st-shot
Entrou em nov. de 2006
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Avaliações3,2 mil
Classificação de st-shot
Avaliações1,2 mil
Classificação de st-shot
There's a Faustian bargain afoot in this modern day noir/fantasy from 1949. Alias Nick Beal is an odd pairing of both moods that never establishes its footing convincingly in either.
District attorney Joe Foster (Thomas Mitchell) is an above board pol whose recent case success has elevated his status to being considered for a governor run. Enter "agent" Nick Beal (Ray Milland) who can lock it up with some key evidence to bolster his run. Foster bites and Beal sweetens the deal with a waterfront floozy (Audrey Totter) posing as a society dame to further corrupt him.
Nice to see dependable supporting actor Mitchell in the lead and he meets the challenge. Milland smoothly plays the sly, suave, snake with his usual sure handed grasp while Totter is a little more complex and Geraldine Wall placidly grounded.
Nicely lensed by Lionel Lindon, especially to enhance the nebulous Beal, the plot remains far fetched in the harsh world of noir, the outcome more Capra than Wilder.
District attorney Joe Foster (Thomas Mitchell) is an above board pol whose recent case success has elevated his status to being considered for a governor run. Enter "agent" Nick Beal (Ray Milland) who can lock it up with some key evidence to bolster his run. Foster bites and Beal sweetens the deal with a waterfront floozy (Audrey Totter) posing as a society dame to further corrupt him.
Nice to see dependable supporting actor Mitchell in the lead and he meets the challenge. Milland smoothly plays the sly, suave, snake with his usual sure handed grasp while Totter is a little more complex and Geraldine Wall placidly grounded.
Nicely lensed by Lionel Lindon, especially to enhance the nebulous Beal, the plot remains far fetched in the harsh world of noir, the outcome more Capra than Wilder.
King of bombast, filmmaker Michael Mann, is back in LA featuring a hackie (Jaime Foxx) and a hitman (Tom Cruise) in another loud work by this unrestrained hack of mayhem.
Max (Foxx) is a dreamer with his meter running. Stuck in the same job for a dozen years driving a taxi he envisions owning a limo service but it still remains a pipe dream. A gift for gab he charms a fare (Jada Pinkett Smith), an attorney who gives him her number. He then picks up Vincent (Cruise) who hires him for the night with a nifty tip. Turns out Vincent is a hit man that Max finds out about too late, as he's forced by Vincent to take him to his appointed rounds.
Cruise as a grayed up torpedo is totally unconvincing as if playacting Lee Marvin with a cold Eastwood ambivalence tossed in with some hip philosophizing. Foxx is excellent on the other hand as the cabbie caught up in the living nightmare.
Overlong, Mann self indulges with his usual heavy hand of violence, destruction, urban cool, lotsa noise and a loud obnoxious music score (James Newton Howard receiving the blame this time around) to accent the gravity of Mann's muscular work.
Once again, as in Heat, Mann is allowed by the city of LA to have our hero and villain play cops and robbers all over town with little interference from the rest of law enforcement as Vincent reeks havoc from hotels to subways.
Well edited, there are a share of tense moments but few and far between in this slick, typically loud and incredulous Mann work that tries and fails to blind you by the lights.
Max (Foxx) is a dreamer with his meter running. Stuck in the same job for a dozen years driving a taxi he envisions owning a limo service but it still remains a pipe dream. A gift for gab he charms a fare (Jada Pinkett Smith), an attorney who gives him her number. He then picks up Vincent (Cruise) who hires him for the night with a nifty tip. Turns out Vincent is a hit man that Max finds out about too late, as he's forced by Vincent to take him to his appointed rounds.
Cruise as a grayed up torpedo is totally unconvincing as if playacting Lee Marvin with a cold Eastwood ambivalence tossed in with some hip philosophizing. Foxx is excellent on the other hand as the cabbie caught up in the living nightmare.
Overlong, Mann self indulges with his usual heavy hand of violence, destruction, urban cool, lotsa noise and a loud obnoxious music score (James Newton Howard receiving the blame this time around) to accent the gravity of Mann's muscular work.
Once again, as in Heat, Mann is allowed by the city of LA to have our hero and villain play cops and robbers all over town with little interference from the rest of law enforcement as Vincent reeks havoc from hotels to subways.
Well edited, there are a share of tense moments but few and far between in this slick, typically loud and incredulous Mann work that tries and fails to blind you by the lights.
Sisters Hannah, Holly and Lee are the children of an ex-showbiz couple (Lloyd Nolan, Maureen O'Sullivan) living in NYC. While Holly (Diane Wiest) and Lee (Barbara Hershey) are still attempting to find themselves, Hannah (Mia Farrow) is a woman in full as a successful actress who puts her career on hold to bring up children. She's also the glue that holds the family together. Everybody loves Hannah, especially Elliot (Michael Caine) her husband, but he has a romantic interest in Lee and both consent to an affair. Meanwhile Hannah's ex-husband Mickey (Woody Allen), a hypochondriac, stresses over some perhaps, dire medical news.
Hannah starts fast with Allen establishing characters and situations expediently, setting up a solid base as he intermixes plot lines briskly moving from one situation to the other with his large cast of characters. His script reads like a novel and flows most of the way but slows down near the finish that has the usually self effacing Allen going overlong with a cringing display of his seductive powers.
Carlo Di Palma's photography has a nice, nostalgic patina, the set design lush and defining, the city totally captured backing up a cast that delivers in its entirety. One of Woody's most sophisticated and polished works.
Hannah starts fast with Allen establishing characters and situations expediently, setting up a solid base as he intermixes plot lines briskly moving from one situation to the other with his large cast of characters. His script reads like a novel and flows most of the way but slows down near the finish that has the usually self effacing Allen going overlong with a cringing display of his seductive powers.
Carlo Di Palma's photography has a nice, nostalgic patina, the set design lush and defining, the city totally captured backing up a cast that delivers in its entirety. One of Woody's most sophisticated and polished works.