Mob Land

First off, I'm not a John Travolta fan, but watched this just for him - and it was worth it. Other reviewers who say he's old and out of shape, well, aren't we all at some point?

This is a good ensemble film. Nothing great, but an interesting watch and get a lot of down home southern homilies - they are a type of religion in the south.

The problem was, that everyone was a philosopher.

There were some surprising performances, quiet, smooth. My favorite was Timothy V. Murphy - who played Sheriff Ben. Not a big part, but he was a great foil for Travolta.

It's not the best film around, but it has good music and it's worth the watch when there's nothing else that tickles your fancy.

I really wasn't expecting to enjoy this indie B-film as much as I did, but thanks to the great casting and excellent performances, this turned out to be an enjoyable little gem. No, it's not perfect, and as much as this type of story has been done many times before, new filmmaker Nicholas Maggio got more things right that overshadowed most of his rookie filmmaking mistakes, and that managed to make this film, his own. In his first ever writing and directorial debut, Maggio created an engaging atmosphere with constant intrigue and suspense, enough to keep me watching and occasionally forgetting to breathe. This film was gritty and thrilling with some sharp dialogue, enough to pay homage to the independent top crime films of the past.

Aside from just a few plot issues, the pacing could've been a little faster and the 111 min runtime could've used at least 10 mins of trimming. The shaky cam at the start was too obvious and annoying, but got better (or I got used to it) as the film progressed. Nevertheless, for a first time filmmaker, Maggio directed his entire cast perfectly, had a decent score and soundtrack (not the usual loud, overbearing and unfitting score that's typical in every B-film), good cinematography, and kept a constant and effective tone and atmosphere throughout the entire film - a feat that even some seasoned filmmakers sometimes can't get right.

This film is certainly no 10/10, but underserving of anything under a 5/10. As an independent B-film, it's a solid watchable and recommended 7/10 from me, plus the extra bonus star that this was put together by a first-time filmmaker - I mean they have to start somewhere, right, and if this is Maggio's first ever film, I'm excited to see what he comes up with next. Mad props to him and all the crew and cast that helped pull and keep this together - you can tell the top actors weren't there just for the paycheck. To see how I rate and review films, click on my username, and you'll also see more of my 1,700+ reviews and 3,000+ ratings.

I have to give Mob Land a lot of credit. For a Saban film it actually had an advertising campaign, a trailer with a slowed down cover of House of the Rising Sun, a theatrical poster, and even a theatrical release! That's awesome! They're really stepping up their game. When I saw the trailer for Mob Land I figured I'd have to get this from RedBox but I'll be darned, it actually came soon to a theater near me.

And ya know what? It really wasn't a bad movie! Which unfortunately kind of plays to the audiences detriment. It's not bad enough to be fun and not good enough to be fun. It's a middle of the road picture that grasps at some really interesting ideas but doesn't have the finesse to make them work effectively.

For example our lead character is an out of work mechanic with Parkinson's who is at his wits end on how to provide for his family (interesting!), his solution is to rob a local drug dealer with his scumbag uncle (not very interesting). When the big boss hears about the robbery he sends his top head smasher to go recover the stolen loot and deliver the punks responsible. It's been done a lot.

The acting is good, actually. Stephen Dorff and John Travolta give a solid effort and have the charisma and depth to add nuance to their characters. Kevin Dillon plays that moocher, kinda scummy uncle we all have. There are decent performances here. It's the script that squanders their potential to push the movie out of mediocrity.

Mob Land is a movie very much in the same vein as No Country For Old Men, The Place Beyond The Pines, and Hell or High Water. Yes, those films had staggering budgets and a plethora of Grade A talent but most importantly they had wonderful scripts. The difference between Mob Land and those other pictures is that when characters have philosophical conversations about their motives, or meandering questions about their situations, it's interesting. They're building to something. Through misdirection and unconvention these films grip the audience and never let go.

I feel like Mob Land tries hard to be a character study disguised as a crime drama but it doesn't know how to examine itself. It's a vacuum sucking up all this inspiration from wonderful films but it just sits there with the pieces.

Also, Mob Land suffers from some pacing issues, that meandering, philosophical dialogue I mentioned earlier? There is a lot of it here. And we're sitting in cars listening to it, sitting in diners listening to it, sitting in garages listening to it. But philosophy turns to redundancy; it simply never goes anywhere.

