It’s no secret that I think Michael Mann is the greatest director of all-time, dead or otherwise. One can throw all the Scorsese, Kurosawa, Ford, or Spielberg they want and I’ll still conclude that Mann is better than all of them. His style is unparalleled and has influenced my own approach to the way I make films. Maybe it’s how cool he makes everyone appear in his movies, or maybe it’s how no one does action better than him. Mr. Mann just has a touch to his films that really speaks to me. I’m awed by how well and how different he’ll shoot his material and how he builds his characters for the actors.  While not every one his films has been masterworks (Ali and The Keep come to mind) he rarely misses. Public Enemies, I’m proud to say, falls into the latter category.

Let’s address the look first which many have whined over since the first trailer has been released. Mann re-teamed with Dante Spinotti, the genius who helped him shoot Heat, for this picture and they used the new Sony F23 to film a good chunk of scenes. It looks nothing short of gorgeous and immerses the viewer in the 1933 era Mann so perfectly recreates. Had the picture been shot on film, the era would have been given a “glory days” type feel to it and that was never the intent of this story. Spinotti and Mann want to put the audience in the era, and shoot certain scenes as if one is next to Dillinger and company as they joyfully escape a prison or just had a successful score. Even better is a scene where Dillinger and Billie Frechette make love. Billie’s explanation of herself is inter-cut with the two engaged in intercourse to create cinematic beauty. The love-making is aggressively shot, in contrast to the stoic way Mann films the quieter moments of the scene. Perhaps though the best directed scene is Dillinger’s demise (which if you cry fowl over, do some research) and is nothing short of brilliant. Mann builds the scene by showing Dillinger watching Manhattan Melodrama and gives one the feeling Johnny thinks that’s him up on screen while Melvin Purvis and company wait patiently outside for him. It’s all subtle, yet pure magic as it unfolds to leave the viewer breathless.

Then of course, there’s the action and oh my, how amazing all of it is. By comparison, Michael Mann makes Michael Bay repeat every grade since pre-school. In fact, this is the most action packed of any of Mann’s films and he doesn’t fail. Where most directors blow their wad thirty, sometimes ten minutes into the film, the auteur that is Mann patiently builds up to an explosive shootout in Wisconsin that is arguably the best shootout since Mann’s own Heat. The action is placed wisely, moving the plot forward rather than slowing it down or happening just because it can. The opening prison break, as well as the other action pieces, all have a beginning, middle, and an end. But again, all the ones prior to the Wisconsin shootout don’t overshadow it and let it take center stage. Here is when Mann decides to go all out and deliver nothing but balls to the wall blitz and gunfire. What results is an edge of your seat sequence that blows the pants off of 99% of the summer blockbusters that claim to feature “dazzling action” or “superb effects”. Likely one will wish their theater handed out complimentary Tommy guns so they can fire back at the screen. The action in this film is just that terrific and is incredible and immersing the viewer into feeling like they’re there.

Every male’s dream was made a reality when Mann casted Christian Bale and Johnny Depp as the two leads and neither man disappoints. Let’s start with Johnny Depp who plays John Dillinger as reserved. True, Depp is known for being outlandish of his other roles but here he fits like a sequined glove. Like Vincent in Collateral, Depp’s Dillinger is cold and calculating but the epitome of slick and cool. The film obviously characterizes him as our protagonist, our hero, so you want to root for him. Mann has always excelled at making the villains the hero and here it’s no different. He shows Dillinger as an individual goes for the gold damning the consequences. Once faced with the consequences he finds a way out of it and it’s easy for Depp. Nothing comes off forced and not once does one wish for another actor to embody Dillinger. Much like Johnny himself, Depp has a presence that’s unparalleled. He commands the screen like few other actors have the ability to do and really feels at home here.

