Tag Archives: gangster

Baby Driver – Review

8 Jul

It seems like I’ve been having great luck with movies recently, and the trend just keeps on going. I’ve been really looking forward to Baby Driver since I first saw the trailer for it. Writer and director Edgar Wright is best known for his Three Flavours Cornetto Trilogy which consists of Shaun of the DeadHot Fuzz, and The World’s End, all starring Simon Pegg and Nick Frost. He was also the director of Simon Pegg’s and Jessica Stevenson’s cult tv show Spaced. This looked like a bit of a departure from what he normally does, but it also looked like it still had that frenetic yet controlled style he employs. Let’s just say Baby Driver takes everything great about Wright’s work and enhances it to whole new levels to create one of the greatest action films you’ll see all year.

Despite getting into an accident as a child, losing both his parents, and suffering from a permanent “hum in the drum” as a result, Baby (Ansel Elgort) is the best escape driver in the entire underworld. Doc (Kevin Spacey), a major thief in the criminal underworld, is lucky to have him on as a permanent member of the team, despite other employees finding his constant state of listening to music and lack of any kind of vocal interaction unnerving. After one particular job goes wrong, Baby finds some comfort in an unassuming waitress named Debora (Lily James). Their relationship seems to be growing fast, but Baby is soon coerced back into the business by Doc and forced onto a crew consisting of his long time partners Buddy (Jon Hamm) and his wifeDarling (Eiza González), but also the sadistic Bats (Jamie Foxx), who threatens everything Baby stands for just for the hell of it. With this job closing in, Baby starts making plans to betray the team and make his escape with Debora, but it won’t be easy to escape the eyes of his brothers in arms and he’ll have to fight them with everything he’s got to truly escape.

Baby Driver is a lot of things. It’s a drama, it’s a dark comedy, it’s a gangster flick, it’s a heist movie, but more than anything else it’s an action film. This movie has more energy than any action movie I’ve seen in a long time and you can tell that everything that Edgar Wright is as an artist and a film maker went in to making this movie as great as it possibly can be. The car chases and various escape sequences are exhilarating, and the fact that the stunt work and various crashes and last ditch escapes were done in camera and not using computer generated effects makes the whole experience all the more worthwhile. The first car chase had me hooked, but the ride was far from being over and it just got more exciting from there. This is a good time to bring the editing up. If this film doesn’t get recognized for its editing at the Oscars, then I really don’t know what I’ll do. Wright puts this entire film to Baby’s various soundtracks, and when I say that every scene moves in time with the music, it’s no exaggeration. The best way to describe this film would be to use the word “precision.” We’ve all had that conversation about what song would work in what kind of scene. Well Edgar Wright and his team took that idea to the limit and created a whole new way to watch a movie.

With movies like Baby Driver that immediately combust with such high energy, it’s usually inevitable that the middle of the movie will slow down to an almost unbearable crawl for characters and other kinds of motivations to be built on. Somehow, someway, Edgar Wright found the perfect formula to expedite this whole process while still making it easy to care about the characters. Jamie Foxx’s character is introduced somewhere around the end of the first act and beginning of the second act which doesn’t slow the movie down even a little bit. In fact, Foxx is so excellent in his performance of Bats that the movie found another burst of energy with his arrival. Time is also given to Ansel Elgort and Lily James and their budding romance. This is where the movie stumbles ever so slightly. The tough guy talk didn’t need to carry over from the crime scenes to the romance scenes. It just didn’t fit very well and the attitude was just a little bit to much in these moments. If it was toned down a little more I think these scenes would have hit the mark a little bit better. When the third act begins, however, all mistakes are forgotten and my eyes were glued to the screen while the action never ceased to let up.

