Tag: Mafia

“Mafia” – TV Series Review

A scene from the Swedish TV crime series “Mafia.” Courtesy of ViaPlay

The crime drama “Mafia” (originally “Maffia”) from Sweden is a bit atypical in its focus. Covering a period from 1991-1999, it’s mainly about Yugoslavian gangs in Sweden smuggling tax-dodging cigarettes for unimaginable profits. The timing is key, since there were Serbian and Croatian factions in conflict over not only turf and profits, but the beginnings and continuation of the war between the two back home. Both involved sides relied heavily on their cut of the multi-millions of smuggling revenue to fund the fighting.

The main character is Croatian Jakov (Peshang Rad) who is the shrewdest member of either gang, trying to maximize profits while minimizing violence and risks. The other two leaders are his “brother from another mother” Goran (Nemanja Stojanovic) who is more impulsive, and Drago (Cedomir Djordjevic) who is a reckless bully. The other two have more physicality and charisma than Jakov (think of Tim Roth vs. Jeff Fahey and Vinnie Jones), making them the ones others will follow, and whom Jakov always has to wheedle into patiently pursuing a wiser course of action. He’s the only one who sees the big picture and understands how to fly under the radar and play the long game.

They butt heads with a larger gang headed by the utterly ruthless Serbian Zlatko (Miodrag Stojanovic, who looks like James Carville in a perpetually foul mood). The maneuvers and shifting alliances among them and others make for a lot of dramatic tension and periodic violence. Those relations are further complicated by the involvement of the cops, headed by Gunn (Katia Winter) whose cooperation with Jakov as the lesser evil of the lot is tenuous, at best. Is she using him to limit the smuggling and body count, or is he using her to unseat the others? Or both? Will she wind up appreciating his relatively low-key approach to the racket or jailing him?

The six 45-minute episodes each cover different years in the decade, as events in Sweden and back home unfold. There are a lot of moving pieces to follow and several compelling side relationships keeping the tenor more human and less geopolitical. I frequently complain that such seasons and miniseries from The Continent run 8-10 episodes when six would be sufficient. This one proves my point, as there’s little fat in the package that lesser producers might have milked for more running (and commercial-selling) time. Performances are excellent all around. The pace and scope of action are above average for such fare. I’m not exactly thrilled with aspects of how the season ends, but the product was engaging enough to make me hope for further developments in the lives of the surviving players.

“Mafia,” in Swedish and Serbo-Croatian with English subtitles, streams on ViaPlay starting June 19, 2025.

RATING: 3 out of 4 stars

THE TRAITOR (2019) – Review

So, you finally got around to watching (probably streaming) THE IRISHMAN (Bobby, Al, and Joe seemed to be staring right at you every time you opened up the Netflix app)? And you’re ready for another hit (not the “murder” kind) of mob movie epic-ness. Then here’s a flick that takes us back to where “it all began”, the “old country” of Sicily (and it’s boot-shaped neighbor Italy). And, like that other flick, it’s a true story, though the authenticity of Scorsese’s work has been questioned. But, no this one’s legit, a word we don’t usually associate with the “organization”. Like the GODFATHER trilogy, and the former film it spans several decades, although it clocks in at an hour or so less running time than the story of the “house painter”. Unlike him, this story’s main character worked with the feds, spilling the beans (maybe pasta instead). That’s why he was referred to in “certain circles” as THE TRAITOR.

The tale starts with a rather festive occasion, as the main “made men” of Palermo gathered, along with their families, at a swank beach house to split control of the highly lucrative heroin market. There to attend and observe (no access to the big “sit-down” because of a recent incarceration) is Tommaso Buscetta (Pierfrancesco Favino), AKA Don Masino, along with his third wife Cristina (Maria Fernanda Candido), their kids, and his adult sons from his previous marriages. Concerned that this “truce” will not last, Buscetta relocates his current family (his grown sons remain) to Brazil (with new names, of course). As he feared, the bloody drug turf wars begin. Despite the distance, Buscetta is drawn back in when the Brazilian police (with lots of military muscle) raid his estate and soon extradite him back to Italy. Soon after his arrival Buscetta learns of the violence against his family members. He channels his grief and rage into a big decision: he will co-operate with the authorities. Under house arrest, he spends most of his days interviewed by crusading Judge Giovanni Falcone (Fausto Russo Alesi), when not on the phone with his wife, who along with their children is living in America as part of a witness protection deal. Buscetta eventually gets a “roommate”, Totuccio Contorno (Luigi Lo Cascio) who is also talking because of his disgust over the new Cosa Nostra (the men don’t call themselves “Mafia”), who have no “code of honor”. As the arrests pile up, can these men live long enough to “spill the secrets” that will end the mob once and for all?

