Erin Brockovich

Directed by Steven Soderbergh and written by Susannah Grant, Erin Brockovich is the story of an unemployed single mother who works for a lawyer as she helps fight against a gas company for people who had been hurt by them. Based on the real life about the woman of the same name, it’s an unconventional bio-pic that has a woman trying to help people by using her sex appeal and street smarts as she’s played by Julia Roberts. Also starring Aaron Eckhart, Albert Finney, Marg Helgenberger, Tracey Walters, and Peter Coyote. Erin Brockovich is a sassy and phenomenal film from Steven Soderbergh.

The film is about this unemployed woman who has three children from two ex-husbands as she gets a job working for the lawyer Ed Masry (Albert Finney) who was handling her injuries claim case which they lost. In her job, Erin Brockovich learns about a real-estate files case that Masry had been working on as she makes some chilling discoveries about the Pacific Gas and Electric Company whose water was contaminated and many of the people in the small town of Hinkley, California were struck with a myriad of illnesses. In turn, it’s a film where this very unlikely woman and a small-time lawyer with a private firm go against a massive billion dollar corporation to help a bunch of people in a small town who had been conned by this corporation. What makes the film much more unique than it actually is its protagonist as she is this single mother of three kids who wears skimpy clothes and isn’t afraid to speak her mind.

Susannah Grant’s screenplay is unconventional at times but also very engaging for the way it presents Brockovich as this no-nonsense woman who is just trying to get work to raise her three kids as she has very little money in her bank account and little experience with anything. While she dresses in skimpy clothes that often shows her cleavage and has this sassy attitude, she is perceived as this unintelligent and trashy woman who gets by with having sex with men and such. Instead, Brockovich uses her sex appeal to dig deep into her discoveries where she impresses Masry. While the job gives her some respect from Masry, co-workers, and the people she talks to about what they’re dealing. She tries to balance that with being a mom as she gains the help and companionship of her new neighbor in a biker named George (Aaron Eckhart) who would struggle with her long working hours as does her kids yet they come around to see what she’s doing as she sometimes takes them for the ride.

Brockovich’s relationship with Masry is also unique as they become this unlikely duo where Brockovich is the one talking to the people and gathering all sorts of information as she was willing to get her hands dirty. Especially as she would get Masry to be more accessible to the people where he does have a scene at a community center talking to them about what is going to happen with this lawsuit the town has filed. It’s a moment where Brockovich watches in the back as she lets Masry let his guard down a bit so he can become someone the people can trust despite some of legal bullshit he has to handle. Even as Brockovich and Masry also have to rely on a more prestigious legal firm to help in the case where the two don’t get treated with much respect by their new partners.

Steven Soderbergh’s direction is pretty simple in some respects as he doesn’t go for anything flashy in some of the compositions he creates. Still, there are moments that has him creating a film that is a mixture of a comedy and drama while finding a balance to mesh the two genres. Even as he plays to the comedy in an offbeat way where he’s not afraid to use sexuality to drive the story though there’s no nudity that occurs in the film. It’s not overt but enough to bring some energy to the film while Soderbergh also creates moments such as how Brockovich is able to engage the people with just her charm as she’s just wearing regular clothes while a law assistant is struggling to connect with them as she’s just talking about all sorts of legal bullshit the people don’t really understand.

Much of the film is shot in Ventura, California with some of it shot in Los Angeles where Soderbergh uses the deserts and small-town locations to create something that makes it more than just a film in California. He gives the idea that something like this could be set in any small American town as the people themselves are just good folk who want to hear the truth and why they’ve been sick. His use of medium shots, close-ups, and wide shots give Soderbergh an atmosphere to help tell the story and engage the audience into these characters in the film. Especially as he would maintain that sense of drama and the stakes that is happening so that audiences can root for Brockovich and Masry to see if they can beat the Goliath that is the Pacific Gas and Electric Company. Overall, Soderbergh creates a very rich and entertaining film about a woman who helps the people fight against a corporation.

Cinematographer Edward Lachman does brilliant work with the film‘s cinematography by playing up the sunny look of California with its rich interior lighting schemes in the daytime while going for more stylish lights for the scenes at night. Editor Anne V. Coates does excellent work with the editing as she infuses some style such as jump-cuts to play with some of the film‘s humor and drama that adds to the unconventional tone of the film. Production designer Philip Messina, with set decorator Kristen Toscano Messina and art director Christa Munro, does amazing work with the set pieces from the look of Masry‘s office firm as well as Brockovich‘s home to play into their two different personalities.