I feel like there’s something of a stigma around action movies that say films in this genre can rarely be called works of art. Much like horror films as of late, there’s been a cool trend of more artistic action films, and Baby Driver falls firmly into that place. Wright and his team know how to make a film look great and sound great while also thrilling audiences with off the wall action sequences and entertaining characters. When the lights came up in the theater, it was almost hard to finds words to properly elucidate the originality and technique of the film I just watched. Edgar Wright isn’t just a good film maker. He’s clearly an excellent one and an auteur in his own right. I’ve been taught by many people that film is a visual art, where the story should be shown more than it should be told. This movie takes it another step and uses music to help tell its story in a way I haven’t seen in a movie before. When music isn’t playing, it felt weird. This was a risky thing to do. It would be very easy to mess up a movie where music is constantly playing, but this one pulled it off with such finesse.

In case I haven’t made my point perfectly clear already, Baby Driver was fantastic and easily is and will remain one of the best movies of the year. It’s action is shot beautifully with excellent stunt work and precision driving, the soundtrack knocks the second Guardians movie into next week, and the editing is some of the best I’ve seen in years. This takes action films somewhere new and unique, even though the story is less than totally unheard of. I can’t say this film is style over substance, because the two work tandem so well. It would be a sin to miss this movie, so get to it as soon as you can.

Final Grade: A+

Branded to Kill – Review

11 Jun

There are many film makers that create movies that leave me baffled. David Lynch and his fever dreams like Eraserhead and Inland Empire stand out, but who can forget the psychedelic nightmares of Alejandro Jodorowsky and his films like The Holy Mountain and Santa Sangre? A name that never really stood out to me was Seijun Suzuki, a Japanese film makers that was actually blacklisted from directing because of the odd and unmarketable nature of his movies. One of, if not his most infamous creations is the 1967 gangster film Branded to Kill. This is a movie that takes genre conventions and blows them out of the water. Is this film just one giant narrative mess or is it a satirical, yet experimental, look at the gangster subgenre? That’s for the viewer to decide.

Goro Hanada (Joe Shishido) has the honor of being the third ranked hit man in the Japanese underworld. He also has found a strange, and often unsettling, kind of love in his newly wedded wife, Mami (Mariko Ogawa). Hanada is assigned many important missions by the yakuza, including the killing of three seemingly unrelated civilians. He is also approached by a mysterious woman with a death wish named Misako (Annu Mari), who hires Hanada to kill a foreigner that she will be seen with the following day. When this new mission goes wrong, Hanada is soon on the run and betrayed by almost everyone he knows, with the only possible exception of Misako. Things only get worse for Hanada when he finds out the mythic hitman, known only as Number One (Koji Nanbara) is gunning for him and will stop at nothing until he is dead.

Take that summary with a grain of salt since Branded to Kill was not the easiest movie to follow, and it took me a little while after finishing it to fully process what I saw. At it’s core, this movie tells a classic gangster noir tale about murder, love, femme fatales, and betrayal. What makes Suzuki’s film so odd is the way this simple story is told. There are jumps in time and location that is incredibly jarring and takes a while to get used to. This movie is only an hour and a half long, but it felt so much longer than that because time and space was played with so much. The story could take place over the span of a week or a couple of months. Telling a totally linear story was clearly not Suzuki’s intention. While I do very much appreciate the strangeness, the odd continuity, and all of the confusion that goes along with it, I’m not sure how this really fits with telling the story. What I mean is that I can’t really thematically see any reasoning for telling the story like this. The third act gets really out of whack, which is appropriate for the action, but I’m not sure about the other two acts.

Despite Branded to Kill being totally strange, it still has a classic noir vibe which I really like. The lighting is harsh and the violence is sudden, but definitely leaves an impression. Another great example of noir that pushes the boundaries is another Japanese film called Pale Flower, which I reviewed quite some time ago. Branded to Kill takes it to another level, however, and some of it genuinely shocked me. This film came out in 1967, which is still some years before exploitation cinema hit audiences internationally. This film almost pushes things to that exploitive level. Like it comes real close. There are things in this movie that would have made mainstream audiences in America at this time lose their minds. Hell, there’s some things that would make modern American audiences gasp. I have to give Suzuki credit for daring to go the extra mile.