This sprawling underworld epic is anchored by the assured compelling performance of Favino who brings a nobility to this often brutal street “soldier”. From his first moments in his “disco” suit (right out of Travolta’s closet), he commands the screen, strolling through the big party like an alpha wolf protecting his pack, from the babies to his drug-addled elder son. This continues on into his South American sanctuary, though he shows great wisdom and restraint to protect his loved ones, quieting his wife’s screams that he is really his new false identity. Buscetta resigns himself to serve his time, but then Favino lets us see the cracks in his armor as he ‘s told of the evil done to him by his former friends (his second family). He shows us the change in direction as he lives to take the monsters down and be returned to his wife and kids. Favino even has some fun with his role’s vanity as we see him dabbing black dye into his hair before prison “lights out”. As time changes and his character ages, Favino keeps us riveted. He also has a passionate chemistry with Candido as his devoted spouse. And there’s the friendship, perhaps a “bromance”, with two very different men. To Cascio’s Totuccio he’s the calming big brother, trying to temper his thirst for blood (Cascio is often both scary and funny as his brain can barely keep up with his “machine gun” mouth). The more complex partnering is that of Buscetta’s slowly building alliance with Falcone, played with grit and determination by Alesi. Falcone pushes back hard on his prisoner, rewarding him for his answers, but never getting seduced by his charms or claims of honor reminding Buscetta of the poison he sold that destroyed lives. In the end, there’s begrudging respect that feels earned, as Alesi shows us the heroism in this protector of the public.

Despite our familiarity with the underworld thanks to the many fictitious crime sagas (the town of Corleone is mentioned) director Marco Bellocchio brings great energy and immediacy to the story (he was one of five credited writers). For the early violent sequences, he includes a “countdown” number in the upper left corner of the screen though we’re left to wonder if this denotes the speed of the killings or reflects the general body count during these gang wars of the early 1980s. These scenes are quite chilling especially when robed assassins chase down a priest as he performs mass (guessing this was not part of their “honor code”). The film doesn’t shy away from presenting some of the brutal tactics used by the law (the twin helicopters “persuasion” scene is a stunner). Bellocchio even livens up the usually dry trial sequences, as the caged mobsters at the back of the court heckle and harass judges and witnesses alike (“I must look him in the eye!!”). Most amusing are the sequences set in the states as America is portrayed as a dreary dark place that punishes the Buscetta clan (loved the grocery store with AR-15 at the end of the cereal aisle). Just as effective are the ways that Bellocchio shows the passage of time with Favino without elaborate make-ups or CGI (as in IRISHMAN), but with subtle cosmetics, hairstyles, and padding. And despite the running time, the sense of doom, that death is just moments away (“The Cosa Nostra takes their time”) is maintained (the hit on the highway is a technical P.O.V. marvel). And like the best of this genre, the “made men” aren’t romanticized, especially those at the top that seem to revel in acts of cruelty. They could have assigned an underling, but are compelled to get their hands “dirty”. THE TRAITOR is a memorable true tale of revenge and redemption, showing us how one man can make a big difference.

3.5 Out of 4

THE TRAITOR opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

THE WANNABE – The Review

wannabe_image

It’s rare that I find myself questioning the judgement of Martin Scorsese, but after having seen THE WANNABE, which he co-executive produced with Dean Devlin, it’s inevitable, even if it is short-lived. Directed by Nick Sandow, the film tells the story of Tom & Rose, an ambitious couple, but not well endowed with common sense or street smarts. The film is based upon real-life events that occurred around the trial of mafia boss John Gotti, an unusual case of celebrity obsession, if you will.

