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Indestructible Gibson in grim and gritty telling of The Hunter. This is not an out and out remake of John Boorman's 1967 offering Point Blank, the structure is different from the 67 film, and where Point Blank is a dark psychological thriller that is rightly regarded as being towards the top of the neo-noir tree, this Brian Helgeland directed film really should be seen as a different interpretation of Donald E. Westlake's novel The Hunter. Mel Gibson plays tough as nails thief Porter, who is double crossed, shot, and then left for dead by his wife Lynn (Deborah Kara Unger) and his partner in crime Val Resnick (Gregg Henry). We are then taken on a dark journey as Porter sets out to reclaim the $70.000 that he was shot and almost killed for. He wants no more, no less than what he is owed, and he literally will stop at nothing to achieve his goal. Including taking on the Chicago mob organisation known as The Outfit. Payback is a mean and violent movie, it is unrelenting in its willingness to keep nastiness at the top of the story. The film is full of flawed and vile people, even Porter himself, the closest we have to a (anti) hero has badness coursing through his veins, he is a dislikable killer, the film is about exactly what the tag-line suggests, Get Ready To Root For The Bad Guy! As Porter trawls through this part of Chicago, he will come across bent coppers, drug pushers/addicts/runners, Asian gangsters, prostitutes, violence fetishists and the slimy chain of command of the Chicago mob. Nobody here is about to cheer you up. The style of the film owes its being to classic film noir and the 1970s hard crime movies led by Dirty Harry and Death Wish. The makers had originally wanted to film it in black and white, but instead went for a de-saturation technique, a bleach by-pass process that really puts a grim grey and blue sheen on the visuals. The thumping score is tonally correct, while a good sound track also helps (always nice to see hear Voodoo Chile), and the use of voice over narration by Porter evokes the classic noir period and works a treat because it's not over done. The film strongly relies on Mel Gibson to bring menace and a measure of sympathy to the vengeful Porter, and it is with much credit that he manages to achieve both these things skilfully. He is backed by a strong support cast, Maria Bello admirable in her big shift from TV to film - Lucy Liu hilarious and stunningly sexy as a dominatrix and Gregg Henry is just wild. The Outfit chain of command features William Devane, James Coburn and Kris Kristofferson, all slick and welcome additions, even if they are all under used; though this is more by narrative necessity than film making decisions. Bill Duke, David Paymer and Jack Conley fill out the impressive roll call of scum-bags. Violent, laconic and darkly comic as well, Payback is one of the best remakes around, a neo-noir essential in fact. 8.5/10 Footnote: Director Helgeland released his own Directors Cut in 2006. Unhappy with the original version, he changed some of the structure and visual style and made it shorter by ten minutes. It's inferior to the 100 minute original cut in my opinion, losing much of the noir stylisations, but the last quarter is different and will (does) certainly appeal to others.
An underrated crime noir that somehow snuck it's way into the overcrowded 90s. With phrases like, "expected horizontal refreshment", you know this is going to be good.
_**Amusing neo-noir in Chicago with Mel Gibson, Gregg Henry and Maria Bello**_ After a heist with an Asian gang, a no-nonsense man (Mel Gibson) is left for dead by his accomplices (Gregg Henry & Deborah Kara Unger) in the underbelly of the Big City, but he unexpectedly recovers and wants vengeance, not to mention his $70,000. Maria Bello, Lucy Liu, William Devane, Kris Kristofferson, James Coburn and other notables are on hand. "Payback" (1999) is modern film noir with colors so muted it’s almost B&W (although I hear the Director’s Cut heightens them). It’s a remake of Coburn’s “Point Blank” (1967) and is ‘hip’ & entertaining in an amusing Tarantino kind of way, although it’s nowhere close to the greatness of “Pulp Fiction” (1994) or even “Jackie Brown” (1997). However, my wife liked it more than me and gave it 7/10, but then she’s a fan of Gibson. The film runs 1 hour, 40 minutes, and was shot mainly in Chicago, along with Mount St. Mary's College in Los Angeles with studio stuff done in Burbank. There’s also an establishing shot of Manhattan. GRADE: B-
When a man mysteriously vanishes on his ship in the Caribbean, his two brothers journey there to investigate his disappearance.
Nicolae (George Motoi), the intelectual descendant of Moromete family, former communist apparatchik in the 50s, becomes a horticultor due to a political error, and refuses to have any social life, even if he is unhappy with his inactivity. The death of his partner makes him respond to the overtures of his old comrades. Based on the eponymous novel by Marin Preda.
A young tofu maker, Eikichi comes from Kyoto to open a tofu shop in a friendly neighborhood. He meets there a feisty local girl Ofumi who befriends him as he sets up his shop, Kyo-ya and in spite of the difficulties stemming from cultural differences between the two ancient capitals including the favored taste of tofu itself, they eventually marry and become the owner of a tofu shop on a more respectable street. Behind the rock-solid business of Kyo-ya, their son, Eitaro bears the brunt of other tofu shops' animosity toward Kyo-ya's refusal to comply with Edo's way of running business and starts to frequent a gambling hall run by the mysterious "Boss", which throws the family into a critical situation that threaten to pull them apart...
Ebenezer Scrooge malcontentedly shuffles through life as a cruel, miserly businessman; until he is visited by three spirits on Christmas Eve who show him how his unhappy childhood and adult behavior has left him a selfish, lonely old man.
Colin MacLeod hunts for the man responsible for the death of his love. He chases the immortal Marcus Octavius across centuries as his quest threatens to take over his life and heart. In his quest, he meets a woman who reminds him of his slain beauty. But it's his final battle with Marcus that will decide not only his fate, but also the fate of everyone in the world.
During his 18 years in Folsom Prison, street-gang leader Santana rules over all the drug-and-murder activities behind bars. Upon his release, Santana goes back to his old neighborhood, intending to lead a peaceful, crime-free life. But his old gang buddies force him back into his old habits.
Avery, a reclusive older man, has a best friend in his dog, Red. When three teens kill Red without reason, Avery sets out for justice and redemption, attempting to follow the letter of the law. But when the law fails him, and the boys' father clearly defines right and wrong in his own way, Avery must avenge himself by any means possible.
1950s New York City. A bad and bloody gang war is about to erupt on the dysfunctional streets of Brooklyn. The Deuces at war with the vicious Vipers. Scott Kalvert directs this tale of lust, drugs, mayhem and madness during one hot summer on the streets of New York.
Return to the forest and join Bambi as he reunites with his father, The Great Prince, who must now raise the young fawn on his own. But in the adventure of a lifetime, the proud parent discovers there is much he can learn from his spirited young son.
A mild-mannered bank executive mentors a teenage con artist and tries to make a career change as a doughnut merchant.
Based on a local legend and set in an unknown era, it deals with universal themes of love, possessiveness, family, jealousy and power. Beautifully shot, and acted by Inuit people, it portrays a time when people fought duels by taking turns to punch each other until one was unconscious, made love on the way to the caribou hunt, ate walrus meat and lit their igloos with seal-oil lamps.