In nineteenth century Texas, an eccentric German traveller buys a slave to assist in finding a band of outlaws. Django is amazed to find a mentor in Schultz, and the men continue as partners before setting out on a mission to rescue Django's wife from slavers in Mississippi. I can't explain why I hadn't yet seen Django Unchained - any trepidation about Tarantino films always seems to melt away in enjoyment from about the second frame, and this is no exception.
The ultimate blaxploitation western thriller buddy movie, Django Unchained might be ridiculously long, but because it's equal parts sheer joy, comedic over-dramatisation, and schlock horror, it's hard to mind much. In his usual
mocking tone, Tarantino manages to censure the violence of slavery and the mindset of pro-slavers, even as his hero commits atrocities in the name of
freedom.
It's not possible to separate Tarantino from the beautifully stylised gore which immerses his films - and perhaps now no one would want to - but it's worth noting he has also become a master of cinematic beauty, frequently collaborating with the same production designers and cinematographers to turn out increasingly incredible images. The detailed mis-en-scène, matched with spot-on dialogue and enthusiastically motivated performances from all cast, makes for touches of absolute brilliance and ensures you always know whose film you're watching.
Django Unchained is another well-realised entertainment piece from one of America's greatest auteurs, who's obviously telling us we ain't seen nothin' yet.
Though a hard-core Tarantino fan may find it seriously lacking in violence, Blazing Saddles addresses serious issues of racism and corruption with a similar style of over-the-top silliness. This is an heroic tale of a newly appointed Sheriff encouraging townsfolk who'd be happy to lynch him to stand up against a corrupt railways mogul, instead.
Showing posts with label oscar winners. Show all posts
Showing posts with label oscar winners. Show all posts
Tuesday, 4 March 2014
Thursday, 27 February 2014
Her
In the not-too-distant future, Theodore Twombley is an endearingly awkward office worker, still suffering the effects of his marriage breakup. An early adopter of a new operating system for his devices, he soon falls in love with Her - his personal Artificial Intelligence, which has named itself Samantha.
The concept may seem at first glance to walk a fine line between intriguing and off-putting - but it is brilliantly well executed in this examination of relationships, loyalty, and love between friends, confidants and lovers. From Spike Jonze's offbeat but somehow perfectly real script, to the careful, beautiful production design, Her is original to the nth degree.
By turns joyously funny, gauzily romantic and achingly lonely, the stellar performances and barely-there camera take us directly into the the heart of the story, in a world complete down to the last detail.
A meditation on communication and humanity in an advanced technological world, Her is a strange mixture of isolation and melancholic humour, yet it not only works, but somehow leaves you filled with hope for the future. A modern masterpiece.
Also featuring a future-Earth, themes of isolation and re-growth, and an unexpected but wonderful AI romance, is WALL-E, the tale of a broken Earth's deserted robot caretaker meeting an inter-galactic probe. If you haven't seen this breathtakingly beautiful, Oscar-winning animation, hie you to your nearest on-/offline video store!
The concept may seem at first glance to walk a fine line between intriguing and off-putting - but it is brilliantly well executed in this examination of relationships, loyalty, and love between friends, confidants and lovers. From Spike Jonze's offbeat but somehow perfectly real script, to the careful, beautiful production design, Her is original to the nth degree.
By turns joyously funny, gauzily romantic and achingly lonely, the stellar performances and barely-there camera take us directly into the the heart of the story, in a world complete down to the last detail.
A meditation on communication and humanity in an advanced technological world, Her is a strange mixture of isolation and melancholic humour, yet it not only works, but somehow leaves you filled with hope for the future. A modern masterpiece.
Also featuring a future-Earth, themes of isolation and re-growth, and an unexpected but wonderful AI romance, is WALL-E, the tale of a broken Earth's deserted robot caretaker meeting an inter-galactic probe. If you haven't seen this breathtakingly beautiful, Oscar-winning animation, hie you to your nearest on-/offline video store!
