American Gangster

After being urged by a fried for several months, I finally watched American Gangster and I can’t shake the slight enthusiasm. Flawless direction, brilliant performances (and I don’t like Denzel too much) and an interesting story (at least for me, I haven’t seen many gangster movies so I can’t compare it within the genre), all combine to deliver a five-star worthy film. And even though I generally prefer films that are half as long, this one didn’t bore me for a second. (07/04/2008)

While most famous directors in this age are making films solely for their own entertainment, Ridley Scott comes up with a work of such incredible awareness and craft that it’s essentially unbelievable. Two and a half hours of the essence of scorching filmmaking that will sweep you away with its unique ode to the time period, perfectly written and superbly acted parts, and, last but not least, the naturalistic violence that a proper gangster cannot do without. Scott extracts the essentials from Scorsese, De Palma, and Mann, but remains incredibly his own, i.e., a self-assured filmmaker with a unique authorial imprint that will be indelibly etched in the viewer's mind forever. There is no point in sparing superlatives here. Believe me, they’ll get Oscars for editing, cinematography, and directing! Edit: The absence (albeit!) of nominations in these categories is the American Film Academy’s greatest crime since the beginning of the new century! Shove the Oscars up your ass! (11/03/2007)

Another contribution to the family of top-notch mafia flicks. The first half is a little protracted and boring, but the second half makes up for it. Denzel Washington steals the show, forcing Russell Crowe into the sidekick role. The new Scorsese (The Departed) was more superficial, but stronger in details and with sharper edges. Scott is slower and less flashy, but also more harmonic and easy to follow. The kings of the genres for me are still Coppola (The Godfather) De Palma (Scarface) and old Scorsese (Goodfellas). (12/20/2007)

I have a feeling Ridley Scott must be on some kind of steroids, or he's an alien. To be able to have such a work pace and commitment at his age (7 films in the next 2 years(!!!), directing or producing) without lowering his standards of quality? Hats off to him! And there's no need to waste superlatives and repeat what has already been written, just a mention of Josh Brolin. His corrupt cop with his slicked back hair, booming bass and mischief in his eyes is exactly the persona, the expression imprinted on your memory that will come to mind when you think of this mafia epic in another 20 years. His few minutes of screen presence almost overshadows the two leads, his blackmail of Frank Lucas – "...Cause you don't fuckin know me! Do you see that right there? Special Investigations Unit. Special. Get it?" – in its bluntness and commanding delivery, almost made me smile. Just an irresistible son of a bitch par excellence. If Judi Dench got an Oscar for her four-minute snap in Shakespeare in Love, I'd give Josh two! (01/03/2008)

It's been a couple of months since the release in cinemas and I still can't quite grasp the genius of this opus. Right after the premiere, I got carried away by the enthusiastic applause for the result, but over time, all that remained in my head was the traditionally stunning Crowe (unlike Washington, who must always play at full capacity, Denzel has a role written in such a way that he comes out as a king in any case) and Scott's precise direction, without which the film would collapse several floors down. However, I also have a problem with him not offering me a scene that would go down in history, and if I don't have to aim so high, at least something smaller like a stylish shootout. But that is missing and paradoxically, one of Zaillian's most proclaimed scripts is to blame for that. The lack of black and white between the two main characters, which causes the absence of a villain. The evil gaze is involuntarily directed at the generalized group of "corrupt cops", and despite apparent objectivity, Scott takes us where he wants us to be, and I have to be a little disappointed because this is not how I imagined Ridley's pivotal work in his career at all. I understand the global acclaim, but despite many positives, I'm not joining in. (01/11/2008)