THE WANNABE, as silly as the title sounds, is just that. It’s the story of a social outcast who dreams of being a big-shot gangster and tried very hard in his own, pathetic way, to make those dreams a reality, when all it really accomplishes is chaos, death and destruction. On it’s own, this is a fairly generic, albeit not poorly made movie of average entertainment value. The film’s not bad, but it’s also not great. The performances are acceptable, but not inspiring. The direction and technical production are perfectly reasonable examples of what we’ve come to expect from a run-of-the-mill niche genre film such as this is, but there’s nothing that stands up and screams for our attention as a unique cinematic experience.

Tom, played by Vincent Piazza, is the brother of an Italian-American florist names Alphonse, played by Michael Imperioli, but Tom has his sights on a bigger, brighter future for himself. Every ounce of Tom’s being is fixated on John Gotti and the events unfolding as he awaiting judgement by the federal government trying him on charges related to organized crime. Indirectly, Gotti has holds influence over Tom, as a type of mentor or paternal figure.

Tom’s affection for Gotti is unwelcome and discouraged by the gangsters who disowned him and unnoticed by pretty much everyone else. My primary complaint about Piazza’s portrayal is that he’s too desperate, too needy, too pathetic. It’s difficult to imagine he managed to succeed on the relatively small and unimpressive level that he did. Piazza’s Tom feels like an exaggeration of the real-life character that must have been.

Tom is a good guy, but his delusion have misled him down a dark and unforgiving path of misguided hopes and dreams, which in turn lead to an equally dark and unfortunate path when his dreams don’t pan out and he takes the outlaw life into his and Rosie’s own hands without the necessary means to do so intelligently. In short, Tom & Rosie feel like entries in the World’s Dumbest Criminals collection, but we want them to be more like Robin Hood and Maid Marian.

Rose, played by Patricia Arquette, is a slightly older Italian-American woman with a similar mindset and tendency to habitualize drugs as Tom. Arquette’s portrayal of Rose appears to be more of a stereotypical manifestation of the character type than anything truly original or [hopefully] anything truthful to the real person on which the character is based. As a result, it becomes difficult to connect to Rose’s struggle and accept her as anything more than a tragic sidekick or accidental accomplice.

THE WANNABE’s biggest flaw, in my opinion, is that it double dips into source material that’s already been used too recently to justify another film. As they say, nobody wants sloppy seconds, but that’s what we end up with here in Sandow’s film. While other similar films may glamorize the lawlessness and violence, this film accentuates the ignorance of it’s central characters, or let’s just say it… it feeds off of the implied stupidity and festers within that notion, resulting in a two-dimensional cartoon that captures only a portion of the complete human being.

Ultimately, this movie feels like a tabloid version of the story, versus taking a more authentic, realistic approach to two actual human lives that, for better or for worse, made the decisions they made that led to the foreseeable consequences, all of which are predictable and written in modern history, but the audience loses out on what could have been a detailed character study with depth and detail.

In 2014, director Raymond De Felitta released his version of the same real-life story titled ROB THE MOB, a far superior interpretation and much more entertaining film than this, but it’s unfair to make such a comparison. So, I’ll do my best to consider THE WANNABE on it’s own merits and, if you’d like to read my review of ROB THE MOB [despite the equally cheesy title], you can do so here.

THE WANNABE opens in theaters on Friday, December 4th, 2015.

Overall rating: 2.5 out of 5 stars

wannabe_poster

BLACK SOULS – The Review

blacksouls_2014_001

Like many genre films, the category of mafia films is often branded with certain expectations. Granted, not all of these films are created equal, but we generally expect to see lots of violence and/or lots of foul language and Hollywood stereotypes. Where BLACK SOULS succeeds is in refusing such stereotypes and telling a richly deep story about an unconventional “family business” that conjures up the essence of THE GODFATHER but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.

Director Francesco Munzi’s BLACK SOULS (“Anime nere” in Italian) maintains a nearly unprecedented level of dignity for its type. The film tells the story of three brothers closely connected to N’drangheta, a mafia-like criminal organization based out of Calabria. These three brothers, sons of a shepherd, have differing views on their relationships with N’drangheta, which plays a crucial role in the telling of their reluctantly interconnected lives.

