Also known as: Austin Powers 3, Austinpussy, Austin Powers: Never Say Member Again, The Next Installment of Austin Powers, The Third Installment of Austin Powers (working titles) Release Date: July 26th, 2002 Directed by: Jay Roach Written by: Mike Myers, Michael McCullers Music by: George S. Clinton Cast: Mike Myers, Beyonce Knowles, Michael Caine, Michael York, Robert Wagner, Seth Green, Mindy Sterling, Verne Troyer, Clint Howard, Rob Lowe, Fred Savage, Masi Oka, Michael McDonald, Donna D’Errico, Greg Grunberg, Kinga Philipps, Tommy “Tiny” Lister, Kristen Johnston, Tom Cruise, Danny DeVito, Gwyneth Paltrow, Kevin Spacey, Steven Spielberg, Quincy Jones, John Travolta, Britney Spears, Ozzy Osbourne, Sharon Osbourne, Kelly Osbourne, Jack Osbourne, Willie Nelson, Burt Bacharach, Nathan Lane, Katie Couric
Team Todd, Gratitude, New Line Cinema, 94 Minutes
Review:
“There are only two things I can’t stand in this world: People who are intolerant of other people’s cultures, and the Dutch.” – Nigel Powers
The third and unfortunately final film of the Austin Powers series may be the worst of the three but it’s still damn enjoyable and pretty good. Besides, all the films are fairly close in overall quality; this one just happened to be the odd one out.
That being said, this one is the most ambitious of the three pictures.
I like this movie, even if the story feels really overstuffed. There are some cool, big twists to the series’ mythos and I actually kind of loved what they did with it by the end of the film. It also ended in a way that opened up a fresh take on the franchise that would’ve been really neat to explore in another movie.
While a fourth film has been rumored since this one came out, I don’t see how you could even do it now in our overly sensitive, always offended modern world. Comedy is truly dead in the 2020s and anything they could make, would be an unfunny, mittens wearing, faded Xerox copy of the original three flicks. No thanks.
Anyway, I think what I liked most about this was the inclusion of Michael Caine as Austin’s father. He was so enjoyable in this that I wish they would’ve debuted his character earlier so that we could’ve got him in more than just one picture.
Mike Myers also ups the ante, as he now plays not just Austin, Dr. Evil and Fat Bastard but also a new villain, Goldmember.
Heather Graham is gone, unfortunately, but Beyonce was decent as the new female partner for Austin. They didn’t really seem to give the two a romantic plot, though, which kind of felt weird, as Austin, in spite of his ugliness, is a chick magnet of incalculable levels.
As I said, this is the worst movie of the three but it’s still a good send off for these characters and their story, assuming we never get a fourth film.
Rating: 7/10 Pairs well with: the other Austin Powers films and other ’60s styled spy spoofs like the Dean Martin Matt Helm movies and the original Casino Royale.
Release Date: December 14th, 1988 Directed by: Frank Oz Written by: Dale Launer, Stanley Shapiro, Paul Henning Based on:Bedtime Story by Stanley Shapiro, Paul Henning Music by: Miles Goodman Cast: Steve Martin, Michael Caine, Glenne Headly, Anton Rodgers, Barbara Harris, Ian McDiarmid, Dana Ivey, Meagen Fay, Frances Conroy, Louis Zorich
Orion Pictures, 110 Minutes, 104 Minutes (TV cut)
Review:
“His name is – James. No. His name is – James Josephson. Oh, no, no! James Lawrence. Lawrence! Lawrence! Lawrence. Lawrence Fells. Lawrence Fings. Forest Lawrenceton. La – Lars. Lars! Lawrence. Lawrence Lacko. Lawrence. His name is James Jessenden. Lawrence Fells. Lawrence Jesterton. Lawrence Jesterton.” – Freddy Benson, “Lawrence Jamieson?” – Inspector Andre, “Yes! Yes! Yes! We’re like this!” – Freddy Benson
I remember my mother taking me to see this when I was ten. While it was a bit more adult than what I would’ve been normally interested in, I liked it quite a bit and it only helped solidify Steve Martin as one of my all-time favorite comedic actors. It also introduced me to the greatness of Michael Caine and birthed a fondness and appreciation for the mostly underutilized Glenne Headly.
It’s been years since I’ve revisited this but it’s been in my queue for so long that I felt like a bastard having ignored it.