Costume designer Jeffrey Kurland does nice work with the costumes from the skimpy clothing that Brockovich wears to the biker look of George. Sound editor Larry Blake does terrific work with the sound to play into some of the film‘s sound effects as well as the calmness of some of the locations in Ventura, California. The film’s music by Thomas Newman is fantastic for its score that is largely driven by keyboards and orchestral pieces that is upbeat at times but also eerie and somber while music supervisor Amanda Scheer-Demme brings in a soundtrack that features some low-key ambient music, bluegrass, and a couple of songs by Sheryl Crow.

The casting by Margery Simkin is incredible for the ensemble that is created for the film as it features cameos from the real Erin Brockovich as a waitress and Ed Masry as a diner patron along with small roles from Scotty Leavenworth and Gemmenne de la Pena as two of Brockovich’s older children, Emily and Julie Marks and Ashley and Brittany Pimental as the youngest of Brockovich’s children as it’s a baby in two different ages. Other small yet notable performances include Gina Gallego as a PG&E attorney, Veanne Cox as a paralegal who tries to do Brockovich’s job, T.J. Thyne as a waters department employee who is charmed by Brockovich, Conchata Ferrell as Masry’s secretary Brenda, and Peter Coyote as a top attorney who teams with Masry on the case yet has no clue in how Masry and Brockovich do their work.

Tracey Walter is terrific as a mysterious Hinkley local who attends the town meetings as he is suspicious of what Brockovich is doing while Cherry Jones is wonderful as another local who is wary about what Brockovich is doing as she thinks that no money will come from this case. Marg Helgenberger is superb as a Hinkley local who becomes the first person Brockovich talks to as she deals with her declining health and what her family might deal with. Aaron Eckhart is excellent as Brockovich’s neighbor George as this very nice biker who helps out by taking care of Brockovich’s children while dealing with her workload as he understands what she’s trying to do.

Albert Finney is brilliant as Ed Masry as this old-school and well-meaning attorney who reluctantly hires Brockovich to be in his firm while becoming aware of what he might go up against realizing the risks of what he might lose. It’s a performance where Finney plays the straight man for Roberts as well as bringing a complexity and accessibility into his role as a lawyer who often doesn’t connect with his clients on a personal level. Finally, there’s Julia Roberts in an outstanding performance as the titular character where it’s Roberts at her most brash and charming where she isn’t afraid to get a little dirty and be overtly sexual at times. It’s a performance that really has Roberts going all-out while also proving to be pretty sensitive where she has her characters listen to other people as it’s definitely Roberts at her best.

Erin Brockovich is a remarkable film from Steven Soderbergh that features a fantastic performance from Julia Roberts in the titular role. Along with some amazing supporting work from Albert Finney and Aaron Eckhart, the film is definitely one of Soderbergh’s finest films as well as one of his most accessible. Even as he creates a character as captivating as Brockovich that allows the audience to be engaged by her. In the end, Erin Brockovich is a spectacular film from Steven Soderbergh.

Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Traffic - Ocean's Eleven (2001 film) - Full Frontal - Solaris (2002 film) - Eros-The Equlibrium - Ocean's Twelve - Bubble - The Good German - Ocean’s Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2

© thevoid99 2014

007 James Bond Marathon: Skyfall

Based on the character by Ian Fleming, Skyfall is the story in which James Bond goes on a secret mission to find out who leaked out the identity of various undercover MI6 agents while his boss M is under scrutiny from the British government as they deal with an old nemesis of theirs. Directed by Sam Mendes and screenplay by John Logan, Neal Purvis, and Robert Wade with contributions by Peter Morgan, the film explores Bond dealing with his loyalty to M as he faces new challenges as well as dangerous villain. With Daniel Craig playing James Bond for the third time, the film also stars Javier Bardem, Naomie Harris, Berenice Marlohe, Ralph Fiennes, Helen McCrory, Ben Whishaw, Rory Kinnear, Albert Finney, and Judi Dench as M. Skyfall is a thrilling and visually-entrancing film from Sam Mendes.

When a hard drive that features a list of the identities of various undercover NATO agents, James Bond and an agent named Eve (Naomie Harris) tries to retrieve it from its thief Patrice (Ola Rapace). During the chase leading to a fight on a train, M orders Eve to take the shot only for Eve to accidentally shoot Bond as he is presumed dead. Following the incident in Istanbul, M meets with Intelligence and Security Committee chairman Gareth Mallory (Ralph Fiennes) who feels that M should retire. With the hard drive missing and M is under target from both the government and a mysterious enemy who had hacked into her office computer and blow up her office at the MI6 building. When news of the explosion happens, Bond returns from hiding to find out who is after M and why. Bond travels to Shanghai to track down Patrice where he finds Patrice assassinating a target only for Bond to stop him as he asks him who he works for.