Rocco (played by Peppino Mazzotta) is a quiet, well-mannered man of means. Rocco is the most successful of the three brother, business-minded and methodical, but seems cautious in his relationship with N’drangheta business and how he conducts himself. Rocco has a nice, big house, a beautiful wife and is the picture of a comfortable, low-key life in this Italian underworld.

Luigi (played by Marco Leonardi) is the brother most typical of what we imagine in an Italian mobster. Watching Leonardi play Luigi is akin to watching Ray Liotta immortalize Henry Hill in Scorcese’s GOODFELLAS. Luigi is proud of his life and his affiliation as a gangster. He’s not stupid. He doesn’t make poor decisions because of this, but he does wear it on his sleeve. This subtle mix of machismo and bravado convey a confidence that makes Luigi likable, but also dangerous.

blacksouls_2014_002

Luciano (played by Fabrizio Ferracane) is the eldest brother. He is also the brother with the least interest in the N’drangheta but with the most at stake. Luciano has taken up their father’s legacy as a shepherd, shunning the N’drangheta life as much as he can, but living amidst it and having family ties makes completely disowning the notion an exercise in futility. Pasqualle (played by Vito Facciolla) is currently the “don” in control of power, but is far from friendly with the brother’s criminal family.

When Luciano’s son Leo (played by Giuseppe Fumo) shows an interest in N’drangheta, Luciano attempts to lead him away from danger, but Leo has no interest in farm life and Luciano instead pushes him away. Leo leaves home to spend time with his uncle Luigi, whom he idolizes, and stays with Rocco and his family in Milan. While Rocco is reluctant to officially introduce Leo to the family business, Luigi has no reservations and casually supports Leo’s efforts to wiggle his ways into the family’s affairs.

Leo is drawn to the N’drangheta life like a moth to a light. He looks at the life his father and grandfather led and sees nothing but a prison and has no intent on being shackled to that kind of tradition. Fumo captures the quintessential youthful ignorance associated with being blinded by a desire for fame, fortune and ill-gotten respect. He allows his curiosity to ferment into arrogance and entitlement, like a young Jedi being seduced and corrupted by the dark side of the force.

blacksouls_2014_003

Ferracane’s restrained emotional performance is undoubtedly the marquee strength of BLACK SOULS. Luciano is clearly distraught by his son’s ambitious intentions, and bitter about his history and current connection with the N’drangheta, despite his efforts to break clean. Ferracane bottles up this anger and disdain, leading to a highly physical performance. Dialogue plays a secondary role to Ferracane’s body language and facial expression of emotions. This plays beautifully into Munzi’s film.

BLACK SOULS is similarly paced with the racing of turtles, intentionally, and is a surprisingly quiet film. Dialogue is sparse and enjoys long stretches of near silence, perhaps further conveying the underlying theme of loss and mourning, both literal and analogous in nature. A great deal of the character interaction is made through eye contact and gestural interpretation. There’s more to these characters than meets the eye, and their stories go deeper than we, as outsiders, can fully understand.

Despite the slow and silent nature of the film’s structure, BLACK SOULS is a fantastically engrossing portrait of conflicting obligations. Gorgeously photographed and accompanied by a thematically appropriate score by Giuliano Taviani, BLACK SOULS is a sensory pleasure wrapped around an emotionally complex tale of torn souls.

BLACK SOULS (“Anime nere”) opens in New York on Friday, April 10th, 2015, with a nationwide release to follow.

Overall Rating: 4 out of 5 stars

_Vitagraph_BLACK_SOULS_KEYART_2_Low Res

WHITEY: UNITED STATES OF AMERICA VS. JAMES J. BULGER – The Review

whitey-image

It’s been quite a while since we’ve had a decent real-life career criminal to ogle over in the media. It seems the days of Al Capone, Dillinger and Bonnie & Clyde have long since passed. Since then, we’ve had plenty of fictional films to fill in the void, but even THE GODFATHER and SCARFACE stop short of the infamous “based on a true story” appeal that gets us truly salivating.