This brashness and willingness to go places traditional films of the time went didn’t come without a price. This is one of those movies where the history kind of provides a good context as to how to look at an appreciate the film itself. Seijun Suzuki made 40 B-movies for the Nikkatsu Company. That’s a lot of time dedicated to working for a company, but it didn’t last forever. Nikkatsu was not pleased with the original script for Branded to Kill, so they had Suzuki rework it. Instead of keeping it the traditional gangster tale, he made it something completely different, which is the movie I’ve done my best to illustrate as a crazy, untraditional ride. Nikkatsu was even more upset with the end result, and this got Suzuki fired. Jokes on Nikkatsu. Over time, Branded to Kill has become something of a cult classic.

Branded to Kill is certainly not for everyone, and it even took me a little bit of time to fully wrap my head around what I just saw. It takes a gangster story with hints of noir and turns it into a dreamscape where time and logic are unimportant. Sometimes I felt like this worked against the film, but most of the time I was really into the weirdness. I have to give Seijun Suzuki credit for making a movie that no one else at the time seemed interested in making, even if it end with him getting fired from Nikkatsu. For any fan of off the wall kind of movies, I’d recommend Branded to Kill. Anyone looking for something easier to comprehend, you can find plenty of other great gangster stories out there.

Final Grade: B

Once Upon a Time in America – Review

8 Feb

Sergio Leone is best known for helming the epic spaghetti western trilogy that features A Fistful of DollarsFor a Few Dollars More, and perhaps his most famous film, The Good, the Bad, and the Ugly. His final feature film, however, was something very different from his previous works. In 1984, Leone released Once Upon a Time in America, a film that has become a sprawling gangster epic. When it was first released, its run time was cut down to two hours and twenty minutes and the chronology of the movie was changed to make it happen in chronological order, while the original length was more like 4 hours with a story told through flashbacks. The shorter version is the one people would much rather forget, so today I’m going to be looking at the longest cut, which runs over four hours, set in the proper order, and features scenes not shown in previous American releases.

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After living a life of crime and excitement, small time New York gangster Noodles (Robert De Niro) is forced to leave the city and go into hiding for over thirty years. After all this time away, he is mysteriously called back to New York City by an unknown part for an unknown reason that involves a bag full of money that was stashed in a locker at a train station when Noodles and his friends were kids and just getting started in their life of crime. Upon his return, he is overwhelmed with memories of meeting his best friend and partner, Max (James Woods), a friendship that over the years got more and more strained as motivations and relationships stood in the way of their goals. As Noodles starts piecing together the mystery of who summoned him, he also takes the time to reflect on the decisions and the action that got him to the lonely place he finds himself in the later years of his life.

One of the most important thing about any movie is the characters that are created for the audience to relate to or understand or anything like that. To me, some of the most memorable characters come from gangster movies because I really enjoy the depth of the best gangster characters, but I also see the more revolting sides of the personality as something that truly gives their characters weight. That how most of the characters in Once Upon a Time in America are created. Noodles and Max are two sides of the same coin and create a relationship dynamic that is typical for this genre but feels different and, because of the film’s run time, explored in a much finer way. Even the side characters in the film have unique character traits that make them memorable, and never does the large cast ever seem to blend together in any way. De Niro and James Woods are both excellent in their roles, and I also have to give props to Elizabeth McGovern for her role as Deborah, a character with one of the most unsettling stories of all the characters in the film.

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While crime and typical gangster themes are explored in this movie, the themes explored in Once Upon a Time in America feel grander in scale than most movies in this genre. Part of the reason these themes resonate so well is the fact that the story is told through flashbacks and not in chronological order. When Noodles returns to New York City, there’s this noticeable level of sadness and disconnect that he feels towards everything. When the story goes back in time to the 1930s, we see why these feelings exist. This creates themes of loneliness, friendship, loss, and the strongest of all those explored, regret. To me, that’s what stuck with me the most is the regret that Noodles feels towards his life and his choices. This makes every death or separation feel all the more powerful.

