Dead Man's Wire (2025)

Based on a true story, a man falling behind on his payments decides to take his mortgage broker hostage until his demands are met, placing him in a makeshift "dead man's line" by attaching the trigger of a shotgun to the hostage's neck by a wire to prevent means of escape. It's designed to feel much like a 1970s throwback thriller (where the events are set), similar to Dog Day Afternoon, complete with Al Pacino. While the premise is very straightforward, and Bill Skarsgård inhabits the role, the half-baked plot is unfocused, meandering and less than exciting. Feels like they're running out of true events to adapt.

2½ cubes of ice in milk out of 5

Dog Day Afternoon (1975)

A film about a bank heist that doesn't go to plan probably won't seem like much of an original concept to a modern audience weaned on QT, but Dog Day Afternoon sells itself as being true, which is unusual. I've no idea whether it's as factual as it claims to be, but it's an enjoyable journey, nevertheless.
Al Pacino's rifle-wielding character is a kind of likeable rogue that somehow manages to turn amateur hour at the bank into a public media extravaganza, morphing a desperate hostage situation into one that highlights a number of social problems. His partner in crime (John Cazale) is more reserved but leaves a dent all of his own in viewer sympathies. Things increase at length, but Dir.  Sidney Lumet's no-frills approach keeps the heart of the story to the fore.

3½ state-employed con-men out of 5

The Godfather: Part III (1990)

I find it's best to view Part III similar to how Dir. Coppola reportedly does, as an epilogue to the Godfather's story as told in Parts I (1972) and II (1974).
A mournful tone segues into the familiar large family gathering, a setting wherein the current Don is lavished with honours and respect. His move into more legitimate business affairs gives the film a different kind of edge, but it's one that's dulled by a screenplay that feels stretched thin. In addition, the appointed successor to the Corleone name is never fully able to step out of the shadow of the characters/actors that came before. Even when considered as a counterpoint, it's not as satisfying as it could've been.
Pacino and Shire are great (and for the record I don't think Sofia deserved the criticism she received), but the highlight is the superb finale, staged at an opera it is itself a beautifully orchestrated piece of pure drama.

3 accounts settled out of 5

DICK TRACY [1990]

In an attempt to cash in on the comic book blockbuster hoopla of 1989's Batman, writer/actor/director/egomaniac Warren Beatty adapts Chester Gould's Golden Age comic strip, Dick Tracy, for the big screen.
Beatty stars as the yellow-cloaked detective who's life is made complicated by the rise of eccentric mob boss Big Boy Caprice.  Staying overly faithful to it's source material makes for a pretty one-dimensional story filled with a gaggle of one-dimensional characters.  On the plus side, it's all brought to life by some dazzling colorful visuals and entertaining performances from all the actors portraying the comical villains.  Even 25 years ago, Beatty was too old to play the action-hero and it shows with some clumsily executed stunts that reveal his fragility and inability to seem comic-book dashing.  The flashiness of the film is both it's greatest strength and weakness resulting in a beautifully unique wall of nothing.

2½ cement baths out of 5

The Godfather: Part II (1974)

Part II is a sequel, as you’d expect, but also a well-timed prequel showing how a young Vito Corleone (played by Robert De Niro) rose from village youth to absolute power, attaining the position the films are named for. It’s so good that it could've easily been the beginnings of a standalone film, but perhaps then the dramatic contrasts with the later years would've been lessened.
In the present, the current Don faces challenges from a number of different directions, some a product of the changing times and some a product of things unchanging. He’s away from the family home often, but the weight of duty isn't something that can be boxed up and left behind.

5 family ties out of 5

Carlito's Way (1993)

In one of Pacino’s best roles he attempts to go straight after being released early from a lengthy prison sentence. His efforts aren't entirely successful, in part because the old story of needing capital in order to build a better life and wanting it sooner rather than later attracts him. The quickest way to get the cash is to return to the streets on which he made his name.
His struggle is compounded by his lingering reputation and the people around him spiralling into dangerous waters, threatening to drag him down with them. One of whom is Sean Penn, acting his socks off as a lawyer on the edge.
I don’t completely agree with people who say it’s just another Scarface (1983), but it’s certainly similar in many ways and if you enjoy one then you’ll more than likely enjoy the other.

