Mob Land

Checked this one out because of the 'heavyweight' cast, but sad to report the script and screenplay don't match the talent on show.

A badly aging John Travolta headlines with typical aplomb as a smalltown redneck sheriff, with Matt's bro Kevin Dillon also putting in a decent turn as the film's pivotal catalyst to disaster. However, it's the oft underrated Stephen Dorff who steals the show as a New Orleans mafia enforcer. Dorff is off the hook and carries his weighty bad guy role with typically sinister yet cool-calculated nastiness. He will keep you watching if nothing much else will.

The story itself however is a letdown. It's slow, lacking in tension, originality and continuity, while you really have to shake your head at Travolta's continual failures to connect the dots.

On the plus side there are some decent shootouts, driving scenes and reasonable character development, but the bottomline is this is a rather predictable, low-budget b-movie that fails to ignite, or be quirky/original enough to push it into 'cult' movie territory like an early Cohen Brothers flick for example.

In summation then a one-watch rainy night film at best. Y'all come back now y'hear...

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.

Someone decided to turn on the 'Hillbilly' tropes and keep them going through the whole film. Every line felt like it was a depiction of what someone from California thought that someone who from the South might say, not the way people actually talk. The accents were horrible and the cliche filled caricatures were distracting.

This move would have gotten a higher score from me, maybe a solid 7/10 if not for the dialogue and the poor character portrayals. The cinematography was spot on and atmospheric, the music was good (Not great), and there was an okay plot, though not as fleshed out as I would have liked to have seen.

This movie was one I didn't regret watching once, but I would be hard pressed to sit down and watch it again.

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.

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.