All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
King of New York
Not everyone who runs a city is elected.
A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
"I thought people like me were the legal system."
One of the seminal films of the 1990's...almost perfect as a stylistic exercise yet concurrently filled with such political commitment that it's simply overwhelming. Everything Ferrara hates is in this movie, including it's form which he criticizes in the commentary. "This is so uptight I can't even breathe. I'm glad I made this film because I would never make a film like this again. This is fascistic filmmaking." He's partially right, the film is incredibly tight, so tight that nearly every shot, every cut, every object has a specific purpose and function. It's some of the most "perfect" mis-en-scene I've ever witnessed, even down to the sheen on the wineglasses near…
You could imagine during production that Abel Ferrara must have felt that his stylized neon saturated gangster film, complete with his biggest budget thus far, may prove to be his most mainstream and accessible feature, harking back as it did to the similar celluloid criminal mayhem that James Cagney would feature in in earlier days.
But upon its release in 1990, critics and audiences alike didn't see it that way at all. They gave it a resounding thumbs down, whilst some even booed the cast at screenings and demanded the profit went to drug rehab programmes in the titular city. Such reactions only further served the notoriety of Ferrara as an enfant terrible of American indie cinema scene. And so…
Abel Ferrara's best looking film. It's a film of dualities.
The photography captures the contrasts of the decadence of elite Manhattanite dwellings to the filth of the streets. Ferrara's direction teases out the similarities between the two vastly different settings. Then he paints both worlds with a thick coat of sleaze and corruption.
Scenes are filled with well dressed men who suddenly explode into violence, their blood a fresh color on the grim tapestry of the city. The cops who are willing to bend and break the law. The crooks who clean up the streets by force. By the time it ends the moral lines have blurred.
Walken looks skeletal, ghostly. His face is gaunt and plastered with subtle expression.…
Dark and gritty and sleazy in that way Abel Ferrara has perfected up to this point, KING OF NEW YORK features Christopher Walken at the peak of his acting powers, calling the shots and taking out his rivals. Ferrara flips the tables though, as a lot of Walken's violence seems strangely justified, like a robin hood gangster with a heart of gold. That doesn't prevent cop David Caruso (in a possibly Boston accent) from hating his ever-loving guts though. Despite a great performance from Laurence Fishburne, including some great toe-to-toe scenes with Wesley Snipes, I feel like his performance was the one thing holding the movie back. In most of the early and middle portions of the movie, he lays…
Ferrara gets a budget and makes a meandering B-grade gangster flick with A-grade style. An irresponsible portrait of irresponsibility. Or so it seems: is this really just a coked-up cliché rolling in a pile of cash, indulging in its genre with sneering crassness, or is it exploiting these tropes in an effort to say something meaningful? It's tough to say, and the real pleasure of this film lies in its coarse complexity and the way it withholds easy identification with any of its characters. The final act does veer away from the decadence and corruption to go out on a more operatic note, but Ferrara would be thoroughly shown up by De Palma with Carlito's Way just a few years later. Still, it's just "off" enough to make for a compelling watch.
This is the point in the venn diagram where Taxi Driver and Goodfellas overlap. And it ain't pretty.
Cannot recall the last time I was as shocked at a moment of cinema than the scene in which Laurence Fishburne's character, having been shot several times, lies on the floor convulsing and laughing hysterically for about three minutes.
The nocturnal landscape of NYC imagined as the crepuscle in a post-apocalyptic urban space deplumated by decadence and established as a mirror-image to screen the cloak of pestilence gradually gripping the population.Ferrara assumes the job of a lonely charioteer,albeit passionate,wearily riding his 'vehicle of confusion' through predatory neon-drenched grasslands where 'free will' is hardly independent of its psychic supervisors rooted deep inside human flesh.The social structure and its aloofness from the possible comprehension of despair haunting the denizens under its curb(beyond the dimensions of good and evil) forms the base of this swan song witnessed only by the 'eerie-jagged-blue-neon aura' expressing the eternal melancholia of inertness.'Jump' and his male acolytes like a pack of wolves enter the king's court,an expatriated king forgotten by his very own people on return,now a vulnerable everyman.
Mogao se film zvati samo Chrisopher Walken, dođe na isto realno.
yea this rules hard
Frank White runs this town!
A gritty New York crime film with surreal undertones starring Christopher Walken and an all star supporting cast, directed my Abel Ferrara in his prime.
Tell me how this can get anything less than a 5!
This review reportedly contains spoilers. I can handle the truth.
This film should have been great; a modern day Robin Hood story with a gangster who wants to help the needy and fund a hospital while being targeted by a group of rouge cops, lead by a pre-NYPD Blue/CSI Miami David Caruso when he still decided to act, who can't arrest him so decide to take him out instead. Combine a good concept with a killer cast with the likes of Christopher Walken, Lawrence Fishburne, Wesley Snipes and Steve Buscemi and directed by the notorious Abel Ferrara.
Instead this ends up being a real mess of a movie, poorly executed with underdeveloped characters with hardly any of their motivation explained. Christopher Walken wants to fund a hospital. Why? We literally…
Enjoyed it, but something missing. Great New York shots though.
there are no innocent.
Between Goodfellas and Carlito’s Way and Reservoir Dogs and a small handful of other titles, the 90s were not starved for crime movies and this one always seemed like something of an also-ran in the genre. The movie was directed by the cult auteur Abel Ferrera, but I don’t think it’s particularly representative of his work and I’m not sure that he was the right person to be making this particular kind of gangster movie. That’s not to say there isn’t some good stuff in it, Christopher Walken is always interesting and it’s good to see him playing something other than a walk-on cameo and there are some murder scenes that are entertaining enough. This is a serviceable crime movie all in all, but there aren’t definitely better choices.
i dont need forever
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This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…