Columbia Pictures has acquired the rights to the novel Waiting for Robert Capa, written by Susana Fortes, to be adapted by screenwriter Jez Butterworth (The Last Legion) and directed by Michael Mann (Public Enemies, Heat, Collateral).

The film will tell the story of Robert Capa, a war photographer who was romantically linked with Jewish German war photographer Gerda Taro during the Spanish Civil War. The two photographers revolutionized front line journalism, and Taro was eventually killed during the Battle of Brunete.

Mann will also produce the film under his Forward Pass label.

Let’s hope the director finds a more effective way of marrying the period piece subject material of the film to his digital shooting style — while Public Enemies certainly had its fans, many found the look of the film to be underwhelming or muddy.

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: ★★★★★ 

Showing off seven brand new clips from the upcoming Michael Mann film Public Enemies, we get a bigger sneak peek of sorts on the world during the ‘golden age of crime’. Starring Johnny Depp, Christian Bale and Marion Cotillard, the 1930s crime drama comes out in theaters on July 1rst everywhere. In order to satisfy your hunger of movie goodness, check out the videos below:

When Public Enemies comes out, the world will change. Wars will end, cancer will be cured, AIDS will be abolished, and we’ll all hold each other hand in hand. Folks, this will go down in history as the first film to win every award ever at the Oscars. As much as I am anticipating The Hurt Locker, Up, and Moon, none of them will be able to touch this film come award season. In fact, all women are given complimentary birth control pills before entering the theater. Basically, if you see Ice Age: The Meltdown on the July 1st weekend, you hate humanity and should be terminated promptly. Your children should be brought to this film as they will thank you later for not slowing down their learning as you would by taking them to Ice Age 3.

Enough ranting, enjoy the posters for the film from Michael Best Director Ever Mann. Public Enemies: The Greatest Achievement in Cinema History opens July 1. One  can be viewed below and check out the others at TrailerAddict.

It was less than a month ago when the first trailer hit the net for the upcoming Michael Mann project; Public Enemies. Today we have the second of hopefully 3 or 4 trailers for you to sink your teeth into. Being completely sold on the film from an anonymous review of the film, this just solidifies how I feel about this upcoming Bale and Depp sure-to-be-hit.

Universal is bringing Public Enemies to theaters on July 1st. A mid summers dream I must say?

Check out the trailer below:

Make sure you let us know what you think. Are you excited as we are?

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.

Now released are three production stills from the Michael Mann helmed film, Public Enemies. Hand in hand comes out the first poster for the highly anticipated July 1st Universal picture.

In the action-thriller Public Enemies, acclaimed filmmaker Michael Mann directs Johnny Depp, Christian Bale and Academy Award® winner Marion Cotillard in the incredible and true story of legendary Depression-era bank robber John Dillinger (Depp)the charismatic bank robber whose lightning raids made him the number one target of J. Edgar Hoovers fledgling FBI and its top agent, Melvin Purvis (Bale), and a folk hero to much of the downtrodden public. No one could stop Dillinger. No jail could hold him. His charm and audacious jailbreaks endeared him to almost everyonefrom his girlfriend Billie Frechette (Cotillard) to an American public who had no sympathy for the banks that had plunged the country into the Depression. But while the adventures of Dillinger’s ganglater including the sociopathic Baby Face Nelson (Stephen Graham)thrilled many, Hoover (Billy Crudup) hit on the idea of exploiting the outlaw’s capture as a way to elevate his Bureau of Investigation into the national police force that became the FBI. He made Dillinger America’s first Public Enemy Number One. Hoover sent in Purvis, the dashing “Clark Gable of the FBI”. However, Dillinger and his gang outwitted and outgunned Purvis’ men in wild chases and shootouts. Only after importing a crew of Western ex-lawmen (newly baptized as agents) who were real gunfighters and orchestrating epic betrayals from the infamous “Lady in Red” to the Chicago crime boss Frank Nittiwere Purvis and the FBI able to close in on Dillinger. (Courtesy of Universal Pictures)

Scroll down below to feast your eyes on Public Enemies goodies and more here on AtomicPopcorn.Net as the months close in.

