Frankenstein represents some of the best material from the original Universal Monsters run.
Considering it came out just a few years after feature length talkies were even a thing, the plot moves at a swift pace, and never gets boring. We know all that we need to about the characters involved with no unnecessary padding out, and boasts wonderful dialogue that is engaging throughout
What's more, it's runtime is brimming with incredible shots, from Frankenstein and the monster on top of the mountain, to the monster accepting a flower from a little girl, to the mob of townspeople marching towards the windmill (a shot that has always stuck with me since being a child).
Frankenstein is a fantastic realisation of the misunderstood beast narrative, and an incredibly important stepping stone in the history of horror. Iconic in every way.
A crew of bank robbers is strong-armed by the Russian mob to pull off a near impossible heist due the response time of the police. In order to create a larger window, the dirty cops of this crew suggest creating a 999 (police code for “officer down.”) on the other side of town. That is the basic plot of Triple 9. Yet, the tagline for this film is, “The Code on the street is never black and white.” Seems like a different movie which is part of the letdown of Triple 9. It doesn’t know what it wants to be. Is it a heist movie like Heat or The Town? Or is it trying to be a movie about the cops and the rules of the streets like Training Day?
In the beginning, the film sets its self-up to be a smart and stylistic heist film. However shortly after it begins to feel disjointed as it attempts to develop everyone in its ensemble cast to the point where it hurts the story and some excellent performances become forgettable. It’s a shame because somewhere in this film is potentially two excellent separate films. One film about a crew having to complete a heist for the mob to save their lives and loved ones, and another about dirty cops, their partners and the moral ambiguity of the code on the streets. In Triple 9, these two premises never really get developed on one side or the other and thus everything is just left there.
On the heist side, Chiwetel Ejiofor plays ex-mercenary Michael Atwood. Michael is the careful and calculating leader of the crew, but is tied to the Russian mafia through the mother of his son. Michael is constantly being coerced by the Russian Mob Boss, played by Kate Winslet. The two give stellar performances, most notably Winslet who is cold and ruthless in wielding her power, speaking her mind and not caring how the job gets done as long as it gets done.
On the cop side, Anthony Mackie plays dirty police detective Marcus Belmont who becomes partnered with the ex-marine turned rookie detective Chris Allen (Casey Affleck). Belmont feels that the rookie doesn’t respect the streets and his “Do-gooder” “make a difference” attitude is going to get him killed. When Belmont’s heist crewmate Jorge Rodriguez (Clifton Collins Jr.) learns Chris is also the nephew of the Sergeant Detective (Woody Harrelson) investigating the heist crew, Chris becomes the clear candidate to be set up for the Triple 9. (Convenient huh)
Ultimately, as the story plays out it feels we are always arriving at the end of the meeting to plan the coming events. From the planning of the heist, to the set up murder, and to the exit plan, we are just carried through the motions without much motivation of how or why things have to play out the way they do. As a result, I didn’t really care for any of the characters good or bad, unlike other films of this nature. Even Ejiofor’s character Michael, who has his child involved, doesn’t get the opportunity to really show why the rest of the crew respects him and follows him, or why he needs to stay alive for his son, who basically seems better off being taken care of by the Russian mob.
In the end Triple 9 is not a bad movie, it just isn’t really a great one either. It has strong performances by the entire cast and has the makings of something great, but fails to deliver on that opportunity with a disjointed story trying to focus on too many characters. This makes it ultimately forgettable compared to other heist films of similar nature.
The "non-Sopranos" part of this film worked much better
The new Sopranos prequel film THE MANY SAINTS OF NEWARK is a review-proof film. Most people fall into 1 of 2 camps.
The first, fans of the 1999-2007 landmark HBO series that some (including myself) call one of the best TV series of all time. The folks that fall into this camp will be checking this film out no matter what.
The second are folks that either never saw the series or have only a passing knowledge of it - these folks are (more than likely) gonna take a pass at this film.
And both camps would be right and wrong for THE MANY SAINTS OF NEWARK is a middle-of-the-road film that will be satisfying for SOPRANOS fans, but the part of this film that really, really works well has nothing to do with the series.