Thanks to a gambling chip from Patrice’s briefcase, Bond goes to a casino in Macau with Eve where Bond meets a woman named Severine (Berenice Marlohe) who warns him about what is going on. After Bond seduces Severine on her boat, they’re taken to a mysterious island where Bond meets a man named Raoul Silva (Javier Bardem) who was a former MI6 agent that is responsible for the hackings and leaks of undercover NATO agents. After Bond gets Silva captured and taken back to London, Q (Ben Whishaw) tries to decode Silva’s computer only to realize that it’s a trap. With M facing an inquiry from the government, Bond goes after Silva who is planning to kill M forcing Bond to hide M at an old place with the help of a man named Kincade (Albert Finney). With Bond aware that Silva is going to come after M, Bond prepares for what would be a standoff between himself and Silva.

Throughout the 50 years of James Bond franchise, there’s always been the question about Bond’s place in the world as times have often changed. In this film, Bond faces a new enemy that is far more menacing than anything he and the MI6 had to face. It’s an enemy that lurks in the shadow and when it attacks, problems emerge forcing the British government to question whether to count on Bond to stop this menace. What makes it more interesting is that this enemy is going after M who has a very deep connection with this very mysterious villain as he wants her dead. Bond has to do whatever it takes to save M but also realize that not everything about his superior had been good as he starts to question about her past. Notably as they both are dealing with the fact that they’re considered irrelevant by some as many claims the old ways are out. What Bond would try to prove that sometimes, the old ways work.

The screenplay that is created by Neal Purvis, Robert Wade, and John Logan definitely shows a lot of complexities into the roles of the characters that are involved in the story. Particularly as Bond is presented as a man that is very flawed and a real liability as he’s still dealing with a painful physical wound. There’s also questions into whether Bond is able to get the job done as he’s not just a physical wreck but a mental one due to the fact that he is willing to harm himself. Bond’s flaws gives a lot of advantages to the film’s antagonist in Raoul Silva who is definitely a villain that is psychotic, intelligent, and very determined to reek chaos for the MI6 and destroy M anyway he can. There’s also a very demented side to Silva as he also has a lot of history with M about his work with the MI6 and why he turned against the MI6. For Bond, it does have him asking questions but also makes him realize that he still has a duty to do as a 00 agent.

Sam Mendes’ direction is definitely a marvel to watch from the opening sequence in Istanbul that includes a great chase scene involving motorcycles and trains to some amazing second unit shots of locations in Shanghai, Macau, London, and Scotland. Mendes is definitely aware that he’s making a Bond film but also infuses it with very direct and entrancing compositions that really establishes what is going on and what Bond is trying to do. Mendes also manages to take his time to build up the suspense where he wisely reveals Silva in the film’s second act. That approach to maintain an air of mystery in the first act has Mendes utilizing lots of intimate compositions and moments to help set up the plot and introduce a few key characters.

The action definitely comes back around the second act that includes this amazing fight scene between Bond and Patrice with this beautiful backdrop that shows a true sense of style that Mendes wants to bring. Even in the shot of Bond’s arrival to the Macau casino that is followed by amazing steadicam shots of Bond and Eve walking around the casino in separate directions. Things definitely intensify in the third act when it involves a brilliant chase scene through the London subways. Even in the climatic showdown in Scotland where Mendes definitely takes advantage to utilize the location for a wide canvas. While the film features a lot of amazing visuals and suspense, Mendes is aware that a James Bond film shouldn’t be taken too seriously as he also infuses some small moments of humor along with nods to Bond films from the past. Overall, Mendes crafts a truly engaging and exciting film that bears a lot of hallmarks of past Bond films as well as elements that keeps it fresh.

Cinematographer Roger Deakins does incredible work with the film‘s photography to display an air of style from the lush coloring of the nighttime settings in Shanghai and Macau to more evocative shots of the locations in Scotland with its mist as Deakins‘ work is really a major technical highlight. Editor Stuart Baird does excellent work with the editing to maintain a sense of intrigue in its suspenseful moments with some methodical cuts along with more rhythmic cutting to capture the action without delving into swift, chaotic editing style. Production designer Dennis Gassner, along with set decorator Anna Pinnock and supervising art director Chris Lowe, does superb work with the set pieces from the look of the MI6 offices underground to the lavish look of the Macau casino as it establishes a world that only James Bond can go to.