Tuesday, 25 February 2014
12 Years a Slave
What can one say about 12 Years A Slave, that the title and reviews have not already said? This is a disturbing representation of twelve years in the life of Solomon Northup, a free African American ripped from his comfortable life by slavers, and sold into bondage in the deep south.
Of course, it's a film everyone should see, but it's not a pleasant experience, perhaps because it is so utterly raw. As depicted here, Solomon is not a hero. It's possible he became one, later, in the years he spent campaigning for the abolition of slavery, involved in the underground railroad, and authoring the book which became the basis of the film - but in these twelve years, he's at first attempting to explain, and then merely to survive. Of course he is, otherwise he would have been killed, and his story would never have been told.
The most powerful force in the film is the utter helplessness of Solomon's situation. He's a strong, independent man, used to the friendship of his neighbours and the ability to make his own decisions. He's not meant to be there - but no one will hear him, and even if they did, how can he justify his identity making him more deserving than his fellow slaves? His moral quandaries and natural spirit result in an horrific sequence which neatly juxtaposes daily atrocities with daily life.
Finally, an end comes - again made more powerful by how extremely pared back it is: there's no outcry, no procession, and as we find out in the end titles, no prosecution - a conclusion which jarrs with our notion of what is due to Solomon, and a brave choice, in keeping with the difficult tone of the film.
Praise has been heaped on 12 Years a Slave, and its many wins during awards season have attested to the reaction it provokes, but it's almost impossible to deconstruct whether that's due to the artistry of the film, or the issues it so well presents. Inflamed opinions make it somewhat dangerous even to try, but I do agree it is essential viewing.
Everyone should feel guilty, watching this film. Not for collusion in the oppression of Solomon Northup in Louisiana nearly two hundred years ago, but because this still happens. There are human beings being exploited around the world today, their lives made a misery for profit they will never share in: and all of us are still walking past, with our heads down, to avoid becoming targets ourselves.
I can't think of another film like 12 Years A Slave. There simply isn't one - this is no Lincoln, or Django Unchained. I am sure the reasons there are not more American films about slavery are myriad, and all of them contentious. However, should you wish something to compare with 12 Years A Slave, try The Pianist, which delves in to the dire situation of a young Polish musician caught in the Holocaust, and provides a bleak examination of what it means to beat the odds, and what it costs to survive.
Of course, it's a film everyone should see, but it's not a pleasant experience, perhaps because it is so utterly raw. As depicted here, Solomon is not a hero. It's possible he became one, later, in the years he spent campaigning for the abolition of slavery, involved in the underground railroad, and authoring the book which became the basis of the film - but in these twelve years, he's at first attempting to explain, and then merely to survive. Of course he is, otherwise he would have been killed, and his story would never have been told.
The most powerful force in the film is the utter helplessness of Solomon's situation. He's a strong, independent man, used to the friendship of his neighbours and the ability to make his own decisions. He's not meant to be there - but no one will hear him, and even if they did, how can he justify his identity making him more deserving than his fellow slaves? His moral quandaries and natural spirit result in an horrific sequence which neatly juxtaposes daily atrocities with daily life.
Finally, an end comes - again made more powerful by how extremely pared back it is: there's no outcry, no procession, and as we find out in the end titles, no prosecution - a conclusion which jarrs with our notion of what is due to Solomon, and a brave choice, in keeping with the difficult tone of the film.
Praise has been heaped on 12 Years a Slave, and its many wins during awards season have attested to the reaction it provokes, but it's almost impossible to deconstruct whether that's due to the artistry of the film, or the issues it so well presents. Inflamed opinions make it somewhat dangerous even to try, but I do agree it is essential viewing.
Everyone should feel guilty, watching this film. Not for collusion in the oppression of Solomon Northup in Louisiana nearly two hundred years ago, but because this still happens. There are human beings being exploited around the world today, their lives made a misery for profit they will never share in: and all of us are still walking past, with our heads down, to avoid becoming targets ourselves.
