You wouldn't think it but Mike Hodges' elegantly mounted I'll Sleep When I'm Dead has a great deal in common with Steven Brill's gross-out fest, Without a Paddle. Really. First, there's the titles—both are aphorisms, though I'll Sleep is a bit more elegiac. Then there's the, uh, themes—the consequences of men facing harsh realities while learning to grow up (or not) via horrifying circumstances. There's also the inclusion of a major star/talent of the '60s and '70s in a terrifying role— Malcolm McDowell and Burt Reynolds respectively—tipping their hats to actions in their more classic work. But to give the dreadful Without A Paddle credit, at least Reynolds' nod is a joke—his mountain man Deliverance character a big ol' wink to verge of 30 camping terror based on scores of men traumatized by John Boorman's masterwork. McDowell, on the other hand, has just been signed up to play another freak—a rapist, who for no particular reason other than jealousy for the young and pretty Jonathan Rhys-Meyers, decides to bugger the poor lad one dark night.

Which leads to something I'll Sleep and Without a Paddle really do have in common—homosexual panic. Now there's nothing wrong with traversing this territory if the subject is intelligentily rendered, but Hodges, who crafted the wonderfully moody Croupier (and Get Carter), loses his way in a movie that's such arch neo-noir, its almost moronically morose. Working from Trevor Preston's script, the story finds the fantastically gifted (sometimes brilliant) Clive Owen a conflicted British hitman who's dropped out of the criminal world to live in a van (almost, a la Chris Farley, down by the river) where he's attempting to come to terms with guilt and regret. Owen's Will Graham is one of those movie anti-heroes whose been chronicled far better in the darkly gorgeous films by Jean-Pierre Melville (chiefly Le Samourai) or in Luc Besson's flashier Leon. You see what Hodges is going for, but its all surface angst—existentialist posturing.

Will returns from his self imposed exile (scruffy and bearded) after learning that his younger brother, Davey (Rhys-Meyers) has just committed suicide. He meets up with his restauranteur ex, Helen (Charlotte Rampling) and best friend Mickser (Jamie Foreman), two of the only people who don't greet him with abject suspicion. Facing off with old crim cronies, we hear trite speeches like, "people like us don't change." We also watch Will come to terms with his brother's rape, a scene that happens early on and one that causes Davey to off himself in the bathtub. Of course rape is a traumatic event—and its not unbelievable that this coke dealer playboy would have a breakdown after some evil, car dealership owner (McDowell's Boad), just drags him off with two other men to quash his manhood (or assert it—however you want to look at it).

And it's not unbelievable that big brother Will, once he learns his flesh and blood has been defiled, would seek some serious vengeance. But the trauma never comes off meaty enough and instead, more like an excuse to get Will out of hiding and into some devilishly handsome Clive Owen suits. So self conscious is the writing, that the matter plays too easily dark and surprisingly lightweight. If not for the soulful presence of Owen, the film would feel like nothing but another reason to have Malcolm McDowell rape someone. And do we really need to see that again? Or are scenes like these written into his contract? Whatever the case, it never jives giving the picture a feeling of strained importance.

The DVD:

Video:

Paramount presents I'll Sleep When I'm Dead in 1.85:1 anamorphic widescreen boasting the film's lovely cinematography and gritty atmosphere. The print is sharp though highly dark--which is intended. And the film's splotches of color come off beautifully. Overall, a pretty transfer.

Sound:

The English audio comes in Dolby Digital 5.1—relatively good for a low key, stoic picture though it's a bit too quiet at times (and the menu so loud!). But the score (by Simon Fisher-Turner) resounds nicely.

Extras:

No extras aside from trailers. A bit surprising since this film did receive some positive reviews and Hodges, who's been around, could provide some intriguing insight. Even flawed films can carry terrific commentary tracks.

Final Thoughts:

I'll Sleep When I'm Dead is a lugubrious neo-noir that, with its simultaneously sleek and gritty feel, is beautiful to look at. But it's sometimes laughably earnest approach to a thin, thin story disappoints on so many levels it may even anger some viewers. And though Clive Owen is interesting to look at, Malcolm McDowell is given such an insulting, stupid role as reckless rapist that, well, maybe those guys in Without a Paddle really do have something to be scared about.

Read More Kim Morgan at her blog Sunset Gun