I can’t talk about a Sergio Leone movie without talking about his artistry behind the camera. Like all of his other films that I’ve seen, Once Upon a Time in America is a gorgeous cinematic experience. The sets that are built combined with his wide angle style of shooting makes this epic film seem grander than most. The color pallet is also something to notice with the past having a much warmer pallet as compared to the present time where the world is covered with neon lights and blues and grays. His collaboration with cinematographer Tonino Delli Colli, who worked with him on his previous two films, also adds a lot with his camera work and lighting. Finally, I have to mention Ennio Morricone’s beautifully realized score that turns the emotions, loves, and losses of the characters into incredible music. It’s a solid reminder of why he’s my favorite film composer.

Once Upon a Time in America is both a technical achievement while also acting as a haunting tale of impulsion and consequences. This is the kind of movie that can serve as a reminder to any cinephile as to why they love movies and the process behind their creations. Sergio Leone is truly a master of his craft, and everyone involved successfully created one of the most memorable gangster films ever made. Just make sure you stray away from the heavily cut American release and find the longer versions to truly get the full impact of the story. It’s not one to be missed.

Final Grade: A+

Live by Night – Review

26 Jan

When it comes to movies he’s written and directed, Ben Affleck’s track record is one of the strongest in recent years. Movies like The TownGone Baby Gone, and Argo have enough intensity and depth to be remembered a hundred times over. When I saw his next project, Live by Night, was going to be a Prohibition era gangster movie, I was good to go. I’ve been looking forward to this movie after seeing the very first trailer for it months ago, and I felt even more hopeful when I saw that it was based on a novel by Dennis Lehane, who also wrote the novel Gone Baby Gone. Now, while there are plenty of really great things in this movie that are worth mentioning and getting excited about, Live by Night is probably the weakest entry in Affleck’s directing filmography.

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Joe Coughlin (Ben Affleck) is a World War I veteran who makes his small living through crime as a thief. He’s also madly in love with a woman named Emma (Sienna Miller), the wife of his boss and and head of the Irish Gang of Boston, Albert White (Robert Glenister). After this affair almost gets him killed and results in him losing Emma, Joe joins forces with Italian mafia boss and enemy of White Maso Pescatore (Remo Girone). Pescatore sends Joe to the Ybor City in Florida to help run his rum importing business that is being threatened by White. While in Florida, Joe falls in love and marries Graciela (Zoe Saldana), who is a major component of the importing business. Not everything goes smoothly however as rival factions, a tragic run in with the local sheriff and his daughter (Chris Cooper and Elle Fanning), and the looming danger of the Ku Klux Klan threaten this entire business, which forces Joe to become the violent man he never wanted to be again.

I have really mixed feelings about this movie that came up as I was writing the summary. It reminded me the biggest flaw that this movie has, and that is that there is so much crammed into a run time that barely has the ability to hold it all. There is around 3 and a half hours worth of material here that’s forced to fit in a movie that’s only a little bit over 2 hours. This makes for some weird pacing, plot lines that don’t get enough attention, and some characters that unfortunately lack enough development. Let’s start with the pacing of the movie. A lot of times when someone’s talking about the pace of a movie, they’re going to say how slow it felt. On the flip side of that, I felt like Live by Night went way too fast. There was a part in the middle where it slowed down to a crawl, but then picked up so fast I thought it was going to break my neck. This is what happens when there are at least five different main plots happening in a movie.

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Let’s look at the positives for a bit because this movie does have very cool elements. Affleck has shown us time and again that he is capable of filming a beautiful looking movie, and Live by Night holds up to that standard. The color pallets and sweeping camera work got the better of me at times and I just had to watch in awe at how amazing everything looked. This also a movie with incredible sound design. Every gunshot felt authentic and blasted through the theater’s sound system for optimal escapist effect. Speaking of sounds, Harry Gregson-Williams’ score is absolutely fantastic. Finally, this movie handles violence in a very interesting way that I’ve been seeing more in movies as of late. The violence is strong but the scenes of it are few and far between. Instead of making the violence look cinematic and fake, there’s this realism to it that really hit me as I was watching it, and reminded me a lot of how Affleck handled it in The Town.

