Michael Oblowitz, a native of Cape Town, South Africa, is widely recognized for his numerous low-budget action and horror films from the late 1990s and 2000s, which were primarily made for television. His most notable works include two action films with Steven Seagal, “The Foreigner” and “Against the Dark,” as well as the sci-fi horror flicks “Sharkman” and “The Ganzfeld Experiment.” The quality of these films varied greatly, ranging from dreadful to moderately acceptable.
However, few are aware that Oblowitz began his career as an aesthete and avant-gardist, joining the non-profit New York art collective No Wave in his early years. His films from that period bypassed cinemas and were showcased in art venues such as the Museum of Modern Art in New York, the Walker Art Center, and the Cinémathèque Française in Paris, where they were highly successful among experimental film enthusiasts. One might have expected Oblowitz to debut in mainstream cinema with similarly aesthetic works, akin to the films of Peter Greenaway, another artist with avant-garde roots. Instead, Oblowitz chose to shift not only genres but also his creative direction, focusing exclusively on commercial cinema from the mid-1990s onward.
The 2018 low-budget biopic “Frank and Ava” suggested a return to the director’s avant-garde roots. However, his new film, “The сети Information” (released in Russia as “Paydirt”), is an odd and somewhat unsuccessful blend of the director’s familiar action style and a socio-criminal drama about police corruption.
Nick Stahl as Mike in a still from “Paydirt”
Paydirt: A Crime Drama Review
Partners Tom Moran (Dominic Purcell) and Mike Thornton (Nick Stahl) are police officers known for their unconventional methods. To solve cases, they often disregard formalities and risk breaking the law themselves. When Tom Moran discovers he has terminal stomach cancer, he and his partner decide to rob drug dealers to provide for his family. However, they are spotted by witnesses, leading the internal affairs department to launch a high-profile investigation into the corrupt cops.
Kate Bosworth as Anna in a still from “Paydirt”
Star Power vs. Substance
The new film by Michael Oblowitz may initially attract audiences with the names of Mel Gibson and Kate Bosworth, prominently featured on the poster. However, viewers drawn in by this star power may be disappointed, as both actors play supporting roles. The lead is Nick Stahl, once a rising star in Hollywood (“The Man Without a Face,” “Bully,” “Sin City”). Now primarily working in B-movies, his presence hardly guarantees quality. Stahl delivers a decent performance, carrying much of the film, but he can’t overcome the inertia of the derivative material. Viewers will likely recall classic New Hollywood films that address corruption and abuse of power by law enforcement, such as Sidney Lumet’s “Serpico” and “Prince of the City”. The blend of exposé-style crime drama and gripping action on police themes has been successfully executed by Clint Eastwood (“Tightrope”) and Richard Donner (“16 Blocks”).
Familiar Themes and Unfulfilled Potential
Furthermore, Mel Gibson’s role as police captain Kevin Hickey, navigating between internal affairs and his subordinates Moran and Thornton, invites comparisons to the “Lethal Weapon” franchise, where Captain Ed Murphy, played by Steve Kahan, also struggled with the unruly duo of Riggs and Murtaugh. Had Michael Oblowitz aimed to create a postmodern action film in the style of Rodriguez and Tarantino, these parallels could have served as clever allusions. However, the director intended to create a serious crime drama about the harsh realities of police work. He attempted to depict the social vulnerability of law enforcement (a former officer laments in a bar about barely surviving on his pension) and broadly illustrate the city’s underbelly that Moran and Thornton encounter daily. Yet, Oblowitz’s artistic choices evoke memories of “L.A. Confidential,” “Traffic,” and “Street Kings.”
Mel Gibson as Kevin in a still from “Paydirt”
Missed Opportunities
One of the policeman’s diagnosis could have enhanced the drama, but the director only briefly mentions Moran’s terminal illness before quickly sidelining it. The director likely believed he could maintain audience interest through the detective element, as the internal affairs investigator seeks to uncover the truth behind the drug dealer robbery. However, the intrigue falls flat because the audience is already aware of all the circumstances, as the director chose not to conceal them.
A Failed Noir Attempt
To imbue the film with noir elements, Michael Oblowitz employs voice-over narration, conveying the thoughts of both the main characters and an off-screen narrator. This narrative confusion and the underdeveloped characters (virtually all are one-dimensional) undermine Oblowitz’s attempts to create a modern example of the genre and only reinforce the impression of derivativeness. Neo-noirs were prevalent in the 1970s, when the lifting of the Hays Code allowed directors to infuse dark crime dramas with socio-political content. Unfortunately, Oblowitz’s attempt to play in the realm of serious cinema and attract viewers has resulted in a muddled and cliché-ridden production. Only the presence of talented actors somewhat mitigates the disappointment of watching “Paydirt.”
Would it not have been more honest to simply make an action film in the style of Seagal’s movies? Then, Oblowitz’s film would not be held to such high standards. Expectations for action films are lower. If it’s engaging and filled with action scenes, it’s suitable for an evening’s entertainment.