Complaints likely will be made about his relationship with Billie Frechette played by Oscar winner Marion Cotillard in that they lack chemistry. These people are wrong in every sense of the word. Their relationship isn’t in your face and much like everything else in the film is handled very subtly. Marion portrays Billie as someone who didn’t think much of herself and wasn’t headed anywhere until Dillinger came into her life. While it would have been nice to have another scene with them (and that’s one of the very few strikes against this film,) what we’re given is enough for one to form their own opinion on what their relationship was. Cotillard is fine as Billie, hitting the right notes and clicking just dandy with Depp’s Dillinger. They seem natural and not “in your face” or sappy.

The best performance though comes from Christian Bale as Melvin Purvis. He’s ten times better here than he was in Terminator Salvation and The Dark Knight. Purvis here, is the young hotshot who’s just making his way up the ladder. Instead of making jokes left and right, this iteration is unsure of himself and of the FBI. One of the best shots in the film comes during Purvis’ confrontation with Dillinger. “Do you think this’ll hold me?” Dillinger retorts or something to that effect and Purvis stops to give a very soft-spoken look of doubt. It’s a great counter to Depp’s confident Dillinger while making one sympathize for Purvis. He’s quite possibly the antagonist, but one that’s hard to root against. He wants Dillinger, like a kid wants a new toy on Christmas but he’s unsure if he’s going to get that shiny new bike. Bale is virtually flawless while never succumbing to what hindered his performances in his last few outings.

The supporters all lend a wonderful hand in making the film as great as it is, the standout being Stephen Lang who’s worked with Mann before. Also wonderful is Billy Crudup as J. Edgar Hoover, playing him as a tough yet subdued boss. The real star here though is Mann’s direction. Likely, it’s the best directed film of the year so far and should (hopefully) earn a golden boy come February. No shot is unwelcome and Mann proves once again why he’s one of the best at placing music in his pictures. He conducts his actors in his own way, and the result is sheer genius. One might complain about his shots being “too shaky” but it’s not overdone and is meant to feel like the audience is looking at it. Mann has always achieved that in each of his movies and here it’s no different. Where Miami Vice was watching a maestro at work, Public Enemies is watching said maestro paint another masterpiece.

Mann always sticks some themes into his pictures and personally, different people are going to take something different from all films, not just his. Public Enemies gives the sense that Dillinger lived the American Dream in his own way. He was a celebrity (again, something else the film should have touched on a little bit more) due to his Robin Hood nature and even he had a kick out of it. With Frechette and Dillinger’s relationship, it feels as if Billie is filling a void in her life. For Dillinger it’s just going through the motions yet the film leans more toward Dillinger having feelings for Frechette. Did he? Mann ultimately leaves it up the audience to decide.

Melvin Purvis is the embodiment of a traditional hero. He knows the old way isn’t working and wants to shake up things. He represents the law our world is used to, and not the one that would let gangsters and such get away. In some respects the hero’s journey could be applied to him as he doubts himself, then is told by his superiors Dillinger is going to be a tough act to catch. He perseveres through it all, much like Luke does during the original Star Wars films. One of the final shots of Purvis walking down a Chicago street as chaos errupts around him, dressed in white. It’s this imagery that speaks good will prevail no matter how cool or chic bad might be at the time.

In case the previous 1503 words weren’t enough, I loved Public Enemies and feel it’s one of the years best. It comes with a warning though as Michael Mann’s style of filmmaking doesn’t cater to the masses. Through and through, this is a Michael Mann film that’s unapologetic in it’s approach and execution. Public Enemies demands one think on it and even watch it a second or third (or likey to be in my case six-hundredth) time to fully appreciate it. It’s not a film that one can easily come out of and proclaim “IT’S SO AWERESOME!” and needs time to chew on. Public Enemies isn’t for everyone, but for those it’s catered to, they’ll have witnessed a master who’s added another masterpiece to his repertoire.

Rating: ★★★★★ 

Public Enemies Trailer

Hold onto your knickers Michael Mann fans, Johnny Depp fans or Christian ‘f***ing’ Bale fans. Down below is the first released trailer for Public Enemies. Set for a July 1st release, this along with the pictures posted previously definitely will make you lick your lips wanting more.

Enjoy the trailer below.

(NOTE – I reserve the right to change my final grade or anything in this review. I want to have time for this film to settle in and I’m taking this film very personally as I have a huge love for the graphic novel. Consider this review a work in progress.)

