“It was like a message from God: ‘Honesty doesn’t pay, sucker.’ ”
I’m fortunate to have been born with options: education options, occupation options, food options, and social 0ptions. City of God is a film about people who have very few, if any, options in life. Directed by Brazilian directors Fernando Meirelles (Blindness, The Constant Gardener) and Kátia Lund (News from a Personal War) and starring a whole host of locals with little to no acting experience, this was a fantastic film that was very eye-opening for me as a middle-class American. It’s not all doom and gloom, though—there are some fun scenes and characters, and I really enjoyed this rather than simply thinking it was important. The film is in Portuguese with subtitles, but that didn’t really hurt the experience. I’ll admit, I’m not really an expert on films coming out of South America, but I really loved this one.
“They look the shit, don’t they? And nobody is gonna argue. And I’ve got some extra loud blanks, just in case.”
Imagine, if you will, a film with the wit and bite of Pulp Fiction, the cool factor of Ocean’s Eleven, and a pleasant British disposition, and you’ll be pretty close to Snatch. Written and directed by Guy Ritchie (The Man from U.N.C.L.E., Lock, Stock, and Two Smoking Barrels) and starring Jason Statham, Brad Pitt, and Benicio Del Toro, this is a witty and entertaining British crime film with a lot to offer. With snappy and hilarious dialogue, great actor performances, a clever directorial style, and a tight plot, I can’t really think of anything bad to say about this film.
“Err, bad breath, colorful language, feather duster. What do you think they’re gonna be armed with? GUNS, you tit!”
It’s said that there’s no honor among thieves, and I can’t think of any better example of this in action than British crime film Lock, Stock, and Two Smoking Barrels. This is the directorial debut of Guy Ritchie (Snatch, The Man from U.N.C.L.E.) and it stars Jason Flemyng, Dexter Fletcher, and Nick Moran. This is a story from the criminal underground of London, and it’s got lots of British charm and sensibility that makes this stand out from the crowded genre of American crime films. The script is also exceptionally smart, especially for a first feature film from the writer/director. If you like crime films but want something delightfully different, this will probably fit the bill.
“Aristotle was not Belgian. The central message of Buddhism is not ‘Every man for himself.’ And the London Underground is not a political movement. Those are all mistakes, Otto. I looked them up.”
It’s rare that I make any sort of declaration along the lines of greatest of all time, but A Fish Called Wanda might just be the best comedy of all time. Written and directed by Charles Crichton (Dead of Night, The Lavender Hill Mob) and comedy legend John Cleese (The Life of Brian, Monty Python and the Holy Grail) and starring Jamie Lee Curtis, Kevin Kline, and Monty Python veterans John Cleese and Michael Palin, this is a brilliant comedy that artfully blends American and British humor into something that just about everyone will laugh at. The script and performances are brilliantly funny, but there’s a very solid plot here as well. Everything a comedy is supposed to do, this film does extremely well, and I can’t think of any comedy that succeeds as much as this one.
“Nothing exceeds like excess. You should know that.”
The gangster film genre has a lot of great classics, such as The Godfather and Goodfellas, that are filled not only with criminal actions but also human drama and surprisingly relatable characters. Though it’s a good formula, there are a lot of tales of gangsters working to maintain their rather wholesome family lives while also living as professional criminals. We love and respect these characters because, despite their evil deeds, they’re not that different from you and me. But what about gangster movies that don’t have that softer edge? What about gangster movies that show a character so wild and out of control that his fate is basically broadcasted from the very start of the film? That’s what Scarface set out to be. Directed by Brian de Palma (Dressed to Kill, The Untouchables) and starring Al Pacino, Michelle Pfeiffer, and Steven Bauer, this film shows a criminal so over-the-top and power-hungry that you can’t help but feel that he’s going down even as he rises to the top. This isn’t quite as brilliant as The Godfather or entertaining as Goodfellas, but that doesn’t stop this from being highly entertaining and having some extremely well-written and well-acted scenes. This was a gangster movie of a different breed, and that is a very good thing.
“It’s your job, right? The guy who kills me… I hope he does it because he hates my guts, not because it’s his job.”
