O Homem da Máfia

This movie was done in a style that was quite unique from your standard issue shoot 'em up or Scorsese gangster movie in a number of ways I found refreshing. It slowed down the pace of dialogue scenes to a relatable and believable level, made the violence far more realistic, and didn't overdo the music. Those who can't handle too much, or too realistic of violence won't like this movie.

Some might feel the dialogue makes the movie drag just a bit, but if you like realistic filmmaking, they've made it feel as if you're sitting in on actual conversations. The scenes and cuts are long but are livened up with the fairly constant scummy-ness of the characters. James Gandolfini seemed to prattle on a little too much but I suppose that was the point.

The violence can be summed up as unsentimental; much of it can be defined by the difficult achievement of not falling into played out Hollywood clichés. There are no heros in this movie as the director doesn't use cheap tricks, like voiceovers, disproportionate screen time, or happy music to convince you that one criminal is worth rooting for over the others. There is no glorification or demonization of violence, as it is depicted without the influence of music, and the audience can decide for themselves about what is being shown. There are no Schwartzenegger-style shoot outs, as the violence is usually sudden but brutal and loud. Every gunshot is closer to being as loud as real life, so you get a little jolt with every shot like being at a gun range.

The use of music is also played down and important in making both the violence and dialogue distinct. There is some music which gives the movie some energy, but overall far less than the average Hollywood film. This adds an element of suspense as the music doesn't give away what is about to happen in every scene (like a movie with ominous music when something bad is about to happen, etc.). The lack of music also allows the audience a semblance of neutrality in what they are observing; characters are allowed to be likable without being good.

This is the sort of movie you could expect if the hero was removed and you only had the villains and thugs left over--it is far less boring.

I really enjoyed this little gem. Dark humour at its best. Set in a gritty declining USA. Mobsters and hitmen doing business to make ends meet. The entire cast is terrific. Low key, understated and perfect.

A really enjoyable little gem!

Watching Killing Them Softly put me in mind of the great crime caper film of the Seventies, Charley Varrick. That's the one where Walter Matthau and some accomplices pull off a bank heist in a small out of the way bank in an obscure New Mexico town. Only the bank is a place where syndicate money is held and laundered. Joe Don Baker is the hit-man sent after them and he loves his work. Fortunately at least for Walter Matthau he's smart enough to outwit Baker. Killing Them Softly has no Matthau among the targets as the tale is told from hit-man's point of view.

The hit-man or at least one of them is Brad Pitt and he gets no pleasure in his work, it's a business like any other. He wants to be well compensated for his services. In fact he wants to Kill Them Softly which to him means taking them out with a rifle with scope because he doesn't want to hear their pleadings. Or by surprise in one case where everyone knows its coming, but the victim.

Two real criminal losers Ben Mendelsohn and Scoot McNairy are hired by Vincent Curatola to rob an illegal gambling establishment run by Ray Liotta. With Liotta you can see a bit of his Henry Hill from Goodfellas, with Hill running just this kind of place as he headed into middle age in the mob.

The reason for this target is that several years earlier Liotta ripped his own card game off, but eventually was forgiven when the gambling started booming again. Curatola is sure the mob will look right at Liotta again. Not that they don't look at Liotta again, but they're smarter than that. They always are.

Once the caper goes down in comes Pitt, but also with a few competitors, James Gandolfini being one. That's where Pitt starts negotiating his deal.

Brad Pitt gives a good performance here, but for me the real stars are McNairy and Mendelsohn. You will rarely losers with a capital "L" portrayed on the screen as they are with these two. In a way they ought to be put out of their misery for their own good. Still you feel sorry for them somewhat.

Interesting mob movie with some deep black comic overtones.

Killing Them Softly (2012)

** 1/2 (out of 4)

Three idiot, wannabe thieves rob a mob run cards game and make off with a ton of cash. Then Jackie (Brad Pitt), a hit-man, is called in to figure out who was behind the robbery and to take care of them. KILLING THEM SOFTLY is being called by many a masterpiece and by many others as one of the worst films of the year. I think most people are really going to hate this film because it's just so different from other stuff out there but I'm going to fall somewhere in the middle of the two groups. While I enjoyed the style and the performances, at the same time the film just takes way too long to really get to where it's going and there are some other questionable things that I'll comment on in a bit. What I did like about the picture is that it's pretty brutal and ugly in regards to its violence and characters. The film really doesn't show any of the characters in a good light as the "good" guys are bad and the bad guys are really bad. There's never an attempt to make you connect with these people or enjoy what they're doing. The film also benefits from some wonderful characters actors. Pitt, James Gandolfini, Richard Jenkins, Scoot McNairy, Ben Mendlesohn and Ray Liotta all fit their roles nicely and deliver very good performances. This is especially true of Gandolfini and Liotta. The problem with the picture is that it just has way too many moments where things seem to really get dragged out. Another major problem is that the film tries to be too much like Tarantino. The scenes early one with the two thieves talking dirty about a wide variety of objects is just going to remind people of PULP FICTION. The dialogue here offers up some funny stories but it's not good enough to really grab one and bring them into the picture. KILLING THEM SOFTLY certainly has a unique look and feel to it but in the end it adds up to very little. The Bush-Obama bits of dialogue thrown in throughout the movie also add up to a big nothing, although I'm guessing the point was that even low-life criminals have bit hurt by the economy.

There is more wordplay than gun-play here and it is a Neo-Noir, hard-boiled, unfettered attempt at gritty realism. Some of the extended dialog scenes are pretty good but not quite excellent. There is some rambling and pointless exchanges with little pay-off.

But there are some serious, reality sound bites that give us the same thing. There is that continuous backdrop of Political rambling rhetoric that mirrors the Character's innate ability to speak much and say little.

This is an against the grain try at alternative, smart Cinema with just enough stylized graphic violence to make it obvious that this has Artistic commentary and not Documentary style Cinema Verite on its mind. Overall it is a well done and interesting kind of side-step from the usual whiz-bang editing and shaky Camera stuff that has become so common.

This is slow, bordering at times on tedious, but never a bore. It is well crafted but does not quite reach that level of great Prose transferred to great Film. But it is a good try at a very difficult, rarely achieved process that creates the best of this kind of thing.