Lawless

A slice of family history that only works in its two hours of runtime when it scores points with good actors and brutal violence, but also forgets the characters. Hardy just grunts and LaBeouf builds an empire out of nothing; it’s got the same feelings as Proposition, copying from everywhere, but with a beautiful signature. (26/09/2012)

It is excellently mixed both in terms of characters and style, as well as audiovisual composition. It is clear from the very beginning that it will not be a technically inventive and sophisticated film, but rather a slightly intimate and twisted ride that, in some aspects, reminds of Tarantino in the violence, the antagonist and the dialogues. However, it is a classic, linearly told gangster story about friendship and love during the Prohibition era. Some things may not work as they should or are a bit of a safe bet (the musical score, shootouts where we wouldn't expect them, the final carnage). But that the screenplay is unpredictable, you don’t know what will happen in 10 minutes, and this tells me that this thing certainly deserves high ratings and recognition. It is difficult within the genre to create something original based solely on internal, non-technical attributes of a film. At least partially, they have succeeded here. (06/10/2012)

This is what I was expecting from Michael Mann’s Public Enemies and I was disappointed. John Hillcoat and Nick Cave and a bunch of littleknown actors created a gangster film from the era of prohibition, where the goal is to portray the characters and their stories, rather than visual epicness (on the contrary, the visuals are rather dull and faded, for some incomprehensible reasons). A super bad villain, blood and brutality, friendship, brotherhood, black humor, feminine beauty and tenderness, and a final massacre. All of this blended together to create 100%-pure genre entertainment of a distinctive character. I vacillated between four and five stars, finally settling on five thanks to the festival atmosphere. [KVIFF] (04/07/2012)

A lovable comic book movie that isn't based on a comic book. Wondering why it's a comic book movie? No? Let me tell you. For example, aside from the utterly Bond-esque mega-overacting of the über-villain Guy Pearce, the setting of the scenes (when Mia Wasikowska is there, the sun and gentle breeze caresses her face, while conversely all the Bondurant ranch scenes are shrouded in grey or snow, stroking Hardy's boxer all over the places on his body where it hurts), and the overall explicitness, it's especially the framing, which almost eliminates informative shots, for example. The dialogue sequences, too, virtually nowhere stoop to a shot/countershot scheme, and for the conflict sequences, these are dominated by framing containing both the attacker and his victim in the same frame. The stylized characters and their perfect casting keeps the attention even of those who might not give a shit about the fantastic detail and period fidelity of each film location, the legendary sound, the tame script with which Cave ungracefully buries the otherwise perfect Proposition, and the spectacular direction in the action scenes. After that, you don't even mind the severely mismanaged finale, where no one really knows what to do and they don't quite figure out how to hide it. (27/09/2012)

Considering how precisely this movie was made, I missed something that would suck me into the story so that it could blow my mind with each new scene. The actors were great, the shots were amazing, the atmosphere of the first half of the 20th century was awesome, but the entire movie falls on small details. For example, I thought that the ending was a farce. And the entire shoot-out was like children meeting in the sandpit and sling-shooting pebbles at each other.  Nobody knows who hit whom, some people are lying on the ground, some aren’t and some people are faking being hit. Really strange. Considering that this movie is so incredibly realistic, I’m lacking some sort of an eye for scenes that should have been key scenes and they were a flop instead. A shame. (02/12/2013)