While that’s all well and good and does make the movie memorable in its own right, I still can’t help shake the fact that as time has gone on I’ve become less and less impressed by this movie. A big reason is because of the characterization and how the people in the movie develop. My biggest example of this is the relationship between Joe and Graciela. It has the potential to be a great cinematic romance, but it unfortunately isn’t explored enough and the events of their life jut kind of happen and then time moves on because there is so much left to cover. The same can be said about Joe’s partner in the movie. We briefly see him in the first third, then he’s reintroduced, but their relationship doesn’t really have a chance to go anywhere either.

I’ve been so excited for Live by Night, it kinda hurts to say that it disappointed me. It’s a beautiful looking movie with a great score and sound design. There’s also plenty of great actors giving quality performances. The problem is that so much is crammed into the movie that some plots are wasted and characters fail to develop fully which lessens the dramatic impacts of some scenes. I really wanted Live by Night to be great, but it’s a movie that fails to live to its fullest potential and I’m not sure I have any reason to see it again.

Final Grade: C+

Blood Ties – Review

28 Jun

A little while ago I reviewed a movie called Contraband, directed by Baltasar Kormákur, which was based off of an Icelandic movie called Reykjavik-Rotterdam, also starring Kormákur. I wasn’t a huge fan of Contraband, and now we have a very similar situation. In 2013, Blood Ties was released which was directed by Guillaume Canet. This movie is actually a remake of a French film called Deux frères: flic & truand, also starring Canet. Much like my reaction with Contraband, I thought this was a pretty subpar film, even though there were a few great scenes and memorable performances. It just wasn’t enough to completely save the movie.

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The year is 1974 and small time criminal Chris (Clive Owen) is released from his 12 year prison sentence with the hopes of starting his life anew. Part of this means reconnecting with his estranged brother, Frank (Billy Crudup) a New York policeman who disapproves of Chris’ choices and lifestyle. While trying to hold onto a job, Chris once again falls into a life of crime, but also catches the eye of Natalie (Mila Kunis). The two quickly begin a serious relationship, but Chris’ criminal doings often put a strain on it. Meanwhile, Frank begins to reconnect with his ex-girlfriend Vanessa (Zoe Saldana) after her husband Anthony Scarfo (Matthias Schoenaerts) is arrested by Frank. As the two very different brothers try to keep their lives on track, they are frequently getting into small battles with each other, with much more extreme violence always seeming to lurk around the corner.

I want to get the good stuff out of the way first. The whole reason I was drawn to this movie in the first place is the outstanding cast. Besides the name I’ve already mentioned, the movie also stars Marion Cotillard as Chris’ ex-wife and James Caan as Chris and Frank’s father. Each and every one of these actors give great performances. Owen gives a very subtle but believable performance as Chris, which only reminded me why I think he’s one of the better actors working right now. I also have to give a lot of credit to Saldana for really owning her role, and I’m confident in saying she gives the best performance in the entire movie. Crudup also has a strong performance and plays all of the complications and troubles of Frank very well. There is absolutely no faults to be given to the cast, and they’re probably the only real reason to watch Blood Ties, to see these A-list actors in a role you’ve probably never heard they were in.

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The biggest problem I had with Blood Ties is that I felt I was watching it for the thousandth time when this was the first time I ever saw it. This is a story that has been told countless times in a variety of different ways, and for the most part, much better. This movie is a remake, but it feels like it could be a remake of many other different movies. The whole crime genre has a lot of cliches attached to it, and Blood Ties seems to be an amalgamation of all of them. It’s actually pretty astounding how familiar this movie is. From the two brothers with different ideals, to the aging father who actually does know best, all the way to love triangle with criminal elements. It’s all been seen before.