I can't think of another film like 12 Years A Slave. There simply isn't one - this is no Lincoln, or Django Unchained. I am sure the reasons there are not more American films about slavery are myriad, and all of them contentious. However, should you wish something to compare with 12 Years A Slave, try The Pianist, which delves in to the dire situation of a young Polish musician caught in the Holocaust, and provides a bleak examination of what it means to beat the odds, and what it costs to survive.
Monday, 17 February 2014
Dallas Buyers' Club
It's 1985, and Ron Woodroof is a wiry, rodeo-lovin' electrician living the good life, up to his eyeballs in girls, gambling, drugs and alcohol - until the accidental discovery he's HIV positive. Struggling against medical ignorance, prejudice and the legal system, Ron forms the Dallas Buyers Club while searching for medication to help his condition.
The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz. However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.
Dallas Buyer's Club is a small story set against an important historical moment. It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive. Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.
Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism. Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.
Enjoy true, one-man-against the world stories? Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States. Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.
The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz. However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.
Dallas Buyer's Club is a small story set against an important historical moment. It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive. Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.
Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism. Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.
Enjoy true, one-man-against the world stories? Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States. Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.
Wednesday, 5 February 2014
Frozen
Not only visually stunning, Disney's latest animated spectacular Frozen is already being lauded as a modern classic. It's a thoroughly enjoyable tale, which manages the tricky combination of being true to its genre while simultaneously subverting audience expectations.
Filled with warmth despite the incredibly well-realised icy setting, Frozen takes the requisite Disney characters and tropes, from Princesses and Princes to singing sidekicks, loyal retainers to mythical creatures, selfish maneuvering to acts of true love, and subtly adds comic twists and dramatic turns, creating a truly fresh action adventure with a relevant message.
At its heart, Frozen is a simple story about the bonds of family, and the importance of being true to yourself - yet the beautifully escalating action creates an epic feel, and the viewer is carried along with the show, careering through the blizzard to the required resolution, which though sentimental, comes from a surprising direction which ultimately makes the film more satisfying - Elsa and her sister Anna are definitely not your average princesses!
Keen to see another Disney movie with a modern twist? Enchanted stars Amy Adams as Giselle, the impossibly sweet heroine beloved by the prince she's just met, who is suddenly sucked from her animated world and sent to live in real life New York City.
Filled with warmth despite the incredibly well-realised icy setting, Frozen takes the requisite Disney characters and tropes, from Princesses and Princes to singing sidekicks, loyal retainers to mythical creatures, selfish maneuvering to acts of true love, and subtly adds comic twists and dramatic turns, creating a truly fresh action adventure with a relevant message.
At its heart, Frozen is a simple story about the bonds of family, and the importance of being true to yourself - yet the beautifully escalating action creates an epic feel, and the viewer is carried along with the show, careering through the blizzard to the required resolution, which though sentimental, comes from a surprising direction which ultimately makes the film more satisfying - Elsa and her sister Anna are definitely not your average princesses!
Keen to see another Disney movie with a modern twist? Enchanted stars Amy Adams as Giselle, the impossibly sweet heroine beloved by the prince she's just met, who is suddenly sucked from her animated world and sent to live in real life New York City.
Tuesday, 7 January 2014
The Lost Weekend
Handsome, up-and-coming writer Don Birnam is being taken away for the weekend, but at the last minute, manages to dodge his attentive girlfriend and long-suffering brother. The people who care about him out of the way, The Lost Weekend belongs to Don's true love: alcohol.
With a screenplay adapted from Charles R. Jackson's semi-autobiographical novel and Billy Wilder directing, The Lost Weekend became a smash hit, despite its formerly taboo subject - and it has stood the test of time remarkably well.
The success is in large part due to the film's uncompromising take on an alcoholic's behaviour. Brilliantly portrayed by Ray Milland in an Oscar-winning performance, Don is a man broken by his desire for liquor and willing to go to any lengths for a drink - yet his descent into cunning manipulation, petty thievery and thuggery never becomes silly or mawkish, and the use of stylised monologues and flashbacks to allow the audience access to his thoughts is clever, without being melodramatic.
