffes over the top.

Farrell's new films this week see this strategy peak. On the same day, he chews on decorations behind layers of makeup like Penguin, a gangster who crosses with Robert Pattinson's Batman (certainly the only time he shared a role with Danny DeVito) while on screen at a nearby theater (or Showtime streaming) he makes a thoughtful performance as a silent father caring for his family's broken robot in After Yang.

Some things don't change that much. Farrell is an indisputable accent in Batman, just as he was in Daredevil and for a similar reason: in a violent film where the titular superhero thinks grimly, Farrell breaks the seriousness around him. Still, because Batman is more effective as a drama than Daredevil, Farrell's comic relief also works better. His penguin hangs on the periphery of the story, not well, but still struck by Batman's attention. He does not want to kill his enemy as much as to repel him and be left to his own grotesque pleasures. Despite his thinning hair and lining, Farrell has less makeup than DeVito's Penguin; the most spectacular part of the character is his gravelly gangster voice with an American accent, the whole "sweet" and rude giggle. He serves as a criminal in Gotham City: sold, corrupt and completely at home.

After Yang - a restrained science fiction drama with a PG rating, by the monotonous screenwriter and director Kogonada - requires a paradoxically lighter touch for material that is in its own way heavier and more ambitious than the three-hour Batflick. Farrell plays Jake, who pledges to repair the Young family's android (Justin H. Min), who has mysteriously turned himself off. Yang served as a babysitter and cultural liaison for their adopted Chinese daughter Mika (Malea Emma Tyandrawijaya). Jake isn't sure whether to grieve for Young or fight for him, and immersing himself in the robot's recorded memories doesn't clarify things.

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