4½ walks on the wild side of memory lane out of 5

Scarface (1983)

Pacino stars in a film directed by De Palma from a screenplay by Oliver Stone. With talent like that involved you know you’re in for something special.
Al plays a Cuban refugee in America, fresh off the boat. He’s hardened from the outset but his resolve solidifies even more when he equates the US political situation with his own. To escape it he pursues the American Dream, violently working his way up the ladder of excess, except the ladder in his case is more of a mountain that’s made from cocaine and cash that's lit from above by the neon pink and blue colours of 80s vice.
There are some old school De Palma moments throughout but mostly he plays things straight, allowing the story and the actors to be the main focus. It’s a long film but it needed to be.

4½ monogrammed furnishings out of 5

The Godfather (1972)

Even though Mumble Brando sounds like a man with a gob full of marbles, his diction literally governs the first part of Coppola's Mafia trilogy. The Godfather's words linger, influencing scenes he isn't even a part of. His voice whispers innocuous assurances while his persona threatens: all who come seeking Don Vito's aid leave thinking themselves fortuitous but each one leaves bent to the Don's will, crippled by a future repayment favour.
The remainder of the film is electrically charged by Pacino and Caan. For both men the Corleone name opens doors and closes coffin lids.
Coppola is self-indulgent in the first half hour but assuredly precise with the story and with his direction once things really kick off.

4½ offers that can't be refused out of 5

MANGLEHORN [2014]

Director David Gordon Green does with Al Pacino what he did with Nicolas Cage in Joe and redeems the actor, who hasn't had a decent film in well over a decade, with a nice poignant character piece to work with.
Manglehorn tells the story of a socially inept man who's never recovered from the death of his wife and prefers the company of his seriously unhealthy cat.  DGG does a wonderful job at capturing the little moments in life and Pacino does an equally superb job making them all the more believable with one of the most restrained performances of his career.  The character grows and twists into a different creature than where the film began but it's never predictable and occasionally his lewd behaviour is both shocking and frustrating.  With all sorts of bizarre occurrences going on in the background it never distracts from the beautifully pieced together frame of sublime emotional arcs unfolding before us.  There's a few nit-picky moments and Holly Hunter's character is criminally underused but when all is said and done, it's an enjoyable film that does nothing to offend.

3 inconvenient beehives out of 5

Serpico (1973)

The story of Frank Serpico (Pacino), an honest NY cop who gets paired with lazy, uncaring partners and discovers that there's almost as much crime within the system as there is outside of it. It's a slow-burning drama caked in city grime. With very little music — there's only fourteen minutes of score in total — the realism can be a little overpowering but sometimes the harsh truths need that kind of environment to really make an impact.

4 laundry baskets out of 5

INSOMNIA [2002]

Insomnia is Christopher Nolan's moody remake of the Norwegian crime-thriller of the same name.
While the original film goes deep into exploring themes and ideas not usually covered in films in this genre, Nolan seems to forget that and finds himself teetering more towards the standard crime-drama that makes a mess of the narrative.  The dialogue is so damned dry and forgettable it gets a bit too boring at times that it can't even be saved by some wonderfully executed performances by it's three leads.  Fortunately cinematographer Wally Pfister is on hand to capture some beautiful photography that is worth watching all on it's own when put to composer David Julyan's grim, minimalistic music.  It might be different seeing as it is essentially a noir film set in complete daylight from beginning to end but without that it's pretty much your standard fare that makes you wonder how Nolan could produce something like Memento that's so out of the norm and then this.

2½ dead dogs out of 5

Devil's Advocate (1997)

Keanu steps out of his comfort zone and plays a smart guy for a change. He does it well, which is doubly impressive as he shares screen time with Al Pacino and still manages to impress. Pacino gets to overact as usual, but the role calls for that kind of hoo-hah, so it’s most welcome. The film has some great dialogue and if not for the facepalm ending (which admittedly would've worked well on paper, but sucks ass on screen) I'd have scored it higher. Hit stop five minutes before the end and make it a better film.

3½ money turns people into assholes out of 5