Dirty Rotten Scoundrels holds up incredibly well and even if you know the big plot twist, it’s still worth rewatching, as you can kind of pick up on some clues, here and there.
Martin and Caine have impeccable chemistry and once Headly shows up, things magnify quite a bit. They’re all so good, in fact, that I can’t believe that they never followed this up with a sequel. Maybe it didn’t perform well at the box office, as it came out during the holidays, but it definitely is a movie that developed a pretty solid following from its fans.
It’s also a beautiful looking picture and that’s not just because it is shot in opulent places. The cinematography is wonderful and being that this is only Frank Oz’s second film as a director without Jim Henson at his side, is a really impressive accomplishment. The guy has a great eye and understanding of visual composition.
This is also Oz’s first film where he didn’t work with puppets and animatronics and just filmed living, breathing, human actors.
It doesn’t hurt that the story and the script were very good. Also, having a solid cast that clicks really helped take this to another level. It probably made Oz’s job a lot easier but at the same time, this was his film and he put in the work and got the best out of his talent in front of and behind the camera. With Dirty Rotten Scoundrels he has a lot to be proud of.
Ultimately, this is a movie that I’d say deserves more recognition that it has. While everyone that I know who’s seen it, loves it, it seems to be somewhat forgotten due to Steve Martin movies that performed better and because it came out a long time ago.
Also, comedy just isn’t like this anymore. In fact, for the most part, comedy sucks now. This is a smart, quirky film that is lightyears ahead of the norm in the 2020s but may also be too smart and quirky for modern audiences to enjoy.
Rating: 8.25/10 Pairs well with: other Steve Martin comedies of the ’80s.
From Filmento’s YouTube description: Christopher Nolan’s The Dark Knight still remains one of the strongest superhero movies to date and overall features a lot of great stuff, from the Joker to the physicality of the practical action. But one aspect to learn from it especially is how to begin a movie — more specifically, how it handles the “day in the life” section its beginning consists of. And since we’ve had some Filmento haters argue in my Kristen Stewart Underwater 2020 movie video that The Dark Knight doesn’t have a day in the life section, let’s dig deeper into the film’s opening to see why that argument is dangerously false — what that term means and how to do it effectively. Here’s how to begin a movie.
Also known as: Arkham, Gotham, Batman 3 (working titles), Magnus Rex (fake working title), TDKR (informal short title) Release Date: July 16th, 2012 (New York City premiere) Directed by: Christopher Nolan Written by: Jonathan Nolan, Christopher Nolan, David S. Goyer Based on: characters by DC Comics Music by: Hans Zimmer Cast: Christian Bale, Michael Caine, Gary Oldman, Morgan Freeman, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-Levitt, Matthew Modine, Ben Mendelsohn, Burn Gorman, Juno Temple, Cillian Murphy, Liam Neeson, Nestor Carbonell, Desmond Harrington, Thomas Lennon, William Devane
DC Entertainment, Legendary Entertainment, Warner Bros., 164 Minutes
Review:
“There’s a storm coming, Mr. Wayne. You and your friends better batten down the hatches, because when it hits, you’re all gonna wonder how you ever thought you could live so large and leave so little for the rest of us.” – Selina Kyle
Where I’ve seen the first two films in this trilogy at least a dozen times each, I’ve only seen this one once: in the theater. If I’m being honest, I didn’t have much urge to see it again after my initial experience. But I’ll explain why as I roll on and review it.
I was pretty excited for this film but I also knew that it would be damn hard to top The Dark Knight or to try and replicate its greatness. Well, I wasn’t wrong. And while this isn’t a bad movie, it’s certainly the weakest of the trilogy and just falls flat when compared to the other two pictures.
To start, I was a bit perplexed when I first heard that Bane was going to be the big bad of the movie. I don’t necessarily have a problem with Bane but after following The Joker and Two-Face, I felt like the third film should’ve featured more of the old school villains, as opposed to bringing in a more modern one that is kind of boring by comparison. I mean, a Christopher Nolan movie featuring The Riddler, The Penguin or hell, even The Mad Hatter, could’ve been really intriguing.
What we got instead was pretty much a rehash of the threat and the plot of the first movie: Batman Begins. In fact, in this film, Bane is even tied to the same villainous organization of that film. We also get a curveball where we find out he really isn’t the big bad but that just kind of makes the overall story even more redundant.