Written by Sopranos creator David Chase, TMSON is set in the late 1960’s-early 1970’s and tells the tale of a young Tony Soprano and his introduction to the North Jersey mafia and the charismatic mob boss who he is drawn to.
The first 15 minutes of this film were written specifically for SOPRANOS fans for it is here that you are introduced to younger versions of many of your favorite characters. From Tony to Uncle Junior to Livia (Tony’s Mom) to Pauly Walnuts, Silvio and “Big Pussy” they are all there - along with a few others you don’t know (and it is not a spoiler to say, there is a reason that they never made it to the TV series). You are also introduced to Tony’s Father Johnny Soprano, Mob Boss “Hollywood” Dick Moltisanti and the center of this film, the son of the Boss “Uncle” Dickie Moltisanti (father of future TV Series character Christopher).
It’s an enjoyable enough introduction, but it is nothing new. The characters sit around, talk, act tough and eat. Something that we’ve seen in countless mob movies before. Chase and Director Alan Taylor (THOR: THE DARK WORLD) appear somewhat bored with this part of the film - almost as if they are saying “here they all are, enjoy this for we have a more interesting story to tell”. This first 15 minutes of the film seem to go on forever.
And then the movie - and Chase’s ideas and Taylor’s Direction - kick in.
And this is where TMSON begins to escalate as the story splits into 2 parts - the first following Dickie (Alessandro Nivola) and the 2nd following one of his “runners” (Leslie Odom, Jr.) who is destined to become a powerful boss of the “Black Mafia”.
It’s a smart juxtaposition of story, but unfortunately for SOPRANO’s fans, the first story (following Dickie) and including most of the Soprano’s characters is the less interesting of the 2 stories. It is the journey of Leslie Odom, Jr.’s character that makes for a more compelling story. It is as if Chase had an interesting idea for a mob film but knew he would not be able to get it made unless he tied it somewhat to a Sopranos story.
Leslie Odom Jr. is magnetic as Harold McBrayer, the former numbers runner for Dickie that has an awaking through the Black Power movement of the late ‘60’s and becomes a formidable mob boss in his own right. This half of the movie/story is intriguing and interesting for you never know in what direction it is going to land. This “B” story is free to be whatever it wants/needs to be and this freedom elevates it.
The same cannot be said for the “A” story - the journey of Dickie Moltisanti. Alessandro Nivola is charming enough as this sadistic, sociopathic mobster, but he is saddled with too much TV show baggage to become a character on his own. Specifically his mentorship and (ultimate) disassociation with the young Tony Soprano (played by Michael Gandolfini, the son of the late James Gandolfini who played Tony in the TV series). I felt like these characters were burdened with the weight of the TV show and the need to pay homage to what will be coming in their lives via the TV show and to shoehorn in each character along the way.
Consequently some great actors like Vera Farmiga (Tony’s mother Livia), Jon Bernthal (Tony’s father), and Corey Stoll (as Uncle Junior) are all filming extended cameos. They do a good (enough) job bringing the essence of the characters from the TV Series to this film, but they just don’t have enough to do. I would love for these 3 to spin-off on their own.
The same can be said for Billy Magnussen (Pauly), John Magaro (Silvio) and Samson Moeakiola (Big Pussy). They all do a nice job bringing the younger versions of these characters to life (especailly Magaro) but they just don’t have enough to do.
And then there is Ray Liotta’s over-the-top performance as Mob Boss “Hollywood” Dick Moltisanti. Ove-the-top doesn’t even begin to describe the performance he is giving. I will give him credit, though, he does tone it down about 1/2 way through the film, but…geez…the first part…wow.
Ultimately, the failure of the “A” story to captivate dooms this movie to mediocre status. I would have loved for Chase to really sink his teeth into the “B” story - and to let Leslie Odom Jr. really fly as a character and and actor.
But that would have defeated the purpose of making a Sopranos prequel - a prequel that, perhaps, shouldn’t have been made in the first place.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
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