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Like so many others here, the thing that has made We Own the Night stick out in my mind -- other than its exceptional cast -- is its trailer's obvious, even glaring debt to The Departed. The constant usage of the Brooklyn / New York City skyline throughout, which is a perfect copy of The Departed's own opening-credits Boston skyline, to me at least hints at sheer laziness bordering on plagiarism by the production company. (Of course, we might have expected this from 2929 -- Dallas Mavericks owner Mark Cuban's film production company -- I mean, the guy's made the better part of a career parroting Donald Trump, among others. Although, perhaps I'm being unfair and, anyway, I happen to like the guy.) We've seen this sort of thing before, sure -- one successful movie's trailers are instantly appropriated by others -- but I for one am sick of it. If I want to see the same damn movie all over again, I'll just pop in my Departed DVD.

Here's hoping the plot isn't a rehash of Departed's third act -- the whole avenge-thy-father-figure vibe I get from the trailer, again, is VERY familiar to fans of Scorcese's most recent movie -- not to mention his third-most-recent, Gangs of New York.

Anyway, I'll be there on opening weekend. Wahlberg, Phoenix, Duvall: this film has more than enough promise to warrant my nine bucks.

I remain, as always...

Nico.

Bless you Michael Bay. Armageddon is a masterpiece.

Like so many of Scorcese's films (The Color of Money, The Age of Innocence, Gangs of New York, Goodfellas and The Aviator, to name just the ones that come to mind immediately), I find The Departed to be initially somewhat disappointing, but, ultimately, and especially upon repeated viewings, frankly mesmerizing. It's the details, the dialogue and, especially, the acting, that earn my respect and admiration in the long run. I don't like the way Scorcese edits his films, but he shoots them beautifully, and manages -- like Stephen King, in his own medium, the novel -- in just a few brief lines of dialogue, to create utterly complete and fully fleshed-out characters. Besides, The Departed's just so damned cool: From Mark Wahlberg telling the yawning FBI hack to "blow me," and sharing his philosophy of treating with the feds, like fungi: "Feed 'em shit and leave 'em in the dark", to Ray Winstone blearily lecturing Leo: "Now, there's guys you can hit, and guys you can't. Now this ain't quite a guy you can't hit, but he's almost a guy you can't hit, so I'm going to make a ruling on this right f@%#in' now: You don't... f@%#in'... hit 'im." To Nicholson waving a dead guinea's "fun" hand, wrapped in a Zip-loc baggie, in front of Costigan while he's tearing a lobster apart, to Capt. Queenan (Martin Sheen), who's all but soiling himself with fear, coolly asking, "Any of you mugs got a light?" just seconds before he does a triple-pike off the high board. (Earning only an 8.5 from the East German judge, the dick.) In my opinion, The Departed rivals Tombstone, word for word, for out-and-out coolness... and in my book, at least, that's really, really saying something.

But, to each his or her own. After all, I like Coneheads, too.

I remain, as always...

Nico.

Personally, I was left disappointed walking out of the theatre after seeing The Departed. To me it was like the movie was the most intricate house of cards you could imagine, but in the last 5 minutes it got kicked, smashed, and blown over in every way possible.

But, as my friend said on the way out - how else could it have ended?

Despite my disappointment, it is very rare that a movie comes so close to grasping perfection, and for that alone it deserves all the acclaim it got.

Ok Ok i am going to start a rant so be forewarned... Alright here we go. The Departed was fantastic it deserves all the awards it got and more. I have rarely seen a movie that well done. Everything the acting especially Mark Whalberg who was robbed and friggin Alan Arkin won come on he was the least deserving out of all the nominees.Anways The film was great and tuan the films doesnt get old it actually gets better with each viewing.

becs: Interesting stuff...

...[T]he movie was the most intricate house of cards you could imagine, but in the last 5 minutes it got kicked, smashed, and blown over in every way possible. But, as my friend said on the way out - how else could it have ended?