Barely striking a false note, (the exception perhaps being the film's slightly suspect but understandable conclusion,) The Lost Weekend was something quite different for Wilder, but as the Best Director, Actor, Adapted Screenplay, and Best Picture Oscars attested, it was exceedingly well done.
For crazed, comedic, and darkly melancholic take on addiction, look no further than cult 80's film Withnail & I. Withnail and his roommate are actors struggling for recognition, living in a scuzzy flat and abusing any substance that comes their way. Featuring an utterly electrifying performance from Richard E. Grant as the self-destructive Withnail.
With a screenplay adapted from Charles R. Jackson's semi-autobiographical novel and Billy Wilder directing, The Lost Weekend became a smash hit, despite its formerly taboo subject - and it has stood the test of time remarkably well.
The success is in large part due to the film's uncompromising take on an alcoholic's behaviour. Brilliantly portrayed by Ray Milland in an Oscar-winning performance, Don is a man broken by his desire for liquor and willing to go to any lengths for a drink - yet his descent into cunning manipulation, petty thievery and thuggery never becomes silly or mawkish, and the use of stylised monologues and flashbacks to allow the audience access to his thoughts is clever, without being melodramatic.
Barely striking a false note, (the exception perhaps being the film's slightly suspect but understandable conclusion,) The Lost Weekend was something quite different for Wilder, but as the Best Director, Actor, Adapted Screenplay, and Best Picture Oscars attested, it was exceedingly well done.
For crazed, comedic, and darkly melancholic take on addiction, look no further than cult 80's film Withnail & I. Withnail and his roommate are actors struggling for recognition, living in a scuzzy flat and abusing any substance that comes their way. Featuring an utterly electrifying performance from Richard E. Grant as the self-destructive Withnail.
Monday, 6 January 2014
Ordinary People
A must-watch due to its pedigree as the
winner of Best
Picture, Director, Adapted Screenplay and Supporting Actor at the 1981
Academy Awards, I hadn't actually any idea what Ordinary People
was about until reading the synopsis on the case. It was with a slight
sense of dread I wondered what I was letting myself in for, but I was
rewarded with something subtly remarkable.
Robert Redford's directorial debut is a quiet drama, packed with explosive moments. Pacing slowly through the opening, Ordinary People allows the audience to piece together its subject matter one strained conversation or nightmare flashback at a time, until it's apparent we're exploring a changed family dynamic after a tragic death.
Naturally, it's emotional, but the authentic tone and sensitive handling avoids melodrama or sentimentality. The characters truly are ordinary, next door types, (albeit in a very nice neighbourhood!) with real worries and problems, ripped apart by their differing ways of dealing with their grief.
Delving into the ways they handle their feelings and examining guilt, avoidance, over-compensation, openness and deflection, Ordinary People takes place in a time when it wasn't "nice" to talk about your problems, and brings to the fore the need for communication, even when it's hard to talk. A brilliant take on grief and depression.
If Ordinary People looks at grief and communication amongst teens and adults, sweetly nostalgic Stand By Me does the same for children. Again, it's the loss of an older brother overshadowing the story, but in this case, it's twelve-year-old Gordie's friends who pull him through.
Robert Redford's directorial debut is a quiet drama, packed with explosive moments. Pacing slowly through the opening, Ordinary People allows the audience to piece together its subject matter one strained conversation or nightmare flashback at a time, until it's apparent we're exploring a changed family dynamic after a tragic death.
Naturally, it's emotional, but the authentic tone and sensitive handling avoids melodrama or sentimentality. The characters truly are ordinary, next door types, (albeit in a very nice neighbourhood!) with real worries and problems, ripped apart by their differing ways of dealing with their grief.
Delving into the ways they handle their feelings and examining guilt, avoidance, over-compensation, openness and deflection, Ordinary People takes place in a time when it wasn't "nice" to talk about your problems, and brings to the fore the need for communication, even when it's hard to talk. A brilliant take on grief and depression.