Costume designer Jamy Temime does wonderful work with the costumes from the lavish dress that Severine wears at the casino as well as Eve‘s dress to the clothes that Silva wears while Tom Ford provides the suits that Bond wears. Makeup designer Naomi Donne and hair designer Zoe Tahir do terrific work with the look of Silva including a surprising feature that adds to Silva‘s dark persona. Special effects supervisor Chris Corbould and visual effects supervisor Steve Begg do amazing work with the visual effects to create something that is realistic in some parts along with some action-driven scenes without going overboard. Sound designers Christopher Assells and Peter Staubli, along with sound editors Karen M. Baker and Per Hallberg, do great work with the sound to capture the array of sounds in some of the raucous moments along with a chilling atmosphere in some intimate moments including Silva’s meeting with M.

The film’s music by Thomas Newman is brilliant for its mix of orchestral flourishes with rock and electronic music to maintain an air of suspense and momentum while finding ways to incorporate the famous Bond theme into the mix and knowing when to use it. The title song performed by Adele is definitely one of the best Bond theme songs in the catalog where Adele and co-writer Paul Epworth go back to old-school Bond themes with its orchestral flourishes and slow rhythms while Adele’s voice soars in what is truly a magical song. The soundtrack also features a cover of John Lee Hooker’s Boom Boom by the Animals and music from Charles Trenet, Jun Chen, and the Ensemble Huseyin Turkmenler.

The casting by Debbie McWilliams is outstanding for the ensemble that is created as it features some noteworthy small roles from Helen McCrory as a government official leading M’s inquiry and Albert Finney in a terrific performance as a gamekeeper named Kincade. Ola Rapace is very good in a small but memorable role as the mercenary Patrice who steals the hard drive for Silva while Berenice Marlohe is wonderful as the very sensual yet mysterious Severine. Rory Kinnear is superb as M’s longtime aide and MI6 chief of staff Bill Tanner while Ralph Fiennes is amazing as government official Gareth Mallory who tries to deal with what role M has left as well as Bond’s place in the MI6. Naomie Harris is excellent as the agent Eve who helps Bond out while ensuring that he does his job while Ben Whishaw is amazing as Q where he provides a low-key sense of humor as well as someone who helps Bond with more realistic gadgets.

Judi Dench is incredible as M where she deals with the mistakes from her past as well as the fact that she might be irrelevant as Dench puts a lot and more into this character as she definitely gives out her best performance in the role of M. Javier Bardem is phenomenal as Raoul Silva where Bardem displays a sense of wit to his role but also someone who is quite sick and cunning in his motivations where he even will do things that are very surprising as Bardem makes Silva one of the great Bond villains. Finally, there’s Daniel Craig in a remarkable performance as James Bond where Craig is able to display Bond’s humanity as a man wrecked by failure as he tries to pick himself up to do his duty. It is Craig showing new sides to Bond that is gritty but also smooth as he finally creates his own interpretation of Bond that is also a tribute to the Bonds of the past.

Skyfall is a magnificent James Bond film Sam Mendes that features marvelous performances from Daniel Craig, Javier Bardem, and Judi Dench. Armed with great technical work led by Roger Deakins, a sumptuous film soundtrack, and a wonderful supporting cast that includes Ralph Fiennes, Naomi Harris, and Ben Whishaw. It’s a film that proves that James Bond is still vital after being on the big screen for 50 years. It’s also a film provides all sorts of suspense, action, romance, and humor that bears all of the hallmarks of Bond while emphasizing that James Bond will always return. In the end, Skyfall is a triumphant film from Sam Mendes.

James Bond Files: The EON Films: Dr. No - From Russia With Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale - Quantum of Solace - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls are Forever - True Bond - Everything or Nothing: The Untold Story of 007

Sam Mendes Films: (American Beauty) - (Road to Perdition) - (Jarhead) - (Revolutionary Road) - (Away We Go) - (1917)

© thevoid99 2012

Miller's Crossing

Originally Written and Posted at Epinions.com on 11/15/07 w/ Additional Edits.