[Nodding] There are a LOT of Scorcese films that do this, too -- build up this incredibly detailed, lovingly created world, of beloved characters with real relationships, in a pitch-perfect landscape, like a meticulously crafted sand castle -- most notably, Taxi Driver, Casino, Cape Fear, Gangs of New York and, most famously, Goodfellas... though also, if you're looking for it, in Raging Bull, Mean Streets, After Hours, and even The King of Comedy, as well as, to a certain extent (certainly, that encapsulated by the character arc of Vince), The Color of Money -- and then spend the last few minutes, up to the entire third act, elaborately, gleefully demolishing that world, as if the sand castle were now being systematically destroyed and blasted into incoherent dust by some gleefully anarchistic little bastard. Half of me thinks that's the reason Scorcese makes movies -- he's like that kid everyone knew growing up, who spent whole weekends building these intricately exacting model airplanes in his room, who one day took 'em out back end blew 'em up with M-80s and filmed it, and it turns out that was the entire reason he bought 'em in the first place. (In fact, I was "that kid," which may be why Independence Day continues to appeal to me.) The guy gets as much, if not more, fun out of upending the world, than he did creating it in the first place. Let's hope the Mormons are wrong, and Marty never gets his brilliant, diabolical hands on a universe of his own...

Your friend was right, btw -- The Departed could not have ended any differently. Scorcese wasn't trying to sell us on a fairy-tale world, where the bad guys get their comeuppance and the good guys, who all wear white hats, ride off into the sunset with the girl and the gold star. In Scorcese's worlds, EVERYBODY gets dirty, EVERYBODY gets hurt, EVERYBODY gets theirs. The good guys don't always win, and even the best deeds fail to go unpunished. I think Martin Scorcese is an "Old Testament" guy. Sometimes being virtuous ain't enough, and your house still gets burned down and your wife still turns into a pillar of salt and you still have to lay your son down on the altar, and even after doing all that, you still might not be allowed into the Promised Land, because, you know, for all your good qualities, you were weak and ultimately found wanting, too. Love may conquer all, but life -- and death -- will put even THAT under its heel at the end. Just like us.

Despite my disappointment, it is very rare that a movie comes so close to grasping perfection, and for that alone it deserves all the acclaim it got.

Agreed. Though I still don't think it quite deserved Best Picture. (No remake, in my opinion, no matter how cleverly adapted and exquisitely crafted, does.)

transformers: THAT was a "rant"? Dude, no, no, no, that was a mild outcry. You want rants, go back and read some of my columns, especially the one I did on the lack of appreciation for Pride, or when I said Ice Cube was the next big thing, or when I worshipped at the altar of Kevin Costner. THOSE were rants. However, I digress... [Grin]

I have rarely seen a movie that well done. Everything the acting especially Mark Whalberg who was robbed... .Anways The film was great and tuan the films doesnt get old it actually gets better with each viewing.

[Nodding enthusiastically] I've seen films better shot and edited, tell the truth, but The Departed had fine, fine acting in spades. Even Alec Baldwin, who normally I think has about as much stage presence as Al Gore, or even Al Roker, turned in a credible performance. However -- and, really, I don't mean to quibble, here -- although I thought Wahlberg's work was strong, and I think he really, really NEEDS an Oscar, soon, I don't think he turned in the finest work of his career, here (for that, see either: Boogie Nights, Three Kings, The Perfect Storm or Invincible, take your pick); nor do I think he should have been nominated for his performance in THIS film, which was, I hate to say it, a glorified cameo, after all. (Let the baying, raising of pitchforks and lighting of torches begin!). I think Leonardo DiCaprio should have been nominated for Best Actor, and I think both Jack Nicholson AND Matt Damon should have gotten nods for Best Supporting Actor, and I think Damon should have won over Arkin and all other comers. (And Forest Whitaker, obviously, ought to have won Best Actor for The Last King of Scotland.) That, to me, would be just.

And, tuan, I have to agree with transformers when he says The Departed not only holds up to, but vastly improves upon subsequent viewings. (On the other claw, I suppose it's possible that even House of Wax becomes Oscar-worthy the eighty-third time.) However, partner, no one can call out anyone else's tastes, so we'll agree to disagree there, as always. [Grin]

And, with that, I remain, again as always...