WHITEY: UNITES STATES OF AMERICA VS. JAMES J. BULGER is a film that perhaps attempts to fill this void. This is not the story of the rise of a criminal empire, but the complicated and calculated decline of a lone wolf. This film indirectly chronicles the trial of James J. Bulger, a ruthless criminal loose cannon who ruled Boston with an iron first for some three decades. I say indirectly, because the film deals more directly with the emotional and legal aftermath of Bulger’s past actions.

In all fairness, WHITEY is not a dramatic film intended to entertain viewers, but rather a documentary intended to educate and raise questions. However, I could not help but feel trapped within a Bermuda Triangle of conspiracy theories and finger-pointing. As a documentary, I hope for a more engaging story that captures my attention through human experience and factual revelation. Instead, WHITEY ends up feeling like a 120-minute block of 24-hour cable news programming.

Director Joe Berlinger is best-known for his PARADISE LOST trilogy of documentaries, arguably one of the more monumental pieces of non-fiction filmmaking. Personally, I feel — not all — but a small portion of that is due to the hot button content and that BROTHER’S KEEPER is his most accomplished film, thus far. WHITEY never seems to establish a connection with the viewer. The two men we feel the most empathy for are given relatively minimal screen time in comparison to the film at large. Stephen Rakes, a man terrorized and extorted by Bulger, a man whose livelihood was taken and whose family was threatened — allegedly — by Bulger, ends up the ultimate victim.

For me, the priorities in WHITEY seem to be slightly misguided, focused more on the sensationalist nature of the story than the human element and the facts. Then again, this is a relatively recent story, fresh in our collective minds. This is a hot bed of media interest, now with Johnny Depp beginning production on a feature film about the criminal. In some sense, I feel the documentary suffers from having jumped on the bandwagon too soon. Had Berlinger allowed the topic to simmer and settle for a few years, allowing emotions to subside and minds to regain some objectivity, it could have made for a much more compelling piece of cinema.

Clearly, there is a sense of urgency built into Berlinger’s work. Documentary filmmaking, to some great extent, relies on the filmmaker’s ability to move at a moment’s notice and seize opportunities as they occur. After all, this is real life, not scripted tales that can be shot and re-shot until you get just the right take. With the PARADISE LOST trilogy, there was an even greater sense of urgency as these films were, in part, an effort to help support a case to free these three young men from death sentences for crimes of which they were wrongfully accused.

WHITEY has some strong moments, especially later in the film as we continue to follow Steve Davis, the brother of victim Debra Davis and regular friend in circumstances with Stephen Rakes. On the flip side, the brutal honesty and complete lack of remorse shown in interviews by Bulger collaborator Kevin Weeks is both repulsive and fascinating. I could not help but give the man credit for knowing, without compromise, what he was and not apologizing for that, but still feeling this was an unforgivably terribly human being.

In the end, once I managed to get there, I found myself somewhat informed but mostly exhausted after having waded through two hours of slowly paced, unfocused filmmaking. I am a patient man when it comes to viewing films. It is truly rare for me to have that tell-tale moment when you look at your watch during a film, but this occurred a couple of times in the second half of the film. Had this been strictly a cable television special, which is how it felt, I would be less critical, but as a feature-length film, I fear WHITEY: UNITED STATES OF AMERICA VS. JAMES J. BULGER is equally long and insignificant as its title.

WHITEY: UNITED STATES OF AMERICA VS. JAMES J. BULGER opens in theaters and Video On Demand on Friday, June 27th, 2014.

Opens in Los Angeles Friday, July 11th at Laemmle’s Royal in West L.A.

Overall Rating: 2.5 out of 5 Stars

whitey-poster

ROB THE MOB – The Review

robthemob_image2

There are many ways a person can commit suicide, quick and easy or long and slow, but the end result is all the same. One way, for example, would be to deliberately do something to royally piss off the mafia. Yes, that would just about guarantee your own demise. With this in mind, let’s talk about a film, based on a true story…

By its title, ROB THE MOB does sound like it should be a comedy about the mafia. In fact, it is actually a very funny film. I’d even say it holds its own against MY COUSIN VINNY (1992). As appealing as that is on the surface, it gets better. Not only is this a funny, entertaining movie, but it’s also based on a true story. The events in this film, or at least parts of it, actually happened… in real life!

