Little Odessa

Writer/director James Gray's (We Own the Night) first film was critically acclaimed for it's cinematography and for performances by Vanessa Redgrave and Maximilian Schell. It is not an action film, even though the main character is a hit-man. It is a drama about family and shame.

Mr. Orange, Tim Roth (Reservoir Dogs, Pulp Fiction, The Incredible Hulk) plays a son who has been disowned for bringing shame on the family by his behavior. He returns to Brighton Beach to do a job, and reunites with his family as his mother lays dying. He also reunited with Moira Kelly, much to the delight of movie viewers.

About the only one happy to see him was his younger brother Rueban, played by Edward Furlong (Terminator 2: Judgment Day, Pecker). Well, mom was happy, but moms are always happy no matter how bad their children are - trust me on that.

Violence was at a minimum for a Russian Mafia/hit-man picture, and the focus was on the family. Maximilian Schell was excellent as the father that made piece just for a moment to allow Redgrave to see her son.

Gray's first film has nuance and subtlety not often seen in a film featuring the mafia.

Joshua Shapira, a hitman for the Russo-Jewish mob (Tim Roth), ordered to kill an Iranian jeweler, unwilling returns to his childhood home in Brighton Beach and to his estranged family. The first feature by director James Gray is not lacking for intenseness. Roth is excellent as the vicious hood who rediscovers his relationship with his younger brother (Edward Furlong) and the story (much of which is about 'black-sheep' Joshua's relationship with his family) and script are quite good, as is the rest of the ensemble cast. There were some odd, inconsistent scenes (for someone who wants to remains unnoticed, Joshua frequently waves his pistol in people's faces, and his 'crew' at a shooting just drop the guns on the ground (a plot-driving event) despite not wearing gloves) and the ending, though unexpected, seemed a bit abrupt. I didn't really like the neo-gothic soundtrack, which struck me as pretentious (but other people though the score was excellent). Generally, a good, gritty if slightly fanciful mob-meller.

I enjoyed the movie. Tim Roth, who is apparently British, sounded to me (a Texan) as a perfect second-generation Russian Jew. He was so coldly efficient in this character that I did not even recognize him as the hapless robber in Pulp Fiction. Kudos also to Moira Kelly, Edward Furlong, and Maximilian Schell. Good direction and photography. The use of the Russian choral music throughout set the mood on medium-creepy, even when that was the only clue. I've never been to Brighton Beach, or even Brooklyn, but the film really brought home the gritty reality of that immigrant community. (I really just mean the day-to-day atmosphere of the place, not the mobster story plastered on it.) Worth checking out if you don't mind a slower, more cerebral sort of hit man movie.

I'm a long time fan of Tim Roth, who doesn't do nearly as much as I'd like him to, these days. The other British stalwart in this, the equally excellent Vanessa Redgrave was another point of interest for me.

There's a real brutal efficiency to this film that makes it unlikeable but also demands respect and our attention. Roth is the roving assassin who is forced to do his next job in his old neighbourhood and that means getting reacquainted with his family: dying Mum (Redgrave), hateful and abusive Father (Maximilian Spiel), as well as impressionable younger brother (Edward Furlong). 24 year old débutant director James Gray comes up with - and scripts - a surprisingly mature piece of crime cinema that is both poignant, moving and shocking.

To my mind, the violence should rate the film at 18, not 15; the cold- blooded unfeeling of Roth's callous and unflinching "jobs" don't even give us time for any bad taste to form in our mouths. I can see that some would find this a barrier to their enjoyment in what is mostly a character- driven drama of some depth. The winter-set scenes of back street Brooklyn are chillingly authentic and bleak and these help remind us of the family's Russian roots. The father, a devout Jew, who's also having an affair often speaks Russian still, hanging to his identity the best he can, in an alienating, changing and disintegrating world.

There are also some tender moments between assassin son and brain-tumour suffering mother, and of him lovemaking with his girlfriend, who wants to try to understand him and his motives. His younger brother tries to keep his own feet on the ground, whilst his sibling gradually but surely steals his innocence.

Yes, it is sad - and savage but strangely rewarding, too.

I saw this movie at a quite low age, I consider it one of the films that evoked my passion for this art form. This film is very bare, very raw yet somehow harmonious, as well. The violence is very well depicted, in a very cold & frightful way. This is a film without any greater hope, without any greater optimism of our future. A rapid & haunting way of showing the true face and consequences of brutal violence. Intensively and artistically this film displays a chaotic & desperate family, a destiny very honest and very haunting. Cinematography is stunning, as is the environment, which very well defines the fundamental characteristics of this film, cold, naked, intense & raw. Great debut by the very promising James Gray.