Nico.

Nico, I like how you the world in a Scorcese film-
"In Scorcese's worlds, EVERYBODY gets dirty, EVERYBODY gets hurt, EVERYBODY gets theirs. The good guys don't always win, and even the best deeds fail to go unpunished. I think Martin Scorcese is an "Old Testament" guy. Sometimes being virtuous ain't enough, and your house still gets burned down and your wife still turns into a pillar of salt and you still have to lay your son down on the altar, and even after doing all that, you still might not be allowed into the Promised Land, because, you know, for all your good qualities, you were weak and ultimately found wanting, too. Love may conquer all, but life -- and death -- will put even THAT under its heel at the end. Just like us."

I tihnk that may be why I am not a Scorcese fan (But I love Sam Peckinpaugh- go figure). Often his protagonists are rough, raw hard to love people that I can necver entirely care about. I will never question his talent or abilty- he knows how to tell a story better than most of them. But I have been able to wrap myself into his stories.

I guess I simple this way, but I love a movie where the boy gets the girl, the girl, the good guys where white hats, and the antogonsts get what he deserves in some devious way. I don't always like a film like that, but I am more apt to watch and even rewatch it.

jamey:

I tihnk that may be why I am not a Scorcese fan (But I love Sam Peckinpaugh- go figure).

[Laughing] It's okay -- My tastes aren't always entirely consistent, either. Art ain't science. Btw, one of the things I loved about Deadwood was how much it reminded me of Peckinpah's The Wild Bunch... And, actually, I think there's a correlation to be made between Bunch and some of Scorcese's films, particularly Goodfellas, Gangs of New York and Casino... Hmmmm, that's very interesting. Good stuff, there.

Often his protagonists are rough, raw hard to love people that I can necver entirely care about.

Again -- is it Peckinpah, or Scorcese? You could argue that The Departed is, in a way, an updated version of Pat Garrett and Billy the Kid...

I will never question his talent or abilty- he knows how to tell a story better than most of them. But I have been able to wrap myself into his stories.

[Nodding] It's hard when the director keeps the protagonist / hero, as far as the audience is concerned, at an emotional arm's length. That's one of my criticisms of Scorcese, too; at the end of the day, whether you're watching Leonardo DiCaprio (The Aviator, Gangs of New York, The Departed) or Daniel Day-Lewis (The Age of Innocence) or Ray Liotta (Goodfellas) or even Robert De Niro (Taxi Driver), you can't end up "rooting" for anybody, because the "good" or quasi-tolerable characters mainly end up messily deaded, and the nominal "hero" characters are, to put it bluntly, pretty much scumbags and psychopaths, or at a minimum(as we saw in DiCaprio's roles) somewhat off-putting, tempermental cyphers. It's hard to give a damn about someone potentially being blown away, when you have very little empathy for that someone, no matter how cool, well-acted, perfectly-directed or even generously-lighted that character is.

I guess I simple this way, but I love a movie where the boy gets the girl, the girl, the good guys where white hats, and the antogonsts get what he deserves in some devious way. I don't always like a film like that, but I am more apt to watch and even rewatch it.

Hey, there's nothing "simple" about that. I like spicy food -- there's nothing better, you can feed me habañero-seasoned sopa de tortilla six days out of every week, and twice on Sundays -- but, every so often, I like to pour myself a tall glass of chilled whole milk and set a package of Oreo Double-Stufs on my belly, and just drift into a happy, cholesterolic sugar coma. (And then, beat away my cats and daughter, who'll be jumping all over me trying to get at either my milk or my cookies.) There's nothing wrong with comfort food. It is, after all, comforting. Most of the same people who get off on Quentin Tarantino (habañero-seasoned sopa de tortilla ) grew up watching, and always return to, Star Trek: The Next Generation (Oreos and cold milk), I find. Even Marlon Brando probably liked peach cobbler, you know what I mean?

(Damn, now I'm hungry.)

I remain, as always...

Nico.