The characters themselves also sort of lend to the problem of familiarity. While they were interesting at points, I could tell exactly where their paths were going to lead. Crudup’s character is the most fine tuned person in the whole movie, and while some of his arc is predictable, he plays the role with confidence and makes the movie all the better for it. The same can be said for Saldana’s character, who shares a very similar and close arc with Crudup. The biggest disappointment is Owen’s character who is, for the most part, completely one dimensional. He’s the criminal with the heart of gold, and it’s such a tired cliche, I really couldn’t get into his character despite his performance being strong.

I really wanted to like Blood Ties a lot more than I did. I mean, just look at the cast. It’s absolutely fantastic, and all the actors do a fine job. The problem is that the whole story it’s trying to tell is played out and has become far too predictable. If you’re going to tell a story like this, there has to be something in there that disrupts the formula and adds something new. This film felt like a clip show of cliches that other movies perfected. I can’t even say this movie’s worth watching for the cast because it feels like more of a chore than entertainment.

Dead Man Down – Review

19 Mar

There’s a lot of unique ways to take a story that’s been told a dozen times before and tweak it to make it something resembling an original idea. Danish film director Niels Arden Oplev is no stranger to tackling stories that are painfully unusual since his biggest claim to fame is helming the original Girl With the Dragon Tattoo. This brings us to his first primarily American release, Dead Man Down from 2013. This is a pretty interesting movie since you can see a lot of European techniques being used to tell a story set in the gritty streets of New York, but there’s also a lot dragging the movie down like poor pacing and a handful of unnecessary scenes.

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Victor (Colin Farrell) is a small time criminal working for a mob boss named Alphonse Hoyt (Terrence Howard). Through his time working with Hoyt, he has earned a strong reputation for trust and respect and has also befriended an associate, Darcy (Dominic Cooper). Victor soon comes into contact with his disfigured neighbor, Beatrice (Noomi Rapace), who takes him out to dinner one night only to show that she has evidence that Victor murdered a man in his apartment. She won’t go to the police with this if he agrees to kill the man who drunkenly hit her car and disfigured her. As Victor works with and forms a relationship with Beatrice, his true obsessive intentions with Alphonse become all too clear, which puts Beatrice and himself in the line of fire from all directions.

This is one of those hard review to write, because I really don’t have too much to say about Dead Man Down. Niels Anders Oplev and screenwriter J.H. Wyman have created a gangster/crime drama that sails the seas of mediocrity. Alright, that may be a little harsh because there are some really fantastic parts of this movie. Some of the scenes are executed in such an intense and sometimes over the top way that it sucked me right into the action. I guess that’s one really good thing I can say about this movie. The action was phenomenal. There’s one great scene where a guy is thrown out a window and is hanged by a rope around his neck while dangling in front of a gym window. There’s another great scene that’s pretty much a siege on a well fortified mansion. Those are the real stand out scenes. Everything else is kinda filler.

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While the action scenes are wonderfully constructed and memorable in their own rights, they don’t quite sync up with the rest of the movie all that well. Other than a couple of the larger action set pieces, the rest of the film is set up as a very realistic and down to earth crime drama. Then, when violence suddenly erupts, all of a sudden the world turns into a comic book where one man can take on an entire army of men. Look, I love over the top movies as much as the next guy and I can appreciate that I am only watching a movie, but Dead Man Down doesn’t really play by its own set of rules which makes it seem like it was made by a couple different people.

There’s not really much else to talk about in terms of story so it’s over to the performances we go. Everyone in this movie is pretty serviceable. Colin Farrell and Terrence Howard do their jobs just fine but it’s nothing really worth talking too much about. The only people who seem to be completely involved with their roles are Noomi Rapace and Dominic Cooper. While Rapace’s character has some major flaws in terms of how she’s written, her performance almost makes up for all of that. Cooper also just seems like he’s having the time of his life playing his part, which in turn gives his character more life than it could’ve had.