So, why am I making such a big deal about this? Let me explain. ROB THE MOB is about a couple from Queens, New York who decide their big break will be to steal from the mafia, i.e. “Rob the Mob.” Sounds pretty straight forward, right? That’s how Tommy and Rosie feel about their master plan to make it big and live the high life. Tommy, played by Michael Pitt, is a stick-up man and his girlfriend Rosie, played by Nina Arianda, is the getaway driver. Together, they are a match made on the mean streets and a modern-day Bonnie and Clyde.

Tommy and Rosie both get pinched, do their time, then make an effort to live a straight life once out of the slammer. By chance, or by twist of fate, this coincides with the trial of notorious modern-day mob boss John Gotti. Tommy gets the idea to attend the trial as a spectator where he learns about mafia social clubs peppered around New York City where gangsters hang out and no guns are allowed. Unfortunately for Tommy, a light bulb goes off and his big plan is hatched. He’ll knock off a mafia social club, because mobsters always have lots of cash, no danger of getting shot, and no danger of getting caught because a mobster isn’t going to call the cops. On the surface, this is a brilliant plan. The problem, of course, is that neither Tommy or Rosie are the sharpest criminals.

ROB THE MOB, written by Jonathan Fernandez and directed by Raymond De Felitta, pulls headlines right out of the newspaper that scream to be glamorized on the big screen. Many of those very headlines may have actually existed, as written by journalist Jerry Cardozo, played by Ray Romano. Tommy and Rosie actually succeed in this insane endeavor, at first. However, as greed sets in as it so often does, the best laid plans go to waste. Tommy and Rosie get sloppy, overly confident and seduced by fame. Michael Pitt and Nina Arianda play fully into their roles and there is no doubt in the viewers’ minds that the characters were anything other than the World’s Dumbest Criminals candidates they appear to be on film. With that said, you can’t hep but fall in love with them and root for them as they continue on they Robin Hood spree at the mafia’s expense, all while certain tragedy lies waiting just around the dark and violent corner up ahead.

Big Al, played by Andy Garcia, plays the mysterious mob boss running the show in the absence of John Gotti. Despite the unbelievable antics and humorous real-life scenarios taking place, Big Al — despite his stereotypical nick name — provides a dramatic, philosophical element to the story that helps to level off the humor and grounds the story in a lesson of morality. Garcia is magnificent as the calm, mild-tempered mob boss who has a secret past and an unconventional view of the family’s future. Perhaps the best performance, however, is a rather short one provided by Burt Young as Joey D, an aging mobster who holds the key to the mafia’s survival or downfall. In this key scene, whereas Joey D encounters Tommy in one of the mafia social clubs, emotions run high, tension is taught and someone gets beaten like a sack of potatoes. If not for being such a short and limited scene, I’d already be screaming for a Supporting Actor Oscar nod… but, let’s be realistic.

Music. It plays a key role in ROB THE MOB as well. The film takes place circa 1992(ish) but the music is much more timeless, evoking an era far more indicative of the mafia’s hay days. Stephen Endelman composes the original music while accompanied by tracks from The Staple Singers’ “City In the Sky” and Wilson Pickett’s “Somethin’ You Got.” The opening sequence of the film, however, oddly sets the mood in an unexpected use of Deee-Lite’s “Groove Is In the Heart.” Trust me when I say it sounds odd at first, but quickly makes sense and certainly amps the viewer to the appropriate energy level for what’s about to take place.

ROB THE MOB ends on a bitter-sweet note. The film tells a story that is both funny and tragic. A story of two young lovers whose hearts are in the right place but at the expense of their intellect. A story of two reckless dreamers who steal from those far worse than themselves, but are abandoned by those sworn to protect them. BONNIE & CLYDE, TRUE ROMANCE, NATURAL BORN KILLERS… all films with a similar theme and sense of moral ambiguity, but none will capture your heart in quite the same way as Tommy and Rosie.

