Category Archives: Crime

The Conversation (1974).

With the films of Alan J. Pakula, The Conversation (1974) sits right in the middle of Watergate as a dark inspiration, and you couldn’t get a more clinical, claustrophobic portrait of paranoia.

Hackman is masterful. His character’s job and the perfectionism he demands is his entire life, and once he makes mistakes, succumbing to emotions that compromise his skills, he is at a loss, a petrified wreck, playing his saxophone in a torn-to-pieces-apartment. 

It’s one of Coppola’s few original scripts and one wonders at the output if he did more of that. There is so much going on in this film, from the moody low-key jazz score to the extraordinary sound design, and it’s a movie obsessed with the peculiarities of its era. 

The twist ending is just shocking and I must confess I never saw it coming. 

And Harrison Ford is in it. 

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Danny Dyer.

How this lad is somehow an ‘actor’ will never cease to beguile me.

Bye for now.

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The Bonfire of the Vanities (1990).

First viewing after years of hearing the most scathing reviews, and they’re not wrong.

I thought Brian De Palma was meant to engulf daft, badly scripted projects with his patented style; whatever happened, the movie is that of visual neglect, as anonymous as the work of the next hack.

I didn’t get any of it. Was it satire? Was it meant to be funny? Was there an underlying point to anything?

I didn’t believe a moment of the picture and even the title vexed me.

It’s as shite as they say, and Tom Hanks is as awful here as he has been anywhere else.

Rubbish.

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Nobody 2 (2025).

Lots of fun in this sequel, which ramps up the mayhem in a fairly inventive way.

In this tired, post-Taken (2008) period of the genre, you don’t really expect much beyond heads (among other body parts) being smashed, but it had some depth to it. I was reminded of A History of Violence (2005) in the lad’s inability to escape the ‘sins’ of the past, and that you can’t deny your true nature when confronted with the wrong ‘uns. And the redoubtable John Ortiz features – one of the best character actors out there.

Unfortunately, Sharon Stone was mostly annoying in a limp, unconvincing turn as a demented big momma crime lord, but I suppose that’s the point.

You’re rooting for Saul Goodman to tear her a new one.

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The Brutalist (2024). Wow.

This is what it’s all about.

A work of pure cinema with a mastery of style, I felt I was in the presence of Bernardo Bertolucci, Stanley Kubrick, and Martin Scorsese all at once.

Even the opening credits are some of the most enthralling I’ve seen; their arrival is unexpected, their form unorthodox in this monumental drama. It feels like a throwback to a time when a film was an event, but this marries the grandiose with the human element, searing, mind-blowing images sans any spaceships or capes.

The air of dread that simmers in this magnificent work is startling. You’re aware it’s all building to an unfathomable crescendo but can’t look away.

It’s always a privilege to watch a fucking amazing film.

This is one of them, privilege and film.

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The International (2009).

An intriguing first scene that takes place in Berlin promised a good thriller; anything featuring Berlin is promising.

Nice font on the opening title, and the once omniscient James Rebhorn is briefly in it. Good job.

It’s so boring, though, and anything germane it had to say about amoral bankers was lost in the relentless, mind-crushing tedium. I was hoping for Jason Bourne meets Interpol. What I got was the urge to jettison The International (2009).

I lasted 46 minutes. 

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Terence Stamp vs. Peter Fonda, a good 25 years ago.

Terence Stamp as ‘Wilson’ in the sublime crime thriller The Limey (1999), a true gem from the tail-end of a decade littered with far too many guns and crooks.

“You tell him … you tell him I’m coming. Tell him I’m fucking coming!”

His best role, without question.

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Last Man Standing (1996).

Another remake of Kurosawa’s Yojimbo (1961), this neo-western is rubbish and not even in a curious way.

I did have high expectations for the flick as Walter Hill is a top filmmaker and this was peak Bruce Willis, that post Pulp Fiction (1994) era when he would veer seamlessly between actioner and risky movies with a bit more depth to them. This is atrocious, though, from the stupid voice-over to the stupid things every character does, to the stupid framing and the sheer stupidity of the premise, and I felt stupid for sticking with it rather than just watching A Fistful of Dollars (1964).

Stupidity is the theme.

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Die Hard (1988).

It’s funnier than all its considerable attributes as an action movie. For the carnage, it’s top tier, but it’s definitely more of a comedy than any other description.

Maybe it’s because so much of this ilk is a slew of totally witless dirge, Die Hard (1988) appears smart and a bit of an outlier.

And you see a character sparking up a fag in a limo.

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Matchstick Men (2003).

I was dreading this movie would be too reliant on the standard As Good as It Gets (1997) OCD schtick to drive the narrative but it smartly sidestepped all the easy mechanisms. A highly entertaining dramedy with two plots going on seamlessly, a con and a character study intertwined, this is another solid entry in the Cage compendium.

One wishes Ridley Scott would make inconsequential but breezy fare like this rather than all his insipid train wrecks of late, which are too numerous.

And Bruce McGill is in it, showing once again that he’s in everything. 

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