Sympathy for the Devil

This movie answers the question that nobody asked: "What if we did Collateral in the desert, with Nicolas Cage and a boring script?".

I know the comparison may not be fair, I mean, the only common threads are a guy with a gun enters a stranger's car, threatens him with a gun and asks him to drive, leaving a chaotic path behind him.

The makers of this movie try to hold the audience captive, by making us think why the bad guy is doing what he's doing, but honestly, the lines are so bad and the twist is so weak, that not even Nic and Joel can save the story.

By the end of the movie, you are left with two unlikable characters and an unsatisfactory conclusion.

Honestly, this feels like a short story, stretched out to a full length feature.

Having said that, if you just want to see Nic Cage's "Caginess" being let out once in a while, you do get to see it, I just don't know if it's worth wasting 1h30 of your life for that.

For some, the promise of Nicolas Cage playing a psychopathic, red-haired Bostonian is simply irresistible. The actor has delivered many entertaining performances as mad characters in the past, from his turn as the chaotic yuppie Peter Loew in 'Vampire's Kiss,' to the criminally insane Castor Troy in 'Face/Off'. Cage has made his bread and butter- and garnered legions of fans- delving into the mind of crazed characters, as he does yet again in Yuval Adler's 'Sympathy for the Devil.'

The film follows David Chamberlain, a married man living in Las Vegas whose wife is in the hospital, having just gone into labour. As he arrives, a scarlet-haired menace with a gun climbs into the back of his car, demanding that he is driven to Boulder City. With a gun to his head, Chamberlain is taken on a journey into fear through the Nevada nightscape; a journey that can only end in violence.

Adler's 'Sympathy for the Devil' is a fairly predictable, though entertaining, thriller that will please Cage fans considerably. Essentially a two-hander, the narrative is slim on originality or surprise, though still keeps one engaged. It is a tense affair, the passenger's unpredictability making for some effectively thrilling moments. Screenwriter Luke Paradise seems to have tailored the dialogue for Cage, giving him some marvellously madcap monologues, which he spouts with his typical nouveau shamanic, Western Kabuki brilliance (nouveau shamanic and Western Kabuki, for those who may not know, being Cage's self-titled acting styles).

However, Joel Kinnaman- as Chamberlain- gets considerably less to do. His character is the grounded parallel to Cage's deranged villain, a stoic man lacking personality or charisma. A wet blanket, he is hard to root for in the face of Cage's magnetic mania. Though Kinnaman performs admirably, and shares a good chemistry with Cage; he does not deliver a memorable performance. Moreover, the cliches that abound throughout the film become quite tiring, leading to an ending as forgettable as it is underwhelming.

Conversely, Steven Holleran's cinematography is a neon-soaked feast for the eyes. Atmospheric and striking, his work compounds the narrative tension. He captures the seedy unease of the Las Vegas night astutely, lending proceedings a Lynchian mood of sleazy agitation. This is complemented by the production design from Burns Burns, as well as Ermelinda Manos's costume design and Anthony Fitzgerald's art direction and set decoration.

Furthermore, Ishai Adar's score contributes to the sordid, mysterious tone, as does the eclectic and evocative soundtrack, making great use of songs from the like of Scott Walker, Alicia Bridges and Jimmy Radcliffe. It is also a well-edited picture, with a good pace from the beginning. At just over an hour and a half, it is relatively short, although Adler and editor Alan Canant's work ensures it doesn't feel in any way rushed.

As alluded to above, despite its faults- predictability chiefly among them- it's a film Cage fans will love. As the erratic gun-toting passenger, he is terrific, clearly having a ball with the material. It's a classic Cage performance- full of unexpected vocalisations, shouting, creepy facial expressions and a little bit of song and dance. He is electrifying to watch and works well with Kinnaman, who- as previously mentioned- is perfectly adequate, though his role doesn't demand much of him.

In short, Yuval Adler's 'Sympathy for the Devil' is one that Nicolas Cage fans will enjoy, though may leave those who do not appreciate his work, unmoved. While Steven Holleran's cinematography is striking, and the soundtrack- as well as Ishai Adar's score- complements the atmosphere, the narrative is unfortunately cliched. Joel Kinnaman's character is also dull and the ending disappoints. In conclusion, while Nicolas Cage is great, the film around him doesn't live up to his talents.