Nico good point but i really thought Mark Whalberg desrved that oscar i have seen all of those films you listed where is finest work was done except for Boogie Nights. He was great in Three Kings and Invincible he was good in The Perfect Storm but not great. But i really thought his best work was in The Departed he was also very good in Shooter. But Nico i forgot about Three Kings what a great film i havent seen that for a while i should watch that again i love that movie.

[Nodding] Mark Wahlberg's ten best roles, to date: (My own opinion, here, obviously...)

[1] Eddie Adams / "Dirk Diggler", Boogie Nights. A nearly flawless film, and actually one that was a good deal less sensational / ribald, and much MORE wholesome / conventional / "family values"-affirming, than its overblown reputation would have people think (I mean, it's basically the parable of the Prodigal Son, yeah?) -- one that ought to have earned Wahlberg a Best Actor nomination at a minimum... I mean, come on, Dustin Hoffman, for Wag the Dog?!?!? What was the bigger fraud, the plot, or the nomination? Unbelievable...

[2] Seargeant First Class Troy Barlow, Three Kings. Honestly, EVERYBODY needed nominations for this one. Ice Cube (the...next...REALLY...BIG...thing!) included.

[3] Vince Papale, Invincible. Yeah, yeah, I know. It's a feel-good sports movie: Rudy Goes to Philly. Watch it again. This is the film that proved to me Wahlberg is going to be a GREAT actor, one of the very best of his generation, because he so totally UNDERPLAYS this role, allowing it to breathe, and so creates an exceptionally grounded, relatable, honest character, one who persuades us of his strength and self-sufficiency while at the same time allowing us to see his vulnerability and desire to please. (Greg Kinnear turned in a very fine performance as a young Dick Vermeil, too.)

[4] Bobby Shatford, The Perfect Storm. I don't care what Wolfgang Petersen was trying to make, this ain't an action movie. Neither is it yet another spectacular special-effects film, though there are certainly some breathtaking sequences and visuals in this film. This is a small, intimate, at times even profound character drama, one that frankly feels far closer to a stage adaptation of a Herman Melville work than, say, Dante's Peak. Here, again Wahlberg dials it down, avoiding the certain temptation of turning in a BIG! LOUD! performance in a BIG! LOUD! HUGE! blockbuster film. Shatford, a little like Eddie Adams, is a very young boy playing at being a far more mature man; he wears the responsibilities of his life, to his girlfriend (a superb performance, one of many recently, by the exquisite Diane Lane), his boss (George Clooney, in typically fine form) and his crewmates (so many outstanding performances, I'd run out of room cataloguing them all), a little like Tom Hanks did the adult Josh Baskin's too-large-by-half clothes at the end of Big. Like the Andrea Gail itself, Bobby's out of his depth, and Wahlberg manages to walk that fine line between cocky indestructibility and knowing dread PERFECTLY. This performance might even deserve to be higher on my list, actually.

[5] Staff Sergeant Sean Dignam, The Departed. As I said, I consider this to be pretty much a cameo role -- he's onscreen perhaps fifteen minutes in the entire film, and as his character is primarily the "bad cop" counterpart or foil to, well, everybody else, I can't rate his work much higher than this -- he's R2-D2 to Martin Sheen's C-3PO, after all. (Anyone want to bet whether THAT analogy's ever been used before?) But he infuses this part with such legitimacy, it's hard not to be a fan. I love the little touches, like when he eases off and slides, effortlessly, from prick to concerned colleague, just like that in his scenes with Leonardo DiCaprio. Not too many actors could pull that off convincingly -- Hey, what's the deal with this guy? Is he a jerk, or a friend? This is bullsh!t could well have been audiences' response, but it wasn't, and that's entirely due to Wahlberg's craftsmanship. He absolutely SELLS us on this tough, complex, nuanced character, and he does it with a bare minimum of dialogue. (And not a few four-letter words.) A home run.

[6] Chris ('Izzy') Cole, Rock Star. Another performance similar to Wahlberg's in Invincible, as well as in Boogie Nights. Izzy's a little less complicated than Vince, but the youthful exuberance, the naivety, the shining ebullience, is set off nicely by Izzy's transformation (evolution?) back into a wiser, darker, more mature Chris. This is a decent film, but it could have been great. Some of the casting was off (others, particularly of Dominic West, were spot-on), and too much attention was paid to a truly icky hermaphroditic love triangle in my opinion... It's a shame. Worth checking out, if only to appreciate Jennifer Aniston (cast, here, as Eye Candy) and a very early Timothy Olyphant (Seth Bullock of Deadwood), btw.

