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…
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.…
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…
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…
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.
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.
Dark twisted take on the Robin Hood tale is superb. Walken and Laurence Fishburne are fantastic.
"i don't need forever"
A strange, but flawed crime drama from director Abel Ferrara.
Intriguingly conflicting, how the lead character acts vs. what he seems to genuinely believe and Ferrera strikes a balance between shooting it like a nightmarish fever dream and a more balanced character study. However, the whole cops side of things is clumsily handled and the ending would have been more striking it it were just Frank and his fellow citizens, minus the law.
I'm not your problem. I'm just a businessman.
I was more the surprised. I really liked "King of New York". I had my doubts to be honest, knowing about Abel Ferrara's reputation and body of work.
But that was just beautiful and gritty and mad and genius at the same time. A city drenched in blue and orange, filled with larger than life characters. And of course the great Christopher Walken. But also a shout out to Laurence Fishburne.
It was said, that the audience back in 1990 were shocked and I can see why. But for today's standards (I'm looking at you, Tarantino) it's fairly standard.
Christopher Walken dancing.
Yes. It's a great Gangster Movie and very worth your time.
20 Words or Less Recommendation/Review: Christopher Walken makes me really weak in the knees. An unforgiving film. No one is safe. Filmmaking at its grittiest.
weapon of choice.
La peorcita para el gran año que fue 1990 para cintas de gangsters (El Padrino III, Goodfellas, Miller's Crossing).
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…