Dead Man Down was a pretty fun movie to watch, but once it’s over t left me feeling like I didn’t really watch anything of consequence. It certainly isn’t an awful movie, but it’s not one that I’m going to remember either, despite some really excellent action scenes sprinkled throughout it. This was kind of a hard review to write because I don’t have a whole lot to say on Dead Man Down other than it’s a mediocre gangster flick that sailed under the radar when it was released and will continue to do so.

I’ll Sleep When I’m Dead – Review

25 Feb

Noir is something that will hopefully never go out of style. It’s far too cool to just disappear off the face of the earth without a trace of hope that it may return. There’s so many interesting things you can do with the noir genre, and Mike Hodges’ I’ll Sleep When I’m Dead certainly does something different to it. Hodges may best be known for directing the British gangster classic Get Carter, so it was exciting to see what he would do with a more modern gangster/noir film. Well, the result is many things. It’s weird, boring, tedious, and strangely thought provoking.

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Will Graham (Clive Owen) was a notorious gangster before suffering some mysterious mental breakdown that prompted to leave London and start a new life as a drifter devoid of any complicated moral responsibilities. This decision to leave town is met with the risk of leaving his irresponsible brother, Davey (Jonathan Rhys-Myers) to fend for himself. After a night of partying and an especially brutal encounter with a car salesman named Boad (Malcolm McDowell), Davey is found dead in his bathtub of an apparent suicide which prompts Will to return to London to get to the bottom of what happened to cause Davey to do such a thing. Coming back to his old city starts some trouble with his old friends, relationships, and enemies, but Will’s main goal is to track down whoever is responsible for pushing his brother over the edge.

As far as gangster movies go, I’ll Sleep When I’m Dead is about as minimalist as you can get. The pace of this movie is deathly slow and the overall mood is so quiet, you could hear a pin drop. Along with the whole noir aspect, there’s also touches of New Wave and British Realism thrown in, which is an odd combination to mix with noir. I’m not saying this is really a bad thing, but it does make for a movie that isn’t really too much fun to watch. The not even two hour run time feels stretched to the lenghths of Goodfellas‘ run time with so many scenes of quiet conversations and brooding moments of Will walking down the dark London streets. Since there are so many scenes like this, the conflicts of the movies often feel minimized to a huge degree.

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When I say that there is very little conflict in this movie, I sort of mean it, but at the same time I recognize the other kinds of conflict. For example, we hardly see Boad in the movie. He gets maybe 10 minutes of screen time in total. There’s also another gangster that feels threatened by Will’s return, but we only ever see him talking to people in his car and nothing ever really comes out of his storyline besides an ending that serves to confuse the viewer. The conflict really lies in Will’s character and his troubles readjusting to life in the city while also trying to stay clear of his criminal past. This is hard since he wants revenge for his little brother. This movie’s really about inner conflict and regression, rather than a simple revenge story. Like I said before, this movie isn’t really fun to watch. It’s more fun to talk and think about it once it’s over.

I’ll Sleep When I’m Dead is a pretty deep movie, but it’s important to remember that just because a movie is super slow doesn’t mean it’s super intelligent. There are plenty of interesting points in this movie, but the execution of them feels so slight that they might as well not have happened at all. The main force of pain for Davey is one of the most daunting things to ever happen to somebody, and it’s something that I don’t see in movies too much. There’s a very interesting premise that almost makes up for the whole movie. The rest of the ideas and conflicts either get fixed to soon or conclude in the most enigmatic of ways. I get that was the whole point of the movie, and I’m not meant to feel satisfied at the end, but I don’t know, it just didn’t feel right.

I’ll Sleep When I’m Dead is a strange exercise in low key film making and it’s one that doesn’t really mix all that well. The acting and the dialogue is all great, and the premise takes a story that could be generic and makes it more interesting. The only problem is that it movies too slow, thinks it’s making a much bigger and complicated statement than it actually is, and resolves conflict too easily or not at all. It’s not completely ruined or wasted, but I wanted a little bit more out of it. I can’t really recommend watching it, but some people may find it interesting.