Tres bon, mais tout de meme decevant par rapport a la nuit nous appartient du meme realisateur. Prises une a une les scenes sont excellentes mais finalement le film dans sa globalite n'est pas assez puissant

Not brilliant but its a story.

I had high expectations for this film (that I should have seen 9 years ago when it first came out), but they were dampened slightly when I made the mistake of perusing just one of the DVDs extra features before watching the film proper. The feature ... (read more) I had high expectations for this film (that I should have seen 9 years ago when it first came out), but they were dampened slightly when I made the mistake of perusing just one of the DVDs extra features before watching the film proper. The feature was a slide show of the film's visual influences, comprised entirely of some of the world's most famous paintings, stopping most frequently on Edward Hopper. All of which might have been just fine, even justifiable, if the film itself didn't suggest that Gray had merely stolen the aesthetic Gordon Willis graces "The Godfather" with. The amber hues, autumnal moods, and religiously themed staging can all be attributed to the Coppola monolith, rendering Gray's time at MOMA and the Met somewhat superfluous. Except that he took credit for it with a pretentious special feature. Beyond its visual design, the film itself is also largely derivative, sprinkling the influence of Coppola with a dash of Scorsese, though perhaps a touch too much "Goodfellas" and not enough "Mean Streets." What I find striking about the two Gray films I've seen is the palpable sense that Gray wants to communicate something authentic about the social environs he knows best, but that his penchant for visual and narrative allusion makes his films feel like hollow pastiche. The first hour of Affleck's "Gone Baby Gone" does a much better job of getting at the documentary, lived-in feeling Gray is aiming for.

Really dark, realistic + a shocking final!

Un tres grand film, meme s'il est un peu moins fascinant que Little Odessa et La Nuit nous appartient.

is it merely a coincidence that james cann resembles vito corleone here?