Reviews

Going into it, I had no idea "Mon Ange" took its plot from John Cassavetes' "Gloria" that had already been subjected to an American remake. It falls short of the original, especially lacking in suspense and action, but it adds a French twist not in "Gloria" which, though not very successful, would have created serious censorship and distribution problems in the U.S. What made "Gloria" especially impressive was the brilliant performance by Gena Rowlands, and while not quite as stunning, Vanessa Paradis turns in a great performance here in the lead role that, on its own, makes "Mon Ange" well worth a viewing. Pity she isn't being used more.

There is much to recommend "Deadwood" -- performances, dialogue, sets, cinematography, all contributing to it being one of the best television series of all time. But for Ian McShane's performance alone, the best and most powerful ever on the small screen, all lovers of film are obligated to watch. I am left breathless with my bottom jaw dropped every time he is on screen.

This isn't to say other performances aren't superb. Brad Dourif and Robin Weigert are especially noteworthy, and it's great to have Powers Boothe's calculated "cool" back on the screen.

Despite setting and time frame, this is by no means a typical "western". Those who appreciate the genre are by no means assured of enjoying it, but, conversely, people who don't usually enjoy westerns shouldn't let the format scare them off.

Dialogue is unlike anything ever heard in film. It regularly veers into the poetic and the surreal with long sentences and monologues being a mix of educated grammar and rough slang. I am frequently distracted from the meaning by the beauty of its sound.

Not to be missed!!!

'The Criminal' is an overlooked gem that I hadn't heard of prior to it showing up on cable. It captures classic noir in a modern framework with all the appropriate darkness and unsympathetic characters. The British have a knack for such crime drama, and I cringed throughout imagining what the Hollywood version would be like. (I'm surprised filming hasn't already begun.) The cast is brilliant from the top to the bottom of the credits, and the lead, Steven Mackintosh, is particularly outstanding as the trapped innocent attempting to piece together what he's fallen into. When it comes time to pull together the plot elements, writer/director Simpson makes a long stretch and comes up with something outrageous and a bit too easy, and some of the concluding twists feel somewhat contrived, but by this time, it really doesn't matter. The film's fast pace, great acting, and dark cinematography have already succeeded in making it a thoroughly entertaining noir.

On his last day on vacation in Moscow, a young American's (Frank Whaley) attempts to get laid are sidetracked by a search for a stolen icon with the most preposterous set of plot twists imaginable. Worth watching (perhaps) as the first U.S. production to be filmed entirely in Russia, and much of the visual tour of Moscow is very impressive. Also, many of the performances by the Russian cast, especially co-star Natalya Negoda, are excellent. The film is fast moving, and the motivation and twists, especially the premise, are so ridiculous that one doesn't need to stop and wonder if they're believable -- they quite obviously aren't. Painless to watch if you're not too demanding.

Too clever for it's own good, 'The Way of the Gun' plumps up its thin plot with constant twists that often don't make sense and more frequently are illogical. It is a modern day spaghetti western except that it lacks a 'good guy'. None in its large cast is in the least sympathetic. One frequently wonders whether it is intended as a Tarantino-style thriller or an over-the-top, very black and violent comedy, but if it's the former, it is humorless. It is very stylish and atmospheric which is where it's most successful, and for its many inspired moments, it is worthwhile viewing.

How 'Thursday' managed to avoid attention remains a mystery. A potent mix of comedy and crime, this one takes chances where Tarantino plays it safe with the Hollywood formula. The risks don't always pay off: one character in one sequence comes off inappropriately silly and falls flat. In the lead role, Thomas Jane gives a wonderful and complex performance, and two brief appearances by Mickey Rourke hint at the high potential of this much under- and mis-used actor. Here's a director one should keep one's eye on.