Written, produced, and directed by Joel & Ethan Coen, Miller's Crossing is set in the Prohibition era as a gangster is playing both sides in a gang war as his role becomes confusing while he is dealing with one of his boss' girlfriend, her brother, a deadly henchman, and many more as a bloody gang war is happening. A change of pace from the duo's previous features, 1984's noir-inspired Blood Simple and Raising Arizona, the film is an eerie study of how one man can play both sides in a gang war. Starring Gabriel Byrne, Albert Finney, Marcia Gay Harden, J.E. Freeman, and appearances from Coen Brothers regulars John Turturro, Steve Buscemi, Jon Polito, Michael Badalucco, and Frances McDormand. Miller's Crossing is a powerful, eerie crime masterpiece from the Coen Brothers.

A dispute between mob boss Johnny Capar (Jon Polito) and Irish politician Leo O'Bannon (Albert Finney) over an upcoming fixed fight is settle until Caspar accuses one of Leo's men named Bernie Bernbaum (John Tuturro) of theft. With Leo's right-hand man Tom Reagan (Gabriel Byrne) and Caspar's henchman Eddie Dane (J.E. Freeman) looking on, the meetings with no resolution as Tom is having an affair with Leo's mistress Verna (Marcia Gay Harden) whose brother is Bernie. Still, Leo is concerned about Verna as he has tailed by a man named Rug (Salvatore H. Tornabene) as Tom tries to find Bernie as he asks Mink Larouie (Steve Buscemi) who reveals about a deal he made with Bernie about Caspar's fight fix. Realizing that Bernie is causing trouble, Tom tries to take charge but Leo wants the whole thing to die down to avoid a gang war.

Bernie visits Tom's place as he learns about Tom's money problems with a man named Lazarre as things become complicated where Tom tries to smooth things over for Caspar who wants Bernie. Tom refuses as he gets himself in trouble as a hit on O'Bannon's home fails leading Tom to be out of O'Bannon's gang as his relationship with Verna suffers. Tom decides to work for Caspar as he reveals Bernie's deal with Mink as Tom is ordered to kill Bernie with a couple of Caspar's men in Tic-Tac (Al Mancini) and Frankie (Mike Starr) watching. In the area of deep woods known as Miller's Crossing, Tom is chosen to kill Bernie as Tom makes a plan to spare him once he knows what Caspar is doing. Mink become a target as a war between Caspar and O'Bannon ensues while Tom reveals to Verna that Bernie is alive. Tom continues to play angles as he targets Dane in order to win over Caspar while he hopes to make peace with O'Bannon as he would make moves that would change everything.

Inspired by the works of Dashiell Hammett, the Coen Brothers create a gangster film that isn't reminiscent of the style of 1940s gangster films but also give an edge that is predominantly violent and complex. The real story of this film is about a double-agent who plays the right angles in order to get what he needs and what is right for him and whom he's loyal to. While the character of Tom Reagan is one filled with complex morals and ideas, he's also a man that is very stoic and do things in how to move forward. He's often said he's a smart kid throughout the entire film in how he plays his angles. Yet, it also makes him somewhat distant emotionally as a character like Verna wonders if he has a heart at all and is he a good person. It's that study in character that makes this film more than just a simple gangster picture but a real complex character-driven film that is in the tradition of film noir.

The dialogue in the film is very stylized with a language that is reminiscent of Hammett's work. It's very fast, it's very talky, and sometimes, hard to follow because of the language. Yet, with repeated viewings and maybe through subtitles, it becomes easier to understand. This is definitely an homage to the Hammett language that is never over-dramatized or undervalued. It's the dialogue and the Coens' script that works to show the complex morality of war and power through the mind and angles of Tom Reagan. The script is indeed top-notch with a wonderful structure and sequences that is true to the genre and adding new motifs to it.

Then there's the direction bythe Coen Brothers that is solid through and through. The film opens with a meeting between Caspar and O'Bannon before the opening credits even starts. It emphasizes the tone of what is to come while a lot of the acting is almost theatrical with its dialogue. There's a bit of humor in some of the scenes while some of the more violence sequences are done with great style. Notably one amazing scene that involved the song Danny Boy and Caspar's men trying to hit O'Bannon that ends up a bloodbath with O'Bannon looking like a badass with a tommy gun.

The location set in Louisiana, works for the film's tone where the's not many colors as everything is a bit tinted and gray as is the forest of Miller's Crossing. There's even some amazing compositions where Tom Reagan is standing in the middle of the forest and then a dissolve cut where Tic-Tac and Frankie are standing in the same position that Reagan was in except on the road and leaning against the car. The result is clearly some of the finest directing ever captured on cinema.

