RollWithEm

This coming from the guy who says his favorite comedy of all-time is Step Brothers. Please, Bob, please.

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But that's just me.

Luke

Who says step brothers is the his favorite comedy?


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Formerly VanillaPrice

BobStackhouse42

Me. You got a problem with that? If so I might just have to pay your drumset a visit.

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Dornado

Step Brothers wasn't my favorite comedy ever but I thought it was hilarious.

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Andre

JUST A FEW MOVIES THAT HELD IT DOWN THAT WASN'T ON THE LIST


Amistad
Deep Impact
Armageddon
The Fifth Element
Twelve Monkeys
The Pelican Brief
Philadelphia
Courage Under Fire
Fallen
Waiting to Exhale
The Fugitive
Speed
Con Air
Hard Boiled
From Dusk Till Dawn
Indecent Proposal
AMERICAN PIE
Jerry Maguire
Titanic
The Full Monty
Independence Day
Basic Instinct
Jurassic Park

Luke

Bobstackhouse just gained a friend.


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Formerly VanillaPrice

RollWithEm

3) Miller's Crossing

I will start by borrowing some of what I said about this film in my Coen Brothers breakdown and then expound on some of the things that I feel make it great:

Obviously, I love this movie. It features career defining performances from Gabriel Byrne as the classic film noir loner, Jon Polito as the disrespected gangster family man, and Albert Finney as the dumb-muscle-turned-boss who might not be as dumb as you think he is, along with a delightful supporting turn by Steve Buscemi as the annoying shyster with the possible hidden agenda.

Byrne serves as the moral compass of the film. As twisted as he himself might be, Tom displays that "honor amongst thieves" quality that almost every decent gangster movie must feature. He's the type of guy who even stays loyal while he's sleeping with your girl. How much more can you ask? He's deep in debt in more ways than just financially, but he strides through life with an air of confidence that goes beyond his toughness. Perfect antihero.

Finney plays the love-struck criminal "mastermind" of the city, Leo, who calls the shots when the film begins. He's even-handed, well-respected, and almost-universally-feared by everyone from his employees, to his rivals, to the police, to the government officials in his pocket. Nothing goes down in the city unless he wants it to go down. Tom is at times Leo's most trusted adviser, his worst enemy, and his respected old friend. The relationship between these two is clearly deeper than the blood they have spilled together.

Polito plays Leo's rival gang leader, Johnny Caspar. His ambition belies his height, his temper belies his wits, and his judgment belies his loyalty. The character development opportunities provided by his relationship with his son are a few of the many humanizing touches in this screenplay that successfully turn a good gangster script into a beautifully-crafted film. Whatever you do, though, don't question his business ethics.

Stunningly, my favorite aspect of this film isn't the characters or the plot or the cinematography or the period costumes or even the snappy dialogue. The best thing about Miller's Crossing is its spaces. It's a film that might as well be a play. All of the significant events take place in either Leo's office, Caspar's office, Tom's apartment, or "the field" outside the city. And each of those spaces is filled with the personality of the master of that domain. It's almost like each character is a boss in a video game that has his own board that players must conquer to reach them. From the small semblance of light creeping into Tom's dark world from a struck match or a dim bulb to the heat from Caspar's fireplace that exposes a man's integrity like a polygraph to the vast flooring that makes a man feel small when approaching Leo, the spaces are the backdrop for everything that goes down in this world. It's as gorgeous as it is disturbing - as sparse as it is bleak. IMHO the Coens have never made a better film, and that is saying something.

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But that's just me.