It comes from the less known Israeli filmmaker Yuval Adler, who has a few class B movies in his pocket, a mystery thriller.

Fright night (a great freaking night, as Nicholas Cage likes to say) under the lights of Las Vegas

Starring Joel Kinnaman and Nicholas Cage, who is also producing, we are grabbed from the opening shot music and scenes of a moody typical night in Las Vegas,but you know,what happens in Vegas? As the story follows David,a caring family man (Joel Kinnaman), as he is preparing for the big night of his second child birth,but then gets mysteriously caught in a rough game with an unhinged stranger (Nicholas Cage) with red dyed hair to match the suit that goes with it.

As the unknown passenger switches between the seats from the back one to shotgun, you get the feeling that it's about to come down tonight while the cards start facing up, slowly building up the tension and stress throughout its 90-minute running time.

With the least unnecessary scenes and a good soundtrack, you're treated to a solid performance from Joel while he anxiously struggles to unravel the past as the clock is ticking, and Nicholas Cage's outstanding acting and terrific facial expressions as he throws cheesy but catchy classic lines and shows off with his smooth-ish dance moves and singing, and an awesome Cage Rage moment with his roof-bursting temper. Both of them carry the film to an acceptable direct ending at the moment that the screen is burning with exploding molotovs.

Similar to Michael Mann's Collateral from 2004 in many ways, with a lower budget and vibes like in Ryan Gosling's Drive from 2011.

Sympathy for the Devil delivers a good watch to enjoy while making you wonder: what does the sound of screaming rabbits seem like?

The movie title and Nick cage's outfit seems to make you think he's satan terrorizing a random man from his visit to the hospital as his wife is giving birth and as the movie starts out you get that impression, however even though cage is dressed like a pseudo satan character and is quite the evil person and vicious to boot, it's not what it seems. There is a major twist going on that doesn't appear till the very end. Other than the graphic violence and blatant murder, it's an interesting story and plot. Very imaginative idea in its execution, no nudity, sex or questionable parts, not for the kiddos and only mature adults should see this. Quite a wild ride.

Let's get one thing straight: "Sympathy for the Devil" isn't a good movie. In no universe would I ever recommend this to anyone unless they were huge Nicolas Cage fans (such as myself). Why? Because, besides Cage's performance, there is really nothing here that is worthy of any real entertainment value. The violence is oddly shot and unfortunately neutered; the story is a predictable rehash of plotlines done - and done better - in a countless number of other films; and the movie (though it does look good, what with its neon-drenched cinematography) is clearly low budget, with 85% of it taking place inside of a vehicle. All of that said, Nicolas Cage's performance is so out-there, so extreme, and so colorful, that it makes "Sympathy for the Devil" a must watch for Cage fans.

Wow, wow, and wow. Where to start with "Sympathy for the Devil?" A certified Cage classic, if you're watching this movie, you're only watching it for one Nic Cage..... and one that front, it delivers. Cage is so, so entertaining here - he butchers a Brooklyn accent, he screams throughout 90% of his performance, and - for some reason - his hair is dyed red. What more could you ask for? Cage goes wild here, playing a character that will resort to violence at the drop of a hat - he's unpredictable, he's semi-menacing, and he's a whole lot of fun to watch on screen. If you want to watch this for Cage, you owe it to yourself to give it a go.

If you want to watch this for any other reason besides Nic Cage? You probably won't have that good of a time. Because, truth be told, there isn't really a lot of substance here. The majority of the movie consists of two people talking while pretending to drive a vehicle, and it's about as interesting as you'd expect, elevated only by Cage's wacky performance. I do have an affinity for Joel Kinnaman, and he is good here, but he really doesn't have that much to do. Like I said, the majority of the movie consists of Cage and Kinnaman speaking to each other, and while Cage's character adds entertainment value, there really isn't much depth to the performances or the conversations - in fact, the lack of depth was so noticeable that I found myself immediately forgetting the contents of the conversations as soon as they were over.

"Forgettable" is also an apt word to describe this movie; not much happens, and when it does, it doesn't leave any real type of impact on viewers. Simply put, this is a watchable, fast food-esque movie that you can put on, enjoy, and immediately never think about again as soon as the credits roll. And this isn't to say that I think this movie is horrible, because I don't - I just think that it's a movie strictly made for fans of Nicolas Cage. Not a Cage fan? Then you probably won't find much to enjoy here.