With Cannes 2014 only six weeks away , I thought I'd put together a list. I didn't realise how ridiculously…
We Own the Night
Two brothers on opposite sides of the law. Beyond their differences lies loyalty.
A New York nightclub manager tries to save his brother and father from Russian mafia hit men.
We Own the Night is James Gray’s austere, no-nonsense neo-noir set against a sepia tone, cocaine-fueled, late ‘80s New York nightscape that is part brooding crime saga and part familial melodrama, spearheaded by an impressively imposing lead performance from the fierce Joaquin Phoenix. This is the second of three collaborative efforts of Gray and Phoenix, a director / actor team which I find very effective and riveting to behold (I have yet to see The Yards however). The story is textbook noir, one that is undeniably straightforward and traditionally structured, yet thematically rich and engaging. Gray infuses art house sensibilities with action thriller tropes, resulting in what looks like a modern drug epic yet deep inside is actually pure, classic…
America just before it stopped producing anything (except money, for a while, then debt). cops the last of ravaged lower middle class.
This film gets by on the charisma of it's stars alone. Although the story is interesting, the character development (and therefore my investment in the movie) is lacking and the pace is almost pedestrian. These problems also manifested themselves in Gray's preceding movie The Yards 8 years previous, it's a shame it hasn't really improved. The guy knows how to put together a cracking cast though....
1.) I objected to the script of Two Lovers on the grounds that it was really cheesy. The same tendency pops up here, but now I'm more confident that the movie-cliche lines are something of a feint, their inherent meaninglessness a signifier for Gray's characters' behavioral artificiality. He's evidently not interested in conventionally compelling dialogue--he crowds every scene with ambient sound or diegetic music and lets Joaquin Phoenix mumble through every line as much as he wants. He's more invested in atmosphere of a conversation, its contribution to the tableau he's meticulously crafted around it--this creates a curious disengagement from narrative, floating it into abstraction and stalling momentum.
2.) This is obviously to advance the power of his images.…
I have avoided this film because I didn't think I would like it but damn what an opening! Joaquin Phoenix is excellent but he usually is, Eva Mendes is stunning and it's nice to see Robert Duvall doing good work again. I shouldn't have waited so long to see this it's a good movie. The smartest thing the director did was to keep Mark Wahlberg's part to a minimum.
A solid film that holds up nicely, yet it could have been a great film had they made a few changes.
Joaquin Phoenix's terrific performance is the glue that holds it all together, as he always manages to work very well with writer/director James Gray. Phoenix is one of the most gifted actors of his generation, and Gray gives him a juicy role to toe the line between good and evil, running the gamut of emotions. The cinematography is outstanding at times, and the score is captivating, but the main problem with the movie that prevents it from stepping into great territory is the failure of the rest of the cast to be as compelling as its lead actor.
Good crime film by the director of 'The Yards', reteaming Wahkeen and Marky Mark with Robert Duvall and Eva Mendes. Set in 80's New York the film takes great influence from the era with its soundtrack. The narrative is simple enough to follow but the film is constantly engaging and entertaining. A step up from 'The Yards' and worth seeing.
hella f*cking epic
Such a tender exploration of one's inability to completely divorce oneself from family and community, and that that's not such a bad thing after all. Exceedingly good car chase. The final shot is a gut punch.
What starts off as a cliched black sheep/white sheep tale of cop families and the 1980's-set war on drugs, with the now familiar bad guy represented by the Russian mob, gradually turns into something more.
We Own the Night has a really nicely muted feel to it that grows on you as the film progresses, coming beautifully to the fore in a the way a car-bound gun battle in the pouring rain is shot and edited. It's not a particularly unique tale, but as always, if you've got something that's been told time and again, it's not the tale so much as how it's told that decides how successful and interesting it is.
I think this film really works when…
Perheen musta lammas pyörittää venäläismafian bilemestaa ja vetää kokaa nokkaan. Kun paikka bustataan, ja venäläisille selviää kokkelinokan perhetaustat, on aika valita kenen joukoissa stondataan.
Rikosfilkka perhesiteitä ja lojaliteettejä korostaen.
If it were honest with itself as another cop thriller straight off the assembly line, then it would've actually been a bit better. The first half is drudgery and has a very hard time getting comfortable. However, I will happily admit that it has a terrifically created car chase, part of the film's well-done last half, the last half being well-done because we now understand that the film is, once again, a simple cop thriller.
James Gray autorial themes:
Ethical Codes of somesort
moraly ambiguous characters
Here we go. Almost an inverse of The Yards (Joaquin Phoenix, Mark Wahlberg, Joaquin's girlfriend, a father figure for Phoenix and Wahlberg, fight between Phoenix and Wahlberg, Phoenix waiting for Wahlberg to arrive at a Welcome Home party with their family), We Own the Night (best title ever) is an epic. The characters are more complex and their relationships are deeper (Bobby and Joe are literally brothers and Burt is literally their father). Although the mother is absent, Eva Mendes' Amanda is treated much better than Charlize Theron's Erica. A complete film.
Another arrow in the Quiver that was 2007. What a goddamn amazing car chase.
- Behind the Candelabra
- Inside Llewyn Davis
- Flash Gordon
- The Wicker Man
- Independence Day
- Batman Forever
The results! Basically, there were so many ties that I stretched it out to 56 which just includes anything that…
- 12:08 East of Bucharest
- The Amityville Horror
- Altered States
These are films that I own or was given that I have not yet watched. This list will hopefully help…