I guess I understand why Nolan chose Bane, as he wanted to try and keep his Batman films grounded in reality as much as one can with a comic book property but seeing a secret Illuminati-type group descend upon Gotham City with the hopes of using a superweapon to destroy it is derivative of the director’s own work.
Now we do get Catwoman in the film but she is written to be the most sterile and boring version of the character I’ve ever seen. Sure, Anne Hathaway is stunning but for whatever reason, Catwoman just doesn’t feel sexy or believable as someone that can ensnare Bruce Wayne/Batman. She just isn’t interesting and it’s hard to imagine her as someone that could pull Bruce’s heart out of the pain it still feels, eight years after the death of Rachel.
Hell, Bruce’s little romantic moments with Miranda/Talia seem more genuine and their relationship isn’t supposed to be the one the audience is pulling for even before the big plot twist reveals itself.
The film’s overall story is trying to be as good of a thriller as the previous two. It just isn’t and that’s the real issue with it. While I do want to see the heroes beat the baddies and win out in the end, the film just comes off as repetitive and dull. It feels like a weak copy of the first two pictures with a much slower pace and a broken back side quest that slows the movie to a halt. I just can’t get as into it as I did the other movies.
Now I get that “breaking the Bat” and dropping him into a hole was about building him back up to make him stronger and that we needed to get him out of Gotham so that Bane could grow his power but it’s a half-assed recreation of the Knightfall plot. This story also only seems to borrow from it because it was Bane’s most iconic moment and biggest temporary victory in the comics. And with Batman overcoming his incredible injury and then climbing out of a hole deemed “impossible” to escape, it all kind of wrecks Nolan’s strive for realism. You can’t simply punch a popped disc back into someone’s spine.
I also hated the film’s ending but I think I’m done harping on the negatives, as I probably sound like I dislike this quite a bit, when I actually don’t.
The film is well-acted and that’s what really makes this work where it does.
I really dug Tom Hardy as Bane, even if his voice has become a social meme. I also just loved seeing the regular cast get back together for one more adventure. Bale, Caine, Freeman and Oldman are all so great in these roles and I loved the final act of the film where we get to see Oldman’s Commissioner Gordon get very involved. My only complaint about Caine’s Alfred is I didn’t like how Bruce pushed him away and left him without much to do in the second half of the film.
Additionally, I really enjoyed Marion Cotillard as the character who would reveal herself as Talia al Ghul. I only wish that we would have gotten to see her be more of a badass but her big reveal comes at the end of the movie and she’s not around much longer after that. Not having a Talia versus Selina fight was a missed opportunity.
The film also boasts great cinematography but why would anyone expect any less from Nolan at this point? I liked the brighter look of the town, especially in the third act, and how a lot of the film happens in daylight.
The final act, which sees Batman and the GCPD bring the fight to the League of Shadows in the streets was superb and chilling. Watching Batman and the cops take it to the villainous terrorists head-on was incredible and the best moment in the film. Watching Batman and Bane fight in a sea of people was also damn spectacular.
All in all, this is still one of the greatest superhero movies ever made. It just happens to be the worst of its trilogy and if I’m being honest, it felt like Christopher Nolan and the writers were just tired and wanted to move on to the next phase of their lives.
However, even if someone else would have to step in and do it, I’d rather see this film series continue, as opposed to seeing Warner Bros. keep trying to reboot Batman. Just let Nolan produce and pick the best creative team to help build off of his vision. I mean, a Joseph Gordon-Levitt Nightwing movie in this cinematic universe would certainly get my money.
Rating: 8.25/10 Pairs well with: the other two films in The Dark Knight Trilogy.
Also known as: Batman Begins 2 (working title), Rory’s First Kiss, Winter Green (fake working titles) Release Date: July 14th, 2008 (Buenos Aires & New York City premieres) Directed by: Christopher Nolan Written by: Jonathan Nolan, Christopher Nolan, David S. Goyer Based on: characters by DC Comics Music by: Hans Zimmer, James Newton Howard Cast: Christian Bale, Michael Caine, Gary Oldman, Morgan Freeman, Heath Ledger, Aaron Eckhart, Maggie Gyllenhaal, Cillian Murphy, Nestor Carbonell, Eric Roberts, Anthony Michael Hall, Ritchie Coster, Michael Jai White, Colin McFarlane, Tom “Tiny” Lister, William Fichtner, David Dastmalchian
DC Comics, Syncopy, Legendary Entertainment, Warner Bros., 152 Minutes
Review:
“Don’t talk like one of them. You’re not! Even if you’d like to be. To them, you’re just a freak, like me! They need you right now, but when they don’t, they’ll cast you out, like a leper! You see, their morals, their code, it’s a bad joke. Dropped at the first sign of trouble. They’re only as good as the world allows them to be. I’ll show you. When the chips are down, these… these civilized people, they’ll eat each other. See, I’m not a monster. I’m just ahead of the curve.” – The Joker
I was a bit apprehensive about revisiting this for the first time in a long time. The reason being, is that I remembered it as being perfect and it was the movie I saw in the theater more times than any other. But with so much time passing, I had worried that my take on it now could have soured a bit.