If Ordinary People looks at grief and communication amongst teens and adults, sweetly nostalgic Stand By Me does the same for children. Again, it's the loss of an older brother overshadowing the story, but in this case, it's twelve-year-old Gordie's friends who pull him through.
Wednesday, 21 April 2010
The Godfather (1972)
Directed by Francis Ford Coppola
Written by Mario Puzo & Francis Ford Coppola
Seen on DVD
*** 1/2
There are movies in film-buff canon so important that you just can’t be taken seriously if you’ve not seen them. Near the top of every cinephile’s best-of-American list is the one with the horse’s head, and an offer you can’t refuse – parodied, referenced and reverenced in all forms of media, by common consensus, The Godfather is THE mobster movie.
How I made it to the thirtieth year of my life without ever having seen it is rather a mystery, and after twenty nine years of build up I put the DVD in with some trepidation.
It's an epic, a classic.
But I didn’t really rate it.
Don’t get me wrong – the film is an Oscar winner, and deservedly so. The heavy score was gorgeous. The cinematographer achieved a perfectly mixed romantic noir look, setting the tone for a grand tale grounded in gangland intrigue: the descent (or rise, depending on how you look at it) of Michael Corleone, the straight-laced young war hero from one of the New York Mafia’s five families.
Michael is the “good” son, not meant for the family business, and purposefully kept on the outer - but each choice he makes takes him further in, his calm, quiet character slowly picking up the reigns and steering the family fortunes. The young Al Pacino, now film legend in his own right, became a star in this role. He’s magnetic, drawing the eye in every scene.
Marlon Brando received accolades as the stone-faced Don, building a complete character and flawlessly modulating his performance from robust ruler to invalid no longer fit to lead. The often-lampooned voice he created was beautifully kept up, and cleverly adapted to thin tones of ill-health, yet at times he still struck me as a posing caricature.
Several scenes were so well constructed they still haunt me. The almost dreamlike hit on Paulie, amid golden fields of waving grass, the Statue of Liberty just visible in the background. And the nightmarish hospital visit, Michael wandering alone through the empty corridors, tension rising as he realises all his father’s men are gone and the Don is alone and unguarded.
As a pivotal scene for the central character, this was beautiful - the strong feeling of impending doom, and Michael’s first panicked response giving way to quiet command of the situation, the first real indication that he’s a dangerous man. The relief tendered when he has successfully moved his father is immediately punctured with his oath: he’s in, despite his own intentions and even the efforts of the Family.
Michael’s development over the film was mesmerising. From naive young man, lauded by conventional society and repelled by his family’s business, he has become a cold, calculating killer, baptised as leader during the horrific intercut of family christening and hits on his enemies. The last scene, in which he is able to lie to Kay with a straight face, then with equal lack of emotion accept the fealty of his father’s men, is chilling.
But the film was over-long, and I found it over-complicated. Perhaps because I got some characters mixed up with each other, which meant I couldn’t keep the story straight. Or perhaps because of the sudden jumps in time, especially towards the end, with no indication that it had happened until confronted with a line like “I’ve been back a year. Longer than that, I think,” or the sudden, out-of-the-blue existence of a three year old child.
I also fell into a few plot-holes. To a certain extent, when watching a film, you have to accept that some things are going to happen which you may not understand, but which are an essential part of moving the story or characters on. Several times during the Godfather I found myself unable to allow these moments, and was yanked out of the story, completely unable to believe that a decision or action taken was vital, and thinking less of the characters and the film because of it.
At this stage, it’s not a film I’ll be adding to my collection. I do feel a slight sense of loss about that – expectations certainly not exceeded – but the mythos has caught me. I am already contemplating the possibility of a re-watch helping me understand the story better…
But first I am looking forward to continuing the story, and following Michael’s fortunes with the only sequel to a AMPAS Best Picture winner also to have received the Oscar. There’s got to be something in that!
