# Payback (1999)

### reviewed by
James Sanford

If you're shocked by the mayhem Mel Gibson perpetrates in "Payback," keep in mind that Gibson first rose to international stardom in director George Miller's "Mad Max" movies, deliriously violent spectaculars in which the only rule seemed to be "kill or be killed." In the two decades since, Gibson has mellowed out considerably. True, plenty of blood has been spilled in the "Lethal Weapon" movies, but director Richard Donner has upped the levity quotient so much over the years that last summer's "Lethal Weapon 4" was practically a sitcom with occasional kung-fu interludes.

The extraordinarily brutal "Payback" could also be seen as a comedy, albeit an extremely sick and twisted one that offers Gibson the rare opportunity to play against type. Some of his fans will applaud the stretch, many will be appalled, and no one should expect a film this unrelentingly nasty to become a major hit at the box office.

But don't be surprised if, 10 years down the line, "Payback" is hailed as a minor cult classic. It may be bloody, sleazy and populated entirely by trashy people, but this picture is also subtly stylish, sensationally acted and - if you appreciate extremely bitter humor - pretty funny as well. Somehow, someday, somewhere, "Payback" will get its due.

Fittingly, at the center of the movie is a guy who's just trying to get what he thinks he deserves. Porter (Gibson) was swindled out of $70,000 and left for dead by backstabbing former partners, one of whom used the money to pay off a debt to "the outfit." Now Porter wants arefund, and woe to those who stand in his way, be they man, woman or dog.

In terms of plot, that's about all "Payback" has to offer. What makes the movie crackle is a cast of powerhouse actors and the vivid colors in the script by Terry Hayes and director Brian Helgeland.

Porter's wife (Deborah Kara Unger) is a junkie who hides her works in music boxes and in the hollowed-out heels of platform shoes. The only thing Porter's ex-friend Val (Gregg Henry) enjoys more than roughing up others is getting pulverized by dominatrix Pearl (Lucy Liu of "Ally McBeal").

"Payback" also manages to accommodate a nod to Neil Jordan's memorable "Mona Lisa," as Porter finds himself drawn to the pricey call girl Rosie (Maria Bello) he's been driving around town. But the dialogue is anything but lovey-dovey. "I think all those stories about your being dead are true," Rosie tells Porter. "You're just too thick-headed to admit it."

It's juicy stuff, and Helgeland demonstrates a terrific feel for the material. "Payback" has been shot in a cool blue tint that makes it seem like a snapshot from the past, an effect enhanced by disorienting backgrounds that include New Jersey commuter trains alongside Chicago street signs.

It's already been widely reported that the primary reason the release of "Payback" has been held up for the past six months has been differences between Gibson and Helgeland over exactly how dark the movie should be. Not being able to see the original cut, we'll probably never know for certain what it was like, but it's doubtful it was any better than this vicious, jolting little amorality play. James Sanford

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