I’m glad to say that it didn’t, as this is still a masterpiece of crime fiction and social commentary.
As far as superhero films go, I still think that this is the greatest one ever made. I think a lot of that has to do with the realistic approach of the film and just how real and plausible it comes across even though it features a man in a bat costume and a criminal in clown makeup. Not to mention a guy with half his face burnt off and some wonky sci-fi gadgets like the incredibly high-tech sonar surveillance computer.
This is a film where just about everything went right. It was a perfect storm of great writing, great direction, great acting, stellar cinematography and an incredible musical score.
It was well balanced between action and drama and even with its somewhat lengthy running time, there isn’t a wasted moment in the film. Every scene has meaning and every scene does exactly what it needs to without dilly dallying and slowing the pacing down. At the same time, the timing is impeccable and this film perfectly creates tension when it needs to. The whole film is about escalation and the final product is a perfectly curated example of that.
It’s sad and tragic that Heath Ledger died before this was released. It would’ve been cool for him to have seen the final product and to have enjoyed the fanfare and praise his performance as The Joker got. It’s hands down one of the best performances of that decade and even though his death gave the role an added level of mystique and importance, it stands on its own as one of the greatest villain portrayals in motion picture history.
Additionally, I also really liked Ledger’s version of The Joker, as he kind of did his own thing with the character and it forced Nolan to kind of portray the character differently than what was originally intended. And while it might not be a perfect adaptation of the comic book Joker, which no film has done thus far, it kind of exists as its own, great thing and it added so much to this already stellar trilogy.
My only real complaint about the film was how growl-y Bale’s Batman voice was. I much preferred his voice in Batman Begins and I think most people did, as well. I’m not the only person to point this out and in fact, it sort of became a social meme after the movie’s release.
That being said, the Batman voice doesn’t wreck the film and I still think it’s a damn near perfect movie that transcended the superhero genre, forever changed it and hasn’t yet been eclipsed regardless of some of the superb comic book movies that have been released since.
Rating: 10/10 Pairs well with: the other two films in The Dark Knight Trilogy.
Also known as: Batman 5 (working title), Batman: Intimidation (script title), The Intimidation Game (fake working title) Release Date: May 31st, 2005 (Tokyo premiere) Directed by: Christopher Nolan Written by: Christopher Nolan, David S. Goyer Based on: characters by DC Comics Music by: Hans Zimmer, James Newton Howard Cast: Christian Bale, Michael Caine, Gary Oldman, Morgan Freeman, Liam Neeson, Katie Holmes, Cillian Murphy, Tom Wilkinson, Rutger Hauer, Ken Watanabe, Mark Boone Junior, Jack Gleeson, Richard Brake
DC Comics, Syncopy, Warner Bros., 140 Minutes
Review:
“But I know the rage that drives you. That impossible anger strangling the grief, until the memory of your loved one is just… poison in your veins. And one day, you catch yourself wishing the person you loved had never existed, so you would be spared your pain.” – Henri Ducard
When this first came out on DVD, I watched it almost weekly for a few years. I loved this film and to me, at least at the time, it was the greatest Batman film ever made. Hell, before the DVD release, I think I saw this at least three times in the theater.
I would end up liking The Dark Knight even more but the Nolan trilogy started with this film and it was a great introduction to his more serious and realistic Batman film series.
In retrospect now, I like the 1989 Batman slightly better but it’s magic was undone by the later films that followed and even though it took eight years, Batman Begins was the cinematic reboot that we needed after the Schumacher Batman pictures.
This film is so good, as are the ones that follow, that I’ve kind of accepted that no one will ever make a Batman film series as great. Frankly, these are the best films that Christopher Nolan has made and while the first film in a trilogy can often times feel like a practice run, this one is fairly close to perfect.
