The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Before the Devil Knows You're Dead
No one was supposed to get hurt.
When two brothers organize the robbery of their parents' jewelry store, the job goes horribly wrong, triggering a series of events that send them and their family hurtling towards a shattering climax.
Whenever people make lists with favourite or best directors, Sidney Lumet hardly ever pops up. That should change. Look at his filmography. He is one of the best directors that ever worked in the industry.
This film is modern noir at its finest. It is bleak, rather disturbing and dark as hell. The story, which unravels in an asynchronous chronology, is multilayered and keeps you guessing due to its fragmented narrative. Only a very talented director can add the much needed coherence a story like this needs.
What Lumet understands very well is to give his actors the right amount of space to inhabit their characters. There is not one weak performance here. The main cast is superb, moved along…
Dear god, what a dismal tale. Before the Devil Knows You're Dead is an exercise in taking an instance of 'it can't get any worse, can it?' and making it much, much worse in the very next scene. I certainly don't mean in the quality of the film, which is superb, but in the depths of misfortune one family can sink to. This is tragedy of such magnitude that The Bard himself would be proud, compounded by the fact that all the misfortune is due to greed and ineptitude. Sidney Lumet's swan song deserves a place in the pantheon of 'bleakest films ever,' which makes this familial train wreck all the more morbidly fascinating.
Not a single role here is…
After losing one of the best actors of our generation today, Philip Seymour Hoffman, I wanted to check more of his films. He left behind an amazing body of work and I've only seen maybe half of it. I started with Sidney Lumet's dark and brilliant noir Before the Devil Knows You're Dead.
The script here is so damn good. Keeping you invested in characters that are very unlikable. The cast is terrific, with Hoffman and Ethan Hawke both giving great performances. Albert Finney was probably the standout to me however. Not only is this yet another great performance from Hoffman, but it's one of 2007's most underrated films and a great film for Lumet to have ended his career with.
Sidney Lumet's Before the Devil Knows You’re Dead tells the story of three people from the same family, but on a Saturday morning on the outskirts of New York, everything seems normal in the life of the Hanson family. The father, Charles passed the driving test and his wife Nanette is going to the a family jewelery. As the eldest son, Andy is worried about a scheduled inspection of the finances for the following Monday and the younger brother, Hank, as usual, is worried about his money problems. However, at 7:58 a.m. Saturday morning, the lives of the members of this family will change because both Andy and Hank decide to rob their family's business.
If we look closely, Before…
Even though I saw this years ago, I was still completely surprised by everything that happened during this recent re-watch. All I remember from the last time I saw it was that I liked it. This time, I fell head over heels in love. Before the Devil Knows You're Dead is essentially a family drama masquerading as a crime drama. Andy and Hank are brothers in very different stages in their lives. When Andy asks Hank to rob a jewelry store, everything goes wrong and the rest of the film is concerned with how their lives fall apart and how fucked up their family is.
This is definitely Phillip Seymour Hoffman's best performance, and that's a big deal. He always…
It's quite astounding to realise Sidney Lumet filmed Before the Devil Knows Your Dead when he was over eighty years old, after five decades as a critically acclaimed director responsible for many genuine Hollywood classics, because though it's often quite masterfully put together it's also filled with the energy & skill of a man five decades his junior - and frankly many directors in their thirties don't make films this good. Sadly it was also Lumet's last film before his death a few years later, but what an epilogue to a triumphant career; this is by turns a carefully lensed, cleverly written, well edited and superbly acted drama ostensibly about a heist gone wrong but primarily about a deeply dysfunctional American…
Picture this as on opening scene: PSH, naked, doggy style. Sorry, this could have been left for imagination, or NOT. The film was full of odd flash backs and Ethan Hawke. Why did I bother..... almost 2 hours of it too.... gah.
Depressing films. Things keep getting worst and worst. Great cast. Totally worth a viewing.
"We don't want Tiffany's. We want a Mom and Pop operation, in a busy place, on a Saturday when the week's takes go in the safe. We both worked there. We know the safe combinations. We know the burglar alarm signals. We know where everything is. I figure, between the week's take, the jewelry and the cases, the vault, there's a $500,000 haul. I figure probably six. The old dumb old lady that works there, she's alone till noon. She's not going to be a problem."
So I've been trying to get through Sidney Lumet's filmography.
This one's pretty good. If you like plots about things going drastically south, this is worth a gander.
But the ending doesn't exactly make sense to me.
I still liked it... I've also noticed that Sidney Lumet likes to have a lot of shots with cars.
I'm so glad a veteran director like Sidney Lumet was able to finish his career with such an engrossing and well-executed crime melodrama. Granted, the cast is stellar to begin with, but there isn't a single performance short of amazing. Ethan Hawke gives his greatest achievement to date as the weak younger brother to Hoffman's manipulative and calculating fuck-up.
The Commentary featuring Lumet, Hawke and Hoffman occasionally turns into a boys club of sorts, but for the most part these are three incredibly talented individuals who love to discuss their craft. Nearly every time I see Lumet speak about film he goes into the choices he makes, which is incredibly informative and helpful for directors. The most interesting…
I've always enjoyed Lumet films, but this one took me a while to get into.
I don't know why...it's a great film, certainly one of his best.
I'd remember the opening vividly, but anything past the 30 minute mark would be a blur to me, so I'd sit down to watch it and be floored all over again.
I think I have selective amnesia for this movie, because everytime I sit and watch it, it's always a surprise.
Everything just goes from bad to worse for everyone involved, before coming together with an amazing ending.
Bonus points for Michael Shannon, who makes a great impression amongst these amazing actors with his introductory scene.
Lumet's last movie hits it out of the park, an amazing feat for someone with so many classic films under his belt.
An amazing crime melodrama focused on one family and a robbery gone wrong. This was my first time ever watching a Sidney Lumet film and I get why he's so highly renowned; I'm looking forward to watching a lot more of his filmography. I can't praise the cast of this film highly enough; it's extremely rare to get so many incredible psychologically complex performances in one film. Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, and Albert Finney all give oscar-nominee-worthy performances. Other than the acting, the screenplay is probably the best thing about this film. Kelly Masterson's debut screenplay takes a pretty straight forward story and by playing with the linearity makes it into an excitingly tense, unpredictable movie. I…
I could say a lot of things.
All I'll say is that Marisa Tomei has great screen presence and I wish hollywood would consistently utilize her in better ways. Though I have no beef with her in this movie, she obviously works well as an almost always naked love interest.
Sidney Lumet's swan song, "Before the Devil Knows You're Dead" is a throwback to the era of old school Film Noir shot using new-school high-def cameras, made by a man who fittingly began his career just as the first great age of Noir ended (1957) and TV, in which he made his mark arose on the scene. And boy is it a corker.
Now known for its out-of-chronological order form of storytelling, Lumet's film is no piece of post-Tarantino ironic exhibitionism however, feeling at times almost like something the likes of Jules Dassin or Elia Kazan would have made had they lived at the beginning of the 21st century. This is a thundering (a)(im)morality play that both masters would have…
Complete list. :-(
Top 200 is pretty definitive. Essentially the top/most memorable 20-25% of all the films I've seen in my life (which…