They say truth is stranger than fiction, but you honestly don’t see that a lot. Most of the time, when I hear someone say truth is stranger than fiction, I just assume they don’t read a lot. Dog Day Afternoon captures that notion brilliantly, though, by telling the real-life story of a bank robbery more absurd than any heist movie I’ve ever seen. Directed by Sidney Lumet (12 Angry Men, Murder on the Orient Express) and starring Al Pacino and John Cazale, this film captures, almost in real time, a bank robbery as entertaining as they come. You’ll see a crime become a media circus. You’ll see a criminal become a folk hero. You’ll see what could be a very cliched and overdone plot made fresh—more so than most heist movies today—by a string of bizarre details about the culprits and situation. It’s smart, funny, and gripping, and it’s definitely the most entertaining heist movie I’ve ever seen.
“When you kill a king, you don’t stab him in the dark. You kill him where the entire court can watch him die.”
New York City in the mid-19th century was a dark and dangerous place. You wouldn’t know that today from reading Transcendentalist essays, Little Women, or Edgar Allen Poe, all works of that time. We have these romanticized notions of what America was like for the waves of immigrants coming to the new world to seek fortune and a new life, but for most, it was a violent hell. No movie portrays this little corner of American history better than Gangs of New York. Directed by the extremely talented Martin Scorsese (Taxi Driver, Goodfellas) and starring Leonardo DiCaprio, Cameron Diaz, and Daniel Day-Lewis, this is a portrait of the volatile culture, the primitive politics, and the shocking violence of this time and place. It’s bloody and raw and almost oppressive in its adversity—but it’s also enthralling and very entertaining.
“My father taught me many things here—he taught me in this room. He taught me: keep your friends close, but your enemies closer.”
The Godfather was a cultural phenomenon when it came out in 1972 for many reasons. It was extremely well-written, and the cinematography and acting were great. Something that’s lost on modern viewers is how revolutionary the concept was. The Motion Picture Production Code, which was in effect until 1968, prevented things like violence and sex in movies, but it also forbid sympathetic portrayals of criminals. Some movies, like 1968’s Bonnie and Clyde, were quick to make use of this newfound freedom and featured criminals as the protagonists; but none had gone into as much depth as The Godfather. Showing a crime family as a real family, with family dinners and drama, had never been done before.
Two years later, The Godfather: Part II came out and delivered more of the same: fascinating character study and the smallest details of what had become the greatest crime empire in America. Once again directed by Francis Ford Coppola (Apocalypse Now) and starring Al Pacino, Robert de Niro, and Robert Duvall, this is a sequel that’s every bit as good as its predecessor—some say even better. It’s almost required to draw comparisons between the two, so here’s my take: the story was tighter and the quotes more memorable in the original, but the sequel goes into greater depth with the characters and has more emotion. For what it’s worth, I actually preferred the sequel, although both are amazing movies.
“As far back as I can remember, I always wanted to be a gangster.”
Since The Godfather basically defined the crime genre in 1972, there have been a lot of imitators and followers, some good and some bad, but nothing ever came close to the original. It’s hard to compare, but I’d say that Goodfellas came pretty close in 1990. (Legendary critic Roger Ebert actually preferred Goodfellas to The Godfather.) Directed by Martin Scorsese (Taxi Driver, The Wolf of Wall Street) and starring Ray Liotta, Robert de Niro, Joe Pesci, and Lorraine Bracco, this is a mobster story with as much depth and humanity as The Godfather, but it shows a different side of the story. The Godfather shows the view at the top—the big boss and his family calling all the shots. Goodfellas shows the working man’s view of organized crime—a kid trying to break into the business and make a name for himself. The film is actually based on real-life mobsters, one of whom consulted on much of the film, so there’s a real authenticity to the film that’s missing in most crime films. It’s a great entry in the crime genre that I believe deserves a place right next to some of the biggest names in the genre.
“This here’s Miss Bonnie Parker. I’m Clyde Barrow. We rob banks.”
In the early days of cinema there were no real restrictions. Some filmmakers pushed the envelope of tastefulness a little too far, resulting in the Motion Picture Production Code, which dictated moral standards in film from 1930 to the late 60s. Ask someone today to describe an “old-fashioned” movie, and they’ll probably end up describing this code. By the late 60s, enforcing the code became too cumbersome, so the MPAA began working on rolling out movie ratings to replace it—granting filmmakers many new freedoms that had not been available for almost 40 years. Films quickly came out that exercised this new freedom; but the first film to really use that freedom artfully was Bonnie and Clyde. Directed by Arthur Penn (Night Moves, Little Big Man) and starring Faye Dunaway and Warren Beatty, this movie shocked audiences with graphic violence and discussion of sexuality. It’s actually rather tame by today’s standards; but when it came out, there had never been another movie like it.