My only real gripe about it is that the pacing feels a bit disjointed at times. But there is also a lot of story and a lot of characters to balance here. I think that Nolan got much better with that in the next film. These aren’t things that break the film in any way but if I can’t give this a perfect score, I feel that I should explain why.
This is still energetic and every scene feels necessary. But it also feels like so much was wedged into it that it could’ve actually benefited from an extra 20-30 minutes. And that’s not something I’m usually a fan of, as I love 90 minute running times and this picture is already well over two hours. But when a film is this good, I never seem to mind that it requires more of my time.
Nolan got the best possible performances out of all of the actors involved and everyone in this is absolutely perfect. This was well cast and even Katie Holmes, who was replaced in the sequel, pulled off the best performance of her career. Normally, I wouldn’t put her at the same level as everyone else in this movie but she held her own and I was disappointed that she was recast in The Dark Knight.
In closing, this is a stellar motion picture where everything just works in the right way from the direction, cinematography, acting, the musical score by Hans Zimmer and the great character development.
Rating: 9.5/10 Pairs well with: the other two films in The Dark Knight Trilogy.
Release Date: July 25th, 1980 Directed by: Brian De Palma Written by: Brian De Palma Music by: Pino Donaggio Cast: Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon, Dennis Franz, William Finley (voice, uncredited)
Filmways Pictures, Cinema 77 Films, 104 Minutes
Review:
“Doctor, I am not paranoid. Bobbi was making threats over the phone. She said she’s going to hurt me. My patient was slashed to death. And now my razor is gone. Now you don’t have to be a detective to figure it out, do you?” – Doctor Robert Elliot
I wasn’t sure what to expect going into this picture but if Brian De Palma’s early films are any indicator, I knew that this would be bizarre, artistic and intelligent.
And it was those three things but it was also damn compelling and honestly, damn impressive.
I loved this film and it’s a shame that I hadn’t seen it before this. It was intense, melodic, sweet, scary and most importantly, intriguing.
While this picture is very De Palma-esque, maybe the most De Palma-esque of the man’s work, it is also very Hitchcockian, as the narrative and the shot framing displays a young De Palma’s callback to Hitchcock’s style and tropes.
Still, this is very much De Palma’s composition and not a cheap attempt at trying to emulate one of the masters before him. Honestly, it comes off as a respectful homage that creates a familiar framework that De Palma could then artistically build off of.
This is also very much a noir story. It has twists, turns, mystery, secrets that evolve and a shocking reveal when all is said and done. It’s pretty damn impressive that they were able to do some of the stuff they did in the time that this was made.
What really solidifies this as a great movie, aside from the solid direction and story by De Palma, is the cast.
Nancy Allen really carries this movie once she becomes the focus. And honestly, I’ll always love Allen simply for being a huge part of RoboCop but I never really thought much of her as an actress. Not to say she’s bad, she’s perfectly fine. But in this film, she really got to do some daring things. Honestly, it has motivated me to check out De Palma’s Blow Out in the near future as it also features her under De Palma’s direction.
I was really impressed with Keith Gordon and Angie Dickinson as well.
Michael Caine also plays an very important role but it’s Michael Caine, so one should expect a damn fine performance because I don’t think I’ve ever seen the guy not deliver.
I’d love to go deeper into the story and analyze some of it but I don’t want to spoil this for anyone. It’s a film that needs to be seen without knowing much about the plot and a Google search will probably spoil some major details.
If you like De Palma, Hitchcock influenced cinema or neo-noir, than you’ll probably like this picture.
Rating: 9.5/10 Pairs well with: other early Brian De Palma films, especially Blow Out and Body Double.
Also known as: Oliver’s Arrow (fake working title), El Origen (Spanish title) Release Date: July 8th, 2010 (London premiere) Directed by: Christopher Nolan Written by: Christopher Nolan Music by: Hans Zimmer Cast: Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Cillian Murphy, Tom Berenger, Michael Caine, Pete Postlethwaite, Lukas Haas, Talulah Riley, Dileep Rao
Legendary Pictures, Syncopy, Warner Bros., 148 Minutes
Review:
“What is the most resilient parasite? Bacteria? A virus? An intestinal worm? An idea. Resilient… highly contagious. Once an idea has taken hold of the brain it’s almost impossible to eradicate. An idea that is fully formed – fully understood – that sticks; right in there somewhere.” – Cobb
Like Christopher Nolan’s Interstellar, I guess I’m the only person on Earth that doesn’t like this movie.