Public Enemies Movie Review

Well all this is a big deal for our little side of the web. We have just received a very cool review from an Atomic Popcorn reader by the name of Agent Smith who has seen Public Enemies. For those of you who aren’t in the know, this is the latest Christian Bale, Johnny Depp movie. Public Enemies is a 2009 film adaptation of Bryan Burrough’s book Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933–34 directed by Michael Mann.

I am definitely excited to see this film. Even prior to reading this review. Some are calling this the next big movie of 2009. A sure hit. Well what do you think?

Beware of SPOILERS Beware of SPOILERS Beware of SPOILERS

Ladies and gentleman I give you the “Heat” of the 1930′s

Film maker Michael Mann has decided to make up for his box office flop “Miami Vice” and went back to his earlier roots of “Heat” to manifest his next great film “Public Enemies”.

The film stars Johnny Depp as the public enemy John Dillinger, also known as “Jack Rabbit” who was regarded as a modern day Robin Hood. Dillinger was known for his bank robberies and the timely manner in which he executed them, which apparently was in one minute and forty seconds. The film details his criminal exploits while also focusing on his pursuer, FBI Agent Melvin Purvis, played by Christian Bale. The film also delves into the early beginnings of the FBI with a cameo of J Edgar Hoover played by Dr. Manhattan, I mean Billy Crudup ,who did a very good representation of the first Director of the FBI. Even down to the looks, I wasn’t sure if Crudup was wearing makeup or if he actually gained weight for the role.

Michael Mann uses his signature digital cinematography which he adopted for “Collateral” and “Miami Vice” which gives the film a gritty realistic look that makes the viewer think that they are really there.

The highlights of the movie are obviously the bank robbery sequences. Each one is fast paced with a flare of intensity. However, the real centerpiece of the film falls in the middle where Dillinger and his crew are ambushed by the FBI in a cabin in the woods. The buildup to this scene was incredible. The use of a third-person viewpoint on each side of the battle was great, when they had the camera follow the agents who got closer and closer; it was like watching a fire get closer to a barrel of gunpowder because you knew some serious business was about to – BOOM! Tommy Guns and glass shattering everywhere, what really caught my attention was the fact that the sounds coming from the guns were actual live sounds and not Foley effects. So you felt that you were thrown into the scene, with the mix of digital film and real gun sounds you almost felt like ducking down so you wouldn’t get shot. You really felt like you were a part of the moment, that’s what Michael Mann does best.

Johnny Depp becomes the cunning, smart man that Dillinger was known to be. One moment in the film that really showed me that Depp got into character was when he met his love for the first time. He plays off confident and cool as if he owns the area that surrounds him.

Christian Bale takes on the role of Melvin Purvis, the FBI agent in charge of hunting down Dillinger. Bale played Purvis well and showed an awesome intensity in his manhunt for Dillinger. One problem I found, though, was that there wasn’t really enough back story on Purvis, so you couldn’t really feel close to the character. The other problem was that I thought the film would have equal Dillinger and Purvis screen time much like “Heat” did but more time was spent on Dillinger, so Purvis felt more like a background character. Another performance high light was Stephen Graham who played Baby Face Nelson, another public enemy. An early bank robbery scene with Dillinger and his crew was more organized while in the later bank robbery scene with Nelson you saw a different style play out. Nelson was a maniac and shot up the place while Dillinger played it cool, so you saw that Dillinger wasn’t so completely evil a bad guy as the FBI described him to be.

The pacing the film moved both fast and slow but not enough time was spent on characters like Purvis and I wish that the film had run longer then its two and a half hour length. If they had dug deeper into Bale I think that would have improved the film a lot. The film was great, I am just hoping that they don’t cut down any of the shoot outs – those were definitely the highlights. I will  be seeing this when it comes out July 1st, and will be curious to see what the final cut will be.

Rating: ☆☆☆☆☆