This is so well done that I still recommend this movie despite the fact that you see Philip Seymour Hoffman's bubble-gum butt. Right there in the opening scene, flabby Phil completely naked having sex with an equally naked Marisa Tomei. The "ewww" factor is off the scales. The thing is that not only is this scene disturbing to the core, it is also completely unneeded. There is no reason it needed to be shot the way it was. The same concepts could have been projected without having to show Phil's stretch marks.

Director Sidney Lumet (Network, Dog Day Afternoon, The Verdict, Fail-Safe) masterfully commands this film about a pair of brothers who have their lives ruined after they fatally screw up robbing their parent's jewelry store. He gives us an intimate film with little intrusion, just pure character and performance. Lumet dips into a distracting editing sequence to indicate flashbacks and time shifts. These jolts break in and unfortunately remind us we're watching fiction. Other than this awkward choice, Lumet is dead-on with his delivery and provides one of the most engrossing movies of his career.

I am pressed to think of any recent film that manages such a collection of strong performances. Ethan Hawke, who I've never considered to be a strong talent shows his skills in his role as Hank Hanson, a nervous loser who owes money all over the place and doesn't have the means to make it up legally. Hawke has lost his boyish looks and his face is getting ragged with age. He looks perfect for this role, thin, pale and tired. His performance is a sympathetic one but he doesn't make Hank an endearing man. He's just a pathetic lost cause. Hawke nails the man's desperation and fear. Hank is a man-boy who obviously has spent his life trembling in the shadow of his overbearing brother Andy (Philip Seymour Hoffman). Hoffman brings yet another memorable performance to the screen as the alpha dog Andy but in their scenes, it is Hawke who surprisingly shines as Hank melts under the pressure from his big brother. Albert Finney likewise gives a heart aching turn as Charles, the father of Andy and Hank, and the victim of their awful crime. As Charles slowly pieces together the plot against him, the tension builds. Finney is understated and so real in this role. Hawke, Finney and Hoffman mix together perfectly and Lumet does the right thing, he steps back and let's the three do their work.

This is the debut screenplay by playwright Kelly Masterson. This may be the most impressive screenwriting debut in years. Forget about Diablo Cody, she writes cute stuff and is easy to serve to the press. Masterson is the real deal. Someone who can pen characters with this much verisimilitude is someone to watch and watch closely. There is a scene between Charles and Andy where the two men, father and son, get to the core of their relationship. It is a small scene and it is low key, but Masterson packs it with an stunning amount of emotion without falling into dramatics.

This is not a film for everyone. It is one of the best crime dramas I've ever seen but it is loaded with low behavior. Those who are wary of violence, cursing, scenes with drug use, nudity and frank sexuality will find plenty to avoid here. Lumet and company pull no punches and everything is laid out to be seen. If you're sensitive to questionable content, this is just not your film. If you are okay with seeing some rough stuff, and you enjoy literate films this is one you should put to the top of your list.


Related Reviews:
Philip Seymour Hoffman movies
The Big Lebowski (1998)
Capote (2005)


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Labels: Albert Finney, Ethan Hawke, film, Marisa Tomei, movie review, Philip Seymour Hoffman, Sidney Lumet