[7] Bobby Mercer, Four Brothers. This is a straightforward story, but Wahlberg invests it with a brooding gravitas that was perhaps the most compelling thing about the film. I wanted to like this title a lot more than I ended up doing.

[8] Leo Handler, The Yards. An up-and-coming Joaquin Phoenix stole the show, but, again, Wahlberg brings such grittiness and capability to his role, that you almost don't realize how good a job he's doing. This is an incredibly underappreciated film in my opinion.

[9] Danny Wallace, The Corruptor. Holy Hell, am I going to catch it for THIS one (at least, until folks get to [10]); but, you know, this is one of the very best "buddy" movies ever to come out of the genre, in my opinion. The acting all-around is solid, even by Chow Yun-Fat, who's pretty hit-and-miss when it comes to his Western roles; this is the film that first put Wahlberg on my screen, actually, since I didn't see Boogie Nights until much, much later.

Finally... [10] Captain Leo Davidson, Planet of the Apes. Wahlberg does just what he ought to have done in this film: Keep it serious and keep his eye on the ball. But, Hell, I love the film, even though its ending is one of the most-maligned in recent cinematic history. (I happen to disagree.) No, it's NOT the original, and Wahlberg is certainly NO Charlton Heston (and, seriously, thank God. I always wonder why William Shatner gets parboiled for HIS scenery-chewing overacting, but no one ever seems to call St. God on it...). Neither did it, or he, try to be. This is, seriously, a far, far better film than most people give it credit for. I happen to think Tim Burton is extremely over-hyped, but he knocked it over the center-field wall with Planet of the Apes, in my opinion.

Now, if you'll excuse me, I have some cast-iron skivvies to don; I have a feeling the hounds have already been released for what I've opined, here...

I remain, as always...

Nico. (Down, Fluffy, down!)

I see your well founded opinions there Nico, but I have to say I am a little surprised that Italian Job and Shooter didn't even earn an honorable mention.
Obviously Charlize Theron stole the show in Italian job, but as always Marky Mark was there to round out and fill in what was lacking.
its what he does. pretty much every role he has is understated because he isn't the actual lead, and when he is the lead, he works in such a way that shine a spotlight on those acting around him, while he just flows naturally into the scene.

becs: Good points. I saw The Italian Job as such an ensemble film, and Wahlberg's role so narrowly drawn, that I didn't even consider it. (Although I love the film, and am eagerly anticipating its sequel, The Brazilian Job... to be followed by what? The Indonesian Job? The Paraguayan Job? The Ivory Coastian Job?)

I didn't like Shooter, for a lot of reasons. I hate it when a film aims too high, and misses. The script needed to be toned down, and its characters given less exposition and more, you know, to actually DO. This was a film that tried to be taut, intelligent and deep; it managed to be mildly suspenseful, I suppose, but little else. I'll take Sydney Pollack's The Interpreter over this any day.

...[A]s always Marky Mark was there to round out and fill in what was lacking. its what he does. pretty much every role he has is understated because he isn't the actual lead, and when he is the lead, he works in such a way that shine a spotlight on those acting around him, while he just flows naturally into the scene.

What a terrific comment! And you're 100% correct. Wahlberg's one of the most "giving" actors I know; I put him up there with Tim Roth, Daniel Day-Lewis, Gary Sinise, David Morse and Tom Hanks, in that regard.

Good stuff, becs, keep it comin'!

I remain, as always...

Nico.

Bless you Michael Bay. Armageddon is a masterpiece.

Nico, I can see why you liked Planet of the Apes. I really liked it up until the last scene. I have never watched a movie that I liked turn me off so quickly. If it would have stopped after the shuttle launched into space. I think I really would have liked it.