Love the epic, romanticised period view of the American mafia in The Godfather? Try watching Gomorrah for a so-real-you-might-faint view. Set in the seedy underbelly of modern day Naples, the Italian mob’s reach and control is mind-boggling, messy and utterly terrifying.
Written by Mario Puzo & Francis Ford Coppola
Seen on DVD
*** 1/2
There are movies in film-buff canon so important that you just can’t be taken seriously if you’ve not seen them. Near the top of every cinephile’s best-of-American list is the one with the horse’s head, and an offer you can’t refuse – parodied, referenced and reverenced in all forms of media, by common consensus, The Godfather is THE mobster movie.
How I made it to the thirtieth year of my life without ever having seen it is rather a mystery, and after twenty nine years of build up I put the DVD in with some trepidation.
It's an epic, a classic.
But I didn’t really rate it.
Don’t get me wrong – the film is an Oscar winner, and deservedly so. The heavy score was gorgeous. The cinematographer achieved a perfectly mixed romantic noir look, setting the tone for a grand tale grounded in gangland intrigue: the descent (or rise, depending on how you look at it) of Michael Corleone, the straight-laced young war hero from one of the New York Mafia’s five families.
Michael is the “good” son, not meant for the family business, and purposefully kept on the outer - but each choice he makes takes him further in, his calm, quiet character slowly picking up the reigns and steering the family fortunes. The young Al Pacino, now film legend in his own right, became a star in this role. He’s magnetic, drawing the eye in every scene.
Marlon Brando received accolades as the stone-faced Don, building a complete character and flawlessly modulating his performance from robust ruler to invalid no longer fit to lead. The often-lampooned voice he created was beautifully kept up, and cleverly adapted to thin tones of ill-health, yet at times he still struck me as a posing caricature.
Several scenes were so well constructed they still haunt me. The almost dreamlike hit on Paulie, amid golden fields of waving grass, the Statue of Liberty just visible in the background. And the nightmarish hospital visit, Michael wandering alone through the empty corridors, tension rising as he realises all his father’s men are gone and the Don is alone and unguarded.
As a pivotal scene for the central character, this was beautiful - the strong feeling of impending doom, and Michael’s first panicked response giving way to quiet command of the situation, the first real indication that he’s a dangerous man. The relief tendered when he has successfully moved his father is immediately punctured with his oath: he’s in, despite his own intentions and even the efforts of the Family.
Michael’s development over the film was mesmerising. From naive young man, lauded by conventional society and repelled by his family’s business, he has become a cold, calculating killer, baptised as leader during the horrific intercut of family christening and hits on his enemies. The last scene, in which he is able to lie to Kay with a straight face, then with equal lack of emotion accept the fealty of his father’s men, is chilling.
But the film was over-long, and I found it over-complicated. Perhaps because I got some characters mixed up with each other, which meant I couldn’t keep the story straight. Or perhaps because of the sudden jumps in time, especially towards the end, with no indication that it had happened until confronted with a line like “I’ve been back a year. Longer than that, I think,” or the sudden, out-of-the-blue existence of a three year old child.
I also fell into a few plot-holes. To a certain extent, when watching a film, you have to accept that some things are going to happen which you may not understand, but which are an essential part of moving the story or characters on. Several times during the Godfather I found myself unable to allow these moments, and was yanked out of the story, completely unable to believe that a decision or action taken was vital, and thinking less of the characters and the film because of it.
At this stage, it’s not a film I’ll be adding to my collection. I do feel a slight sense of loss about that – expectations certainly not exceeded – but the mythos has caught me. I am already contemplating the possibility of a re-watch helping me understand the story better…
But first I am looking forward to continuing the story, and following Michael’s fortunes with the only sequel to a AMPAS Best Picture winner also to have received the Oscar. There’s got to be something in that!
Love the epic, romanticised period view of the American mafia in The Godfather? Try watching Gomorrah for a so-real-you-might-faint view. Set in the seedy underbelly of modern day Naples, the Italian mob’s reach and control is mind-boggling, messy and utterly terrifying.
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