Cinematographer Barry Sonnenfeld, in his last work for the Coens before becoming a director, creates probably his best work for the Coens following his previous contributions in Blood Simple and Raising Arizona. Sonnenfeld uses some wonderful speed close-ups to capture some of the horror while a lot of interior work with the bright lighting in the Shenandoah to the more intimate, shadowy scenes in Reagan's apartment. The exteriors, notably the Miller's Crossing scene, is beautifully shot that includes wonderful overhead shots of the trees to emphasize its eerie tone with Sonnenfeld bringing out some amazing work. Though Sonnenfeld's work as a director is often spotty, his contributions as a cinematographer should be noted despite being overshadowed by his replacement Roger Deakins.

Editor Michael R. Miller does some fascinating work with the use of fade-outs, dissolves, and other cutting styles to emphasize the old-school, 1940s editing style that is fitting to the genre while using some jump-cuts to bring energy to the film. Longtime production designer Dennis Gassner and art director Leslie McDonald does some great work in recreating the look of Prohibition speakeasies, clubs, and other places that are filled with wonderful color, floor design, and the use of old cars to bring authenticity to the period. Costume designer Richard Hornung does some great work with Marcia Gay Harden's clothes along with the suits and hats of the men that is very true to the period. Longtime sound editor Skip Lievsay does some amazing work in the sound to bring tension and suspense to some of the film's violent sequences as well as the Miller's Crossing scene.

Longtime music composer Carter Burwell brings a traditional, Irish-flavored score filled with its serene melodies with its orchestral-driven score that includes some harrowing themes. Burwell's score helps with the suspense and drama of the film that includes a soundtrack of old jazz music including the traditional classic Danny Boy in one of the film's best scenes.

The casting of the film is brilliant as it includes small but memorable appearances from Michael Jeter, Salvatore H. Tornabene, Lanny Flaherty, and Mario Todisco as a boxer named Drop. Other memorable appearances from Richard Woods as the mayor, Thomas Toner as the police chief, Al Mancini and Mike Starr as Caspar's henchmen are great while cameos/appearances from Coen Brothers associates like Frances McDormand as the mayor's secretary, Michael Badalucco as Caspar's drive, Steve Buscemi as Mink, and film director Sam Raimi as a doomed gunman are fun to watch. J.E. Freeman is great in the role of Eddie Dane, a ruthless henchman who is almost Reagan's equal while being more dangerous and cunning in his role as a henchman. Jon Polito is brilliant as the fast-talking, comical Johnny Caspar who is dangerous but full of humor as Polito brings a lot of charm to a very dangerous character.

In one of her early film appearances, Marcia Gay Harden is superb as Verna Bernbaum. In a role that could've been a typical femme fatale, Harden brings a lot of grit and beauty to the character while proving that she is tough. Harden's performance is definitely brilliant as she proves to be one of the Coen Brothers finest heroines that includes the great Marge Gunderson of Fargo. John Turturro is also brilliant as the smarmy, cowardly Bernie who proves that he can outwit many when the angles are played, even outsmarting Reagan. Yet, when he's in a position that he can't get out of, he acts like a total coward. It's a great performance from Turturro in his first of many films he appeared for the Coen Brothers.

Albert Finney is also great in his role as Leo O'Bannon, a boss who has his flaws. While he admits he isn't the smartest guy in the world but knows when he has to do power-plays and such while getting the chance to prove that he's a badass. Finney's greatest moment involves a tommy gun and it proves that he's the last guy you want to try to pull a hit on. Gabriel Byrne is amazing in his role as the stoic, emotionless Tom Reagan. Byrne, who always has some kind of charm and personality is more reserved in a performance that is truly minimalist. In a role that is traditional with most of Hammett's protagonists, he's a guy that has to be smarter than everyone, try to do what is right for him. Byrne is brilliant for his restraint and not being very emotional as it's truly one of his greatest performances.

Miller's Crossing is truly a powerful, eerie, and violent masterpiece from Joel and Ethan Coen with fantastic performances from Gabriel Byrne, Albert Finney, Marcia Gay Harden, and John Turturro. This film is no doubt one of the best films by the Coens along with one of the best gangster films to come out of the 1990s. Fans of film noir and crime films will no doubt enjoy the Coen Brothers take as it prove to be fun to watch and also as an eerie character study. While others might prefer their 1996 crime film Fargo which is superior in some aspects, Miller's Crossing is still an amazing film to watch from the Coen Brothers.

The Coen Brothers Films: Blood Simple - Raising Arizona - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn't There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

(C) thevoid99 2012