Could somebody explain to me what about The Perfect Storm is so note worthy? The effects are impressive, the cast's interaction was solid, but the story never really me completely and the end really pissed me off. I felt like 'what was the point of this movie'? Someone please educate me. I need learnin' on the subject.

As for Mark Wahlberg in general, I always thought he was a likable and servicable lead. Nothing great, but easy to watch. I think his range is similar to Ben Afflecks (not a rip, just a description), but Wahlberg seems to hacve a better idea of his range and talents than Affleck.

I like Wahlberg in Italian Job and Invincable, and am curious to see Brazilian Job (is it just me, or is the title kinda pornish?). I think if the core cast remains the same it will be solid, and the bigest question mark will be the plot- why are they back at it again?

tuan: [Laughing] Sorry, dude, I only have it in me to write one Why I Needed Superman Returns per month. (Which, btw, I STILL haven't finished!)

But... Dude, seriously, what's not to love? Forget the special effects, they were the LEAST "special" thing about the Planet of the Apes re-up. What about the sets, the art direction, the costumes, the prosthetics? What about the acting? (Yes, I really, really DID say, "What about the acting?") I mean, Tim Roth? Helena Bonham Carter? Paul friggin' Giamatti? Come ON!!! The film oozed coolness out of every pore, from the spectacular cinematography to the wholly inventive props and armor; from the vision of a parallel, simian civilization to the entirely believable pseudo-attraction between a man and his chimp (or, erm, actually, a chimp and her man). Plus, a cameo by Charlton Heston! Not to mention, Danny Elfman's incredible score, which never, ever leaves my CD changer... I love me some Apes! Come on and rock me, Dr. Gaius. Now, go on, fling poo at me or something.

P.S. Dude, may I just say, F@%# Kevin Smith. Overhyped, overexposed, overweight blowhard, he managed to write a terrific script for Dogma, yeah, and Clerks was a bit of inspired lunacy, but the man hit his career apex with Mallrats (or, if you prefer, Chasing Amy), and has spent three-quarters of his career just telling the same, not-terribly-funny-to-begin-with joke, over and over and over again. He's like Woody Allen (but with even less talent... Man, I can't believe I just said that), doing the same shtick for decades, or a modern-day version of Cheech & Chong. I'll say this for him: He's not a bad actor; he was the only thing worth remembering about Catch and Release. But, dude, seriously, you're over. Go back to film school, or working behind the counter at Blockbuster, or pump gas, or something, until you have, you know, another NEW idea. (Which would be, for those of you at home keeping score, his second.)

That being said, Smith's blog is some funny friggin' sh!t.

jamey:

Nico, I can see why you liked Planet of the Apes. I really liked it up until the last scene. I have never watched a movie that I liked turn me off so quickly. If it would have stopped after the shuttle launched into space. I think I really would have liked it.

See, I "get" the ending, I think. I like films that don't have to have everything wrapped up in a tidy bow, that require the audience to stretch their imaginations a little, too, to come up with their OWN plausible explanation. I don't mind working at it. Besides, it was better than using something ridiculous like tachyons [barf] to explain a Problematic Temporal Plot Complication, anyway, wasn't it?

Could somebody explain to me what about The Perfect Storm is so note worthy? The effects are impressive, the cast's interaction was solid, but the story never really me completely and the end really pissed me off. I felt like 'what was the point of this movie'? Someone please educate me. I need learnin' on the subject.

If you don't mind, I'll step aside and let someone else have at it, for now. I'm busy penning my defense of Superman Returns. [Grin]

...Wahlberg seems to hacve a better idea of his range and talents than Affleck.

I don't think we'll ever really know how good an actor Ben Affleck MIGHT have been, now... at least, until HE hits "middle-age." I personally feel, had he not decided to take the easy path to superstardom instead of honing his craft (like his buddy, Matt Damon, did), he might well have been the next George Clooney, or Tyrone Powers.

I ...am curious to see Brazilian Job (is it just me, or is the title kinda pornish?).

[Snort][Titter]

...[T]he bigest question mark will be the plot- why are they back at it again?

Contractual obligations.

I remain, as always...

Nico.

My Studios

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