I can’t take away from the visuals though. This film is stunning to look at and all the strange physics of the dream world come off almost flawlessly and create a visual smorgasbord of cool shit. And because of that, this film had one of the most amazing trailers for its time.
Frankly, I think a lot of people were so blown away by the trailer and the visuals that they completely dismiss everything else.
Inception is one of those “science-y” word salad movies that no one wants to look uncool by admitting that they have no idea what the fuck any of this is about.
The film relies solely on you buying into Christopher Nolan’s bad science, which is constantly explained with more and more layers dropped on top of it all. I don’t think that Nolan really knows what the hell he was saying. It’s complicated, it’s boring, it’s really fucking lame and it’s only cool for those people that read I Fucking Love Science‘s Facebook feed for the headlines without clicking on the articles. It’s bullshit brain casserole for the normie that yells “Yay, science!” but hasn’t actually picked up and read a book by Neil DeGrasse Tyson, whose books are actually really easy for the layman to digest.
This movie wants so hard to be smart but it’s dumber than my cousin Sam after we found her under a bridge in Ft. Lauderdale following a twenty-six day opium bender.
On the flip side, the acting is top notch. I can’t fault the cast for anything. Well, except for Ellen Page who is dryer than a box of saltine crackers, opened and lost in the Sahara during a drought. However, good acting aside, every character in this movie is flat. Also, it lacks any sort of emotion because of the flatness of these characters and because the audience is hit in the face with “Yay, science!” every 8 seconds that you don’t have time to make a connection with anything.
Plus, this film isn’t as innovative as it thinks it is. It certainly isn’t as clever as it thinks it is, either. I wonder if Nolan stores his farts in jars to enjoy at a later date?
Also, Nolan’s directing is damn good. It’s just his writing that is terrible with this $160 million bullshit bonanza.
Fuck this movie. I hate it. I can’t give it a very low score because of the strong positives. But I can’t sit through this turkey in one sitting. I’ve tried. Watching it again, just to finally review it was like sitting through a four day root canal without drugs.
As for that ending, was DiCaprio dreaming? Who the fuck cares.
Rating: 5/10 Pairs well with: other Nolan films that don’t feature Batman.
Release Date: February 3rd, 1971 (Los Angeles premiere) Directed by: Mike Hodges Written by: Mike Hodges Based on:Jack’s Return Home by Ted Lewis Music by: Roy Budd Cast: Michael Caine, Ian Hendry, John Osborne, Britt Ekland
MGM-EMI, Metro-Goldwyn-Mayer, 112 Minutes
Review:
“You know, I’d almost forgotten what your eyes looked like. Still the same. Pissholes in the snow.” – Jack Carter
I can’t believe I never watched this film until now. It’s a cool ass motion picture. Now I did see the remake with Stallone from 2000 but that one left a bad taste in my mouth. This however, was a balls out revenge fest.
Michael Caine plays Jack Carter. He discovers that his deceased brother was murdered by some mobsters. He then spends the rest of the movie on a revenge quest, knocking off the scum that were behind his brother’s death.
There are also a lot of babes and Caine gets to toy around with several, most notably the incredibly sexy Britt Ekland, who gets naked. She would go on to be a Bond girl in The Man With the Golden Gun and would get even more naked in The Wicker Man.
I loved Caine in this and it is so cool seeing him kick serious ass in his younger days. Sure, he kicks ass as an older man too but he just had a presence here that made him debonair, dangerous and pretty fucking sexy, if I do say so myself. I’m not gay but I can appreciate a masculine dime piece through straight eyes.
This film also had film-noir elements to it, which pulled me in right away. This is more of a neo-noir, as it has that sort of style to it. The tone reminds me of Jean-Pierre Melville’s Le Samouraï.
The plot has noir styled twists and turns and it throws femme fatales into the mix but you never really feel like Caine’s Carter could be outwitted by them.
There really isn’t anything negative I can say about the picture. It was well acted, well directed and had some stupendous camera work and cinematography.
Rating: 8.25/10 Pairs well with: Other old school Michael Caine movies: The Italian Job, Pulp, The Ipcress File, Funeral In Berlin.
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Talking Pulp 
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