Max (Foxx) is a taxi driver with big dreams. Vincent (Cruise) is a freelance killer on a business trip to clean house. Tensions mount up when Vincent steps foot in Max’s cab, using him as his chauffer on a nightlong killing spree.
Michael Mann (Heat, Miami Vice) is one of the true kings of crime cinema and Collateral may be his most precise and exact tale. With the best pacing of any of his films, Mann makes great use of High-Def cameras to give the nighttime cityscape of Los Angeles a unique and dream like aesthetic.Continue Reading
Copland (The Director's Cut)
Garrison, New Jersey is a pleasant place to live. Just over the Hudson River from New York City, this calm suburb is home to many NYPD police officers. These men who spend their days fighting crime on the streets of the Big Apple built this community in order to provide a safe haven to raise their families. But thing are not always what they seem, when the cops are corrupt and the law in Garrison is whatever they deem it to be.
The story kicks off on the George Washington Bridge. Officer Ray Donlan (Kietel) decides it’s best to fake the death of his nephew, Murray “Superboy” Babith (Rappaport), to avoid what could be seen as a racially motivated murder at the hands of a cop. That decision begins the spiral what will unfold, spilling over into their humble little community.Continue Reading
Eastern Promises is a film that stars an American playing a Russian thug, a Frenchman playing a Russian Enforcer and an Australian playing a British midwife. This is something that I feel only David Cronenberg could pull off.
In recent years, Cronenberg has gone away from his far out sexual fantasies and strange characters involving very strange situations to something a little more straight forward. To say that doesn’t mean that that is a bad thing. With this new, more conventional approach to storytelling, Cronenberg and his cast shine in this tale of crime, betrayal and search for the truth.Continue Reading
Based on a real criminal and inspired by his own TV movie, L.A. Takedown, Michael Mann directs one of the all-time great cop and robber films with Heat. He takes a highly established genre and digs in deeper—finding the truth and parallels between those who enforce the law and those who break it. Heat explores the sacrifices both sides have to make in order to do the job—mainly causing dysfunction at home. You can see years of preproduction that goes into Mann’s vision—building from earlier works as director of Thief (1981) and producer of TV’s Miami Vice.Continue Reading
Out of Sight
Out of Sight is the story of a bank robber (Clooney) and his loyal sidekick (Rhames) who bust out of prison and abduct a U.S. Marshal (Lopez) on their way to heist millions in diamonds from an ex-con billionaire (Brooks).Steven Soderbergh (Traffic) directs a film that defies genres, making one of the most unique crime films in modern cinema. It’s both an interesting double-crossing caper and a brilliant romantic-comedy. Elliot Davis’ cinematography is fluid, mainly hand held, capturing wonderfully large and small moments alike. He makes great use of the color palette to differentiate the many locations, from the humid plains of a Florida prison to the gritty streets of steely Detroit. Scott Frank’s screenplay is smart, funny, and filled with crackling dialogue delivered by wonderfully colorful characters. There is no novelist who creates more endearing, seedy underworld characters to adapt to the big screen than Elmore Leonard. There is always a haze of gray in the morality of the characters-- whether it is the law or their criminal counterparts. It’s worth noting that some of the best scenes are additions made by Scott Frank. They fit so well within the paradigm of the world that it is impossible to discern which ones they are.
Anne V. Coates’ great use of non-linear editing throws us around in time and space, dolling out dimension to the large cast of personalities. Making great use of jump cuts and freeze frames, Out of Sight has the rhythm and style of a French New Wave film. David Holmes’ score is ultra-hip and reminiscent of crime cinema of 1970s, giving it a happy-go-lucky air.Continue Reading
As the U.S. is flooded by Cuban refugees, forced out by Fidel Castro, two criminals land in a detention camp in Miami. They are Tony Montana (Pacino) and his right-hand-man, Manny Ribera (Bauer). The two men assassinate a political target inside the camp and it opens the door for them into the drug syndicate in Florida. The story of Scarface is that of the rise of Tony Montana to become the predominant drug lord of his time.
Inspired by Howard Hawk’s 1932 Gangster classic by the same name, Oliver Stone’s screenplay has coined some of the most used nomenclature in cinema. “Say hello to my little friend” may be the most imitated line of screen dialogue in history. Having won an Academy Award previously for writing Midnight Express, Stone certainly understood the drug culture of the time. His script captures a raw truth in the way people speak and treat each other, out of their minds, railed on blow. Structurally, the film is very classically designed, much like a Greek tragedy. It explores the ambition necessary to wear the crown of power and the violent end that comes to all those who do.Continue Reading