Overall Rating: 4 out of 5 Stars

ROBtheMOB_KA

KILL THE IRISHMAN – The Review

KILL THE IRISHMAN is a film based on the true story of Danny Greene, a Cleveland man of humble origins and Irish ancestry. Greene never graduated high school, but had an abundance of both street smarts and intelligence, known for his impressive reputation for reading books. Greene was also a man who had both an intense, fundamental good nature matched only by his intimidating toughness and confidence. These traits would combine to mold the man into a legend on the streets of 1970’s Cleveland.

Written and directed by Jonathan Hensleigh, best known for 2004’s THE PUNISHER starring Thomas Jane, KILL THE IRISHMAN has another connection with the popular Marvel Comics vigilante in it’s star Ray Stevenson, who played the anti-hero Frank Castle in 2008’s PUNISHER: WAR ZONE… not written or directed by Hensleigh. Neither film pale in comparison to this slice of reality, based on recent history but spiced up subtly with street humor and a slight touch of classic gangster film flair.

Greene became known as a local hero for his charitable work and his sincere interest in the lives of the working class, but also as a dangerous and formidable wild card by the mafia and police. His story shifts between being a good guy and a bad guy, residing effortlessly in the gray area of the anti-hero, a role Stevenson seems quite adept at capturing. Many people are still relatively unfamiliar with Stevenson, whose work includes roles in THE BOOK OF ELI, THE OTHER GUYS and the upcoming THOR. What I found most intriguing about KILL THE IRISHMAN was Stevenson’s performance, an effort I would have no qualms with calling a galvanizing step towards becoming an actor of a higher caliber.

KILL THE IRISHMAN also benefits greatly from a truly impressive ensemble cast of talented, gangster film genre veterans. Vincent D’Onofrio (BROOKLYN’S FINEST) plays John Nardi, Greene’s friend, organized crime figure and one time employer. Christopher Walken (TRUE ROMANCE) has a short-lived but welcome role as loan shark Shondor Birns. Val Kilmer (HEAT) makes a big screen return as Detective Joe Manditski, but I feel his performance was dull and stiff, perhaps suffering from what felt like a distinct effort on his behalf to hide the weight he has gained. I say, you are who you are, so play off it… a la Marlon Brando in THE SCORE, or Orsen Welles in TOUCH OF EVIL.

As great as this cast is already, there’s still much more to offer the film fan well-versed in genre actors. KILL THE IRISHMAN seems at times like a gangster film genre class reunion, including Paul Sorvino (GOODFELLAS), Vinnie Jones (SNATCH), Robert Davi (LICENSE TO KILL), Mike Starr (GOODFELLAS), Steve Schirripa (THE SOPRANOS), Tony Darrow (THE SOPRANOS) and Fionnula Flanagan (TV series BROTHERHOOD, and LOST).

KILL THE IRISHMAN maintains a sense of the era, combining a touch of graininess in both image (shot by Karl Walter Lindenlaub) and sound with attention to detail in apparel, architecture and automobiles.The film also connects with the 70’s era through it’s sense of humor, especially in relation to violence and language, which tiptoe in and out of the grindhouse essence of 70’s cinema. It’s subtle, but it’s there and it adds an authentic texture to the film.

KILL THE IRISHMAN falls back comfortably upon a fairly standard but effective Irish-influenced score from Patrick Cassidy. The film, filled with little details that add to the viewer’s transportation to the 70’s, was based on Rick Porrello’s book “To Kill the Irishman” and ends with a bit a archival news footage of the real Danny Greene, much like THE FIGHTER ends with a moment with the real-life Micky and Dicky.

KILL THE IRISHMAN falls fittingly within the “stranger than fiction” category. Danny Greene survived multiple assassination attempts, conveying a fearlessness that is rarely seen outside of fictional characters. After all the explosions, violence, and graphically colorful language have passed, this is ultimately a film about one man’s struggle to find his place in a world that’s far from perfect. KILL THE IRISHMAN is a film about a man struggling with his own legacy. I suspect this film will help convey what kind of man Danny Greene was for a whole new generation.

Overall Rating: 4 out of 5 stars