Blu-ray/DVDebut: Austin Stark's THE RUNNER showcases a low-key Nicolas Cage

BP's Deepwater Horizon oil spill, which has been the subject of a number of fine documen-taries (the best of which is here), now seems to be finding its way into narrative content, as well. HBO's The Newsroom used it in the opening segment and here it is again, as the would-be subject of THE RUNNER, written and directed by Austin Stark, shown below, who has produced a number of worthwhile movies but has now made the jump into writing and directing his first full-length film either a bit too soon or without nearly the talent to bring this kind of story to life.

Using the oil spill -- a dreadful event that continues to grow more so as time drags on and Gulf Coast fishing communities grow poorer -- as an excuse to build a movie around the political and romantic travails of its hero, Colin Pryce (played by perhaps the most ubiquitous leading-man currently on-screen, Nicolas Cage, below), seems somehow tacky and unimportant. And so throughout this generally lifeless film, they duke it out for our attention and concern: the poor, beleaguered people of the Gulf; the ever-present oil interests (personified by a suave and oily Bryan Batt); and a wad of tiresome, typical romantic and family problems. Unfortunately nobody wins, particularly the viewer.

"Romance" and "family" are handled by the likes of Connie Nielsen, Sarah Paulson and Peter Fonda, actors who are professional and alert but can do little with the by-the-numbers script they've been given. There is almost no depth of character here, just cliche's that pile up and block the narrative road. The lesson here is all about how politics works in America today, which should come as no surprise to anyone who has been around during these post-Millennium years, and whose response is likely to be, "Yes. And...?"

From its outset the movie seems heavily "set-up" to make its point, which it does: Nobody wins. Mr. Cage -- who starred in five films during 2011, three in 2013, four in 2014 and at least three so far this year, with four more planed for 2016 -- has got to be one of our hardest-working actors, even if many of his films end up as throwaways. He looks pretty terrible here (or maybe simply "real"), and his performance is unusually tamped-down and believable. But he, too, cannot surmount a script low on lifelike detail and coupled to only so-so direction.

The Runner (the title does triple duty for jogging, political campaigning, and, yes, running away from one's self) comes via Alchemy and lasts a thankfully short 90 minutes. It hits the streets this coming Tuesday, August 25, on Blu-ray (the transfer is quite good!) and DVD--for rental/purchase.

Mentoring, southern style: Nicolas Cage & Tye Sheridan star in David Gordon Green's JOE

It would appear to be all here: Nicolas Cage in what looks like a role that might put him back in form, after so many mediocre movies; Tye Sheridan, one of those two kids who was so very good in Mud, a little older now, this time in a near-starring role; and director David Gordon Green, going back to his roots (Undertow) to bring us another piece of Southern Gothic pie. The film starts off well, too. Everything seems in place for one hell of a ride: two heroes (one young, the other growing old), villains (two again: the fucked-up father of all time and a scarface creep with anger management problems), and the despoiled countryside where our boys make their living destroying the environment. What a world!

And yet, by the time that JOE, the new film from Mr. Green (shown at left), reaches its obvious and predestined conclu-sion, it has become an unmitigated disaster: bloated, bilious, depen-dent upon cliche and coincidence, full of heavy-handed southern miserablism and violence for violence's sake, and then -- say it ain't so, Joe -- a sentimental end. Worst of all, it gives free-rein to Green's least ability as a director: to form his narrative into a satisfying whole and guide it to conclusion. As solid as everything seems at the beginning of this film, by mid-point, it has hopped the track. From there, things only grow worse.

The silliest portions of the film are devoted to that scarface character, played by Ronnie Gene Blevins (shown above, left). who certainly gives it his all and who keeps appearing from out of nowhere, time and again, just long enough to do something loud and nasty before disappearing again for a spell.  It's all so convenient -- and annoying. (The screenplay is by Gary Hawkins, adapted from the novel by Larry Brown.)