Watchmen Movie Review

The date is July 25, 2009. A brown-haired, medium-build punk stands in front of a microphone at the San Diego Comic Con 2009. He tells Zack Snyder he’s sorry for saying “Snyder couldn’t do it” or that “he wasn’t the right guy.” I apologize for saying he wasn’t going to be able to adapt Alan Moore and Dave Gibbons’ pitch perfect comic book. He then jumps at me in slow motion and beats my face in.

The comic and film take place in an alternative 1985 where Nixon is in his fifth term as president, and superheroes are as common as celebrities to the point they’re phased out of comic books. Unfortunately, due to the Keene Act of 1977, superheroes are outlawed and illegal, sans Edward Blake/The Comedian (Jeffery Dean Morgan). Poor Edward receives a visit from a hooded man who beats him to a pulp and tosses him out of a window. An ex-vigilante (and former Watchmen/Crimebuster) Rorschach (Jackie Earle Haley) decides to investigate the murder of Edward Blake, suspecting someone is picking off costumed heroes. What follows is a tale of deception, rape, violence, and saving the world.

Watchmen, where do I begin? First let’s get the big thing out of the way: Zack Snyder gets it and is as faithful as anyone has ever been to the source material. He understands that everything translates well and that even the appendices need to be integrated into the film, somehow. Sure, there are times when he takes liberties with the material (i.e. – Janey waltzes in while Manhattan is interviewed on the show, instead of complaining to the newspaper) and almost all of it works. To those who fear that Watchmen’s themes weren’t carried over, fret not. Take it from someone who’s read it over and over again for eight years, understands it well and is one of the world’s biggest fans… Snyder does it.

As has been obvious since the first trailer appeared, the film perfectly captures the visual look of the comic. This is a living, breathing alternative New York that feels like it existed. Major credit has to be given to Alex McDowell and his team for crafting such a desolate, beautiful version of reality. If I’m not mistaken, they only had one set for this New York that they so perfectly recreate. Every detail from the comic is treated with care and no stone is left askew. It’s truly a marvel to look it over and feel that everything is right. Larry Fong overlays these detailed sets with the stylized art of Dave Gibbons. Some shots literally look as if Fong took tracing paper and copied right from the novel.

All of this would be moot if the themes and characters weren’t retained well, which thankfully they are. Let me talk about a man who deserves an Oscar nomination as much as Heath Ledger did, maybe more. Jackie Earle Haley is Rorschach. Every line he utters and every action he performs embodies Walter Kovacs. As was the case in the comic, his most powerful scene is his origin and Haley hits every chord with precision. His “partner,” if you will, Nite Owl II/Dan Dreiberg, is played by a man who seems born for this role. Patrick Wilson already looked the part and seeing him on screen lives up to the expectations I had for him. Dan is probably the only “true” hero in the entire story. He’s Bruce Wayne mixed in with a boy scout and Wilson captures his pathetic nature perfectly. It’s unfortunate though that some of Dan’s back story was cut for time (we get it in the director’s cut) because I would have loved to see how Wilson would have handled said scenes with Hollis Mason (Stephen McHattie).

Jeffery Dean Morgan needs to be made a film star after this. Hopefully, unlike Gerard Butler, he’ll pick better roles. Like Butler did with Leonidas, Morgan shows his star power as The Comedian. It’s funny considering The Comedian is probably the most cynical and psychotic of the group, but Morgan delivers it and sends it back only to deliver it again. He’s the wise-cracking asshole he was in the book, but it never feels over-the-top or excessive. The scene where he spills his guts to Moloch came off as a man beaten, broken, and talking to who the only friend he thinks he has. In any other hands, it could have been a crazy man walking around muttering gibberish, something it wasn’t in the book.

