Yes, its a corny flick but it is a darn good looking one and David Mamet's dialog is wonderful. It even makes Kevin Costner's "aw-shucks" turn as Elliot Ness bearable.
Screenwriters: David Mamet (Redbelt) Director: Brian De Palma (The Black Dahlia) Actors: Kevin Costner (Dances with Wolves), Sean Connery (League of Extraordinary Gentlemen), Robert De Niro (Raging Bull), Andy Garcia (Things to Do in Denver When You're Dead) and Charles Martin Smith (Left Behind: World at War)
Yeah, I said second best. Citizen Kane still is number one - although as time goes on I'm willing to consider more films to move this further down the list...not that my opinion on the matter has any impact whatsoever. Listen, when people talk about something being a "great film" this is one of the movies they're using as a barometer. If you haven't seen it, get it done.
Screenwriters: Francis Ford Coppola (The Cotton Club) and Mario Puzo (Superman II) Director: Francis Ford Coppola (The Godfather: Part III) Actors: Al Pacino (The Devil's Advocate), Robert Duvall (The Apostle), Diane Keaton (Annie Hall), Robert De Niro (Goodfellas), John Cazale (Dog Day Afternoon) and James Caan (Thief)
It’s a tired, old joke but it fits - If this guy only had a few months to live, he should have watched his own movie. The time would have crawled. I know, I know, I’m supposed to be wildly enthusiastic about this heart-wrenching story about a dimwit baseball catcher and his pals after he learns he’s terminally ill. This film is absolutely unbearable. I’ve seen less sanctimonious films on the Lifetime Channel. From the opening to the far too off ending, this overcooked tearjerker pleads with you to care.
The dialog in this film is heavy with the fact that it is dialog. What I mean is that the lines are written to be lines. I never felt like the characters were actually talking to one another. The language used was so awkward it was like watching people who know they’re on camera. The story line itself is equally contrived and hollow.
I assume folks who love this film will assail upon me. All I ask is that you tell me what you see in this film. I see a ponderous and contrived after-school-special that may have worked thirty years ago but hasn’t aged well at all. What did you get out of it?
Short Review: This film left me more disappointed than Clay Aitkin’s girlfriend on prom night.
Overall, this should have been a great film. You have a great cast (Robert De Niro, Tom Sizemore, Val Kilmer, Jon Voiht, Dennis Haysbert and William Fichtner) along with Michael Mann writing and directing. What could possibly go wrong?
Al Pacino.
I liken his performance in this film to a child who ruins a beautiful family portrait by sticking out his tongue. Where everyone else is cemented in reality and subtlety, Pacino is a bellowing cartoon.
Other than Glen Garry Glen Ross, what has he done the past couple decades that hasn’t been overblown and goofy? He is stuck in Scarface mode. Watch the film and tell me you don’t expect him to scream out “Say hello to my little friend!” It’s a shame to see a single element in a film trash the whole piece.
The story is thought out and carefully executed. This is an interesting character piece and most of the actors take advantage of the opportunities Mann’s script provides. While some weak points do exist, the story is overall rather sturdy and advances some wonderful scenes.
There is one thing about this film that is simply brilliant – the sound. This has to be one of the best sounding films made in recent memory. The gunfights are stunning to hear. The rumbling echoes of the rifles off buildings are a joy to hear. Finally, a sound designer who actually wants the film to sound like real life.
Looking at the piece as a whole, it is worth seeing if you’ve missed it. This stands even though Pacino screams in every scene. I kept waiting for one of the other characters near to him to flinch and respond “Hey, you don’t have to yell, I’m standing right here!”
Movies about the movie business usually are self absorbed and inapproachable bores. Its like listening to rich people complain about their servants. We all know the entertainment industry is filled to the brim with confused low lives and cruel maniacs with far too much power. Another film pointing this out is like making another film that exposes that most politicians are opportunistic pigs - we got the memo, thanks.
Regarding this film, including Bruce Willis as himself is a nice touch, although derivative of the ending of Robert Altman's The Player where Willis and Julia Roberts make cameos to give one of the most cynical inside jokes ever put to film. Robert De Niro in the lead gives me pause. He's great playing the heavy. If you need an actor who can give the impression he will break your legs and shoot you in the face, De Niro is your guy. Need someone who needs to look emotionally crippled and relatively normal? You need to go elsewhere. Part of it is perception based on his body of work but it is also just what he's good at selling.
Barry Levison is good with sarcasm and has a great resume (Diner, Rain Man, Good Morning Vietnam). I'm hoping he is able to make this more than just an interesting character piece more than a series of shop jokes.
Screenwriter: Art Linson (American Hot Wax) Director: Barry Levison (Man of the Year) Actors: Robert De Niro (Taxi Driver), Bruce Willis (Hostage), Stanley Tucci (The Terminal), John Turturro (O Brother Where Art Thou?) and Kristen Stewart (Into the Wild)
Robert De Niro and Al Pacino team up once again to show that just because someone is beyond their prime, it doesn't mean they can't make a buck. The two star in this tedious looking flick about two investigators tracking a serial killer who is killing criminals who have fallen through the cracks of the judicial system.
Yawn.
There has to be more serial killers in the movies than there have been in real life. It's never enough that someone is a murderer, they have to be a serial killer. I know, they must have the villain be a serial killer because it sets up a trail the cops can follow and provides a more demonic presence than just some jerk bumping people off.
Back in the old days (the seventies - man, it hurts to call those the "old days") they'd just label the bad guy a "psychotic" and leave it at that. Now they all have themes and plots they're unfurling. It's like all of the cinematic killers are working through grudges they built up while getting their masters degrees.
Click below to see the trailer
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Let me call this one: De Niro will be the cop who is single and involved with a woman at least twenty years his junior and their relationship is rocky at best. He is also the "cop on the edge". Pacino will be more stable but broken down after years of labor. He may be a family man but will most certainly be divorced. His family life will most likely be represented by a relationship with his estranged daughter. Pacino will be the one who gets killed by the serial killer who will most likely be a former cop from their past who's just sick of seeing the bad guys get away.
This is obviously targeted towards the older audience set, given the presence of De Niro and Pacino and the inclusion of the Stones' tune in the trailer, but I have to imagine that anyone old enough to be lured by these things is probably old enough to feel like they've seen this movie a thousand times before.
Screenwriters: Russell Gewirtz (Inside Man) Director: Jon Avnet (Red Corner) Actor: Robert De Niro (Raging Bull), Al Pacino (Scent of a Woman), Donnie Wahlberg (Saw II), Carla Gugino (American Gangster), John Leguizamo (Empire) and 50 Cent
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