Unlike the camera in this movie which goes everywhere! I've coined a new term for how this movie was shot: "Chimp-Cam". 95% of this movie was shot handheld with a stomach-churning shaky cam that is crotch level looking up at the actors. I literally, in my mind, pictured a chimpanzee shooting this movie. And it made it better. 20% of that 95% were tracking shots that were tracking shots just to be tracking shots. Do we need a nauseatingly shaky tracking shot to watch a guy walk from his car to his front door? What's the point?

I don't want to rag on this movie, truly. It's a massive step in the right direction for Saban Films. I feel like they've made an actual film in Mob Land.

If this script could've had one or two more passes that took those longer dialogue exchanges and cut them down to be leaner and more tense...shoot this would be so much better. If they could've given a little more dimension or originality to our lead character's development, hot dang this would be a different review. If they would've hired an actual director of photography and not a half trained chimpanzee...

More of a character study than a tense, pedestrian thriller that owes a heavy debt to No Country For Old Men in its atmosphere, scope and microscopic detail of small town life.

The change of Stephen Dorff's character to help our protagonist seemed rather too abrupt and underwritten that didn't make much sense and if you've seen the aforementioned 2007 film you certainly wouldn't want to see this.

Nonetheless, it's well acted by the muscular cast , has decent cinematography makes most of its low budget origins and has a sympathetic character in John Travolta.

It won't win prizes for originality for passes for a passable time killer.

Greetings again from the darkness. As one who readily admits to watching too many movies each year, I always welcome the unanticipated joy in being pleasantly surprised by one that exceeds expectations. Doing just that is the first feature film from writer-director Nicholas Maggio and co-writer Rob Healy - a neo-noir thriller that takes place in a small rural community down south.

Now you might initially cringe (I did) at the thought of John Travolta carrying a big gun and wearing a cowboy hat as slow-talking Sheriff Bodie Davis in this small town, but I'm happy to report he never overplays his hand and delivers a truly respectable performance. However, despite the poster, his marquee name, and the gravitas he carries, Travolta is not the main focus here. Instead, Shiloh Fernandez plays Shelby Conners, a greasy-haired, drag racing, local truck driver and mechanic who shares a daughter with his town beauty wife, Caroline (Ashley Benson). The family is struggling to make ends meet in this town where drug overdoses barely raise an eyebrow.

Caroline's brother and Shelby's friend, Trey (Kevin Dillon), drags Shelby into a get-rich-quick scheme derived from desperate times. A local clinic is the front for a drug-dealer, which means piles of cash on hand, with not enough security. Shelby reluctantly agrees and, of course, things go sideways. Only it gets much worse when Clayton Minor (Stephen Dorff) shows up and informs the boys that they ripped off the New Orleans mafia, and as the fixer/enforcer, he's there to set things right.

Many times we have seen local boys looking for an easy score. Rarely are the scores easy, and never are they without consequences. Trey doesn't last long, but a strange connection occurs between Shelby and Clayton. Now he's been doing this for a while and he's very good at his job, but Clayton is struck by Shelby's sincerity. Empathy may be a stretch, but he's at least paying attention to the humanity of the situation, despite threatening Shelby's wife and daughter. It does present an unfamiliar dilemma for Clayton, serving as the crux of the story.

As you know, in small movie towns, everyone knows everyone else, so smooth-talking Clayton in his shiny black Caddy stands out like the proverbial sore thumb. Sheriff Brodie is suspicious and cautious and worried about his nephew Shelby, but there's not much he can do to keep up with the gangster. Travolta and Dorff have a couple of nice scenes together, and the film's opening sequences establish the contrast between their characters.

But it's Shelby and Clayton who spend the bulk of the film together. Dorff has most of the best lines, and Fernandez holds his own. Mr. Dorff has always been a personal favorite, and I've often wished he was cast in better movies. Mr. Fernandez was once considered a rising star, and seems to have settled into his acting career just fine (sans spotlight).

Devlin McCluskey sings a terrific and unusual version of "House of the Rising Sun" during the film, and Jason Dodson (the Maldives) plays a wonderful song over the credits, and both songs fit with the look and feel and tone and style of the film ... something that doesn't always happen. There is nothing about the film that gives the impression of 'first time director', so we will sit anxiously awaiting the next one from Nicholas Maggio. In the meantime, hopefully someone will give Stephen Dorff another perfect role.

Opens August 4, 2023.