The film begins as Gary (young Mr. Sheridan, above) tells off his father, then cuts to Joe (Mr. Cage, below, center), as he begins his workday, leading a band of black men as they place poison into healthy trees so that the trees will die and the lumber company paying Joe and his crew can then chop them down and clear the land. Neat.

Once Joe and Gary connect, it's clear that a ton of mentoring is about to go down. Which it does. Along the way we meet the barely-there women: a brothel of whores, a bad mother, a sad sister and the young woman who comes to Joe for protection. None of them register strongly at all. This is a man's movie, doncha know.

Gary's nasty and drunken dad is played by first-time actor Gary Poulter, below, whom the filmmaker, known for his casting of locals, found homeless on the street. Poulter is dynamite; his performance is the single strongest thing in the film, and it will be his only one, as the fellow died on the Texas streets only weeks after filming had concluded.

Otherwise, the movie belongs to Cage and Sheridan, and both are very good: Cage looking buffed and beefy, with a mat of gray hair on his chest, and Sheridan having now grown into young manhood from his Mud boyhood, while holding onto his innocence nicely. The two work together very well and provide the bond the movie finally makes central. If only Green and Hawkins had been able to create something more original for these character to act out. A little melodramatic Southern miserablism goes a long way.

Joe, from Lionsgate and Roadside Attractions and running a lengthy 117 minutes, will open this Friday, April 11, here in New York City at the AMC Empure 25, the Angelika Film Center, the Lincoln Plaza Cinema and the Brooklyn Heights Cinema, and on VOD and iTunes. To learn if the film is playing anywhere near you, click here, enter your zip code and click on GET TICKETS AND SHOWTIMES.

Once again, children, what did the hungry rabbit do? Donaldson's SEEKING JUSTICE

The headline above -- part of it, anyway -- is a kind of code that lets you know you're among friends. Or maybe enemies. Its use is one of the more enjoyable aspects of SEEKING JUSTICE (terrible title!), the latest in the burgeoning mini-genre of disposable Nicolas Cage movies. We've just come off Ghost Rider 2 (disposable big-budget variety), and the end of last year gave us one his his worst, Trespass. (Well, Mr. Cage must get those debts paid down, so let's crank out another film!) This new one is infinitely more enjoyable than Trespass, for it has Roger Donaldson (below, of  The Bank Job) at the helm, rather than Joel Schumacher (of Twelve) -- even if its credibility factor is awfully low.

Seeking Justice is a conspiracy movie of the the vengeance-is-mine-sayeth-the-vigilante mode, in which, by the finale, everyone in New Orleans (the film's setting) including your second cousin's mother-in-law seems to be involved in said conspiracy. This sort of thing tends to dampen the "surprise" element, not to mention the suspension of disbelief. And yet, in its rambunctious, goofy way, the movie often works, keeping you interested in, if not glued to, what's going on on-screen. Donaldson achieves this via his usual combination of smart, tight action; growing suspense; and believable performances by all -- even if the plot surrounding those performances is anything but.

Mr Cage (above, left) proves quite fine as a school teacher, who -- after his wife (January Jones, above, right) is assaulted -- is approached by a rather mysterious fellow (Guy Pearce, below, left, doing his "strange" number to a fare-thee-well) who has a plan for taking revenge on  the culprit. If only Cage will consent to it. Oh yes, and then do Pearce one little favor.

As usual with this kind of movie, the build-up is much more interesting (not to mention credible) than the resolution. So be prepared to enjoy what you can: the occasional surprise along the way, some good action sequences, and Mad Men's Ms Jones, acquitting herself more gracefully here than she managed in last year's better film Unknown. Also doing good work are Harold Perrineau (as Cage's friend and school principal) and Xander Berkeley (as a questionably friendly police lieutenant).

Seeking Justice (from Anchor Bay Entertainment, 105 minutes), opens this Friday, March 16 in New York, L.A. and maybe elsewhere. In NYC, you can catch it at the AMC Empire 25, Loews' Kips Bay and 19th Street East, and the Village East Cinema. The film's web site promises to have SHOWTIMES -- with cities and theaters, one expects -- up soon. Once they are, click here to see them.