Billy Crudup has made Dr. Manhattan his own, and by that I mean he has probably created the definitive version of the character. It’s going to be hard to imagine anyone else’s voice when picking up the book again (in fact, when reading it the other day, I could only hear his voice in my head when Manhattan came up.) A lot will be made of Haley’s Rorschach but Crudup is right there with him as far as performances go. Most readers imagine Manhattan to have an echoing, all-powerful voice and yet Crudup (and Snyder) does the opposite. We get a monotone voice that, really breaking it down, fits the character to a “T”. Dr. Manhattan doesn’t give a flying flip about anyone, which is why for the most part his facial expressions are limited to boredom. Crudup understands the difference between Jon Osterman and Dr. Manhattan – which is why we generally do feel for the guy when he’s about to be zapped to bits and become larger than life.

This leads us to the final two characters: Matthew Goode (Adrian Veidt/Ozymandias) and Malin Akerman (Laurie Juspeczyk/Silk Spectre II). Veidt was the least publicized of all the characters which made me worry that he wasn’t handled as well as he should have been or perhaps that Goode gave a lackluster performance. Adrian is the character most changed (but not different) from his comic counterpart. Goode made the decision to give him a German accent when he’s out of public and it will take some getting used to, but it works once it hits full swing. There are two added scenes that actually build upon Adrian’s character rather than tarnish it. It’s not a performance that’s as instantly likable as the four mentioned already but once it settles (and I really insist you take some time to absorb this film) it’s on a par with the others. As Adrian is my favorite character of the entire story, I was proud to see him brought to life so expertly.

Malin Akerman is a different animal altogether. Firstly: in her defense, the character of Laurie was written to be a whiny, confused brat who hates the idea of being a superhero because it was forced on her, and is defined by her relationships with Manhattan and Nite Owl II. Secondly, she’s easily the weakest of the bunch. She’s not bad, but she’s sort of the equivalent of Katie Holmes in Batman Begins. Akerman does look the part and gets better as the film goes on, but before we get there she shows trouble displaying the type of emotions she should. Carla Gugino plays her mother, Sally Jupiter, and does a tremendous job at conveying that character’s sexuality and pin-up lifestyle. It’s just a shame it takes Akerman a while to get acclimated to the role of her daughter.

The biggest fear of the novel’s fans was that the themes would suffer if Snyder opted to focus on ‘cool’ and ‘awesome’. Well, I can say that the themes are in fact translated and played out perfectly on screen. These are flawed people and every idiosyncrasy is on board for the ride. The themes of “peace through sacrifice” and the moral ambiguity of right and wrong is completely left intact even with the slight tweak that more or less works better for the “free energy” subplot that’s in there. Watchmen takes its time to develop everything and yet moves along briskly. This might be the best-paced film since Seven Samurai, where the time breezes by and no scene feels like it drags or needed to be slimmed.

In fact, that’s my main complaint with the film. As well as this version works, it still feels a little incomplete. The credits were rolling and aside from being in awe of what I had just watched, I wanted more. This may be due to the fact we’re promised a director’s cut already, but I still wanted to see some scenes extended. My biggest gripe is that Hollis Mason’s scenes are trimmed down, save for one scene at the beginning. For a character who is so integral to the plot and to why Dan is who he is, it was a shame to see him so reduced. The other scene I missed in there was Rorschach’s interaction with the psychiatrist Malcom Long who digs more deeply into who Rorschach is. The scene is still there and works, but for the uninitiated the book tells it from Malcon’s point of view and how it takes its toll on his marriage. It’s a wonderful, powerful exchange that will hopefully find its way into the directors cut.

Truthfully, I’m going to need more time to digest this film. Not enough time has passed for Watchmen to be declared the greatest film anyone’s seen in their life or that AFI needs to redo their 100 Best Films list. It’s ironic this is released after The Dark Knight because it’s been said that Watchmen and The Dark Knight Returns were a new kind of comic book, and Watchmen followed Batman’s release in 1986. The same compliment could be paid to both films. Watchmen furthers the notion, in some ways better than The Dark Knight did, that comic book films can hold their own. Zack Snyder already was getting some major praise just for getting the film made so closely to the novel. For him to also retain the meat that made the Watchmen book what it is has to be one of the biggest achievements in the history of the medium.

Rating: ☆☆☆☆☆