#harvey keitel

Mean Streets (1973)

Dir. Martin Scorsese

Misters Pink, Brown, Blonde, Orange and White

The Duellists (1977)

Director - Ridley Scott, Cinematography - Frank Tidy

“You have kept me at your beck and call for fifteen years. I shall never again do what you demand of me. By every rule of single combat, from this moment your life belongs to me. Is that not correct? Then I shall simply declare you dead. In all of your dealings with me, you’ll do me the courtesy to conduct yourself as a dead man. I have submitted to your notions of honor long enough. You will now submit to mine.”

“What kind of bird are you?”

Penguin Classics inspired self-help paperbacks, block colour record players and short, vibrant dresses with high socks are just some of the items that comprise the world of Wes Anderson’s latest symmetrical ode to dysfunction, Moonrise Kingdom.

Yet rather than simply being superficial objects used to mask a character’s lack of depth, Anderson, as he so often does, injects his troubled, twelve year old protagonists with multiple layers of (adult) emotion through these objects, treating them as responses, not affectations - these are children, sick of being treated as children, who long to be adults.

This precociousness is an interesting dynamic, and one that Anderson has only approached once before, albeit briefly, in The Royal Tenenbaums, and it works well enough here. But, unlike The Royal Tenenbaums, Moonrise Kingdom lacks the heart that made Anderson’s masterpiece so poignantly compelling. The conflict that drove Sam and Suzy to the point where they have to escape is glossed over, leaving the logic behind their actions unclear. Of course, Anderson is trying to treat his characters as the children they are, but for a film as filled with adult emotion as this, avoiding conflict in such a way is doing the story a disservice. An audience needs to understand why the characters are acting the way they are, otherwise it’s difficult to connect with their situation.

And that’s the case here. It’s a shame, as there’s so much to like about Moonrise Kingdom: it’s a thoroughly charming, funny and romantic film. But by avoiding the conflicts that drive the storyline to its (somewhat underwhelming) climax, Moonrise Kingdom is a very hard film to fall in love with.

Howard Shore’s soundtrack for “Cop Land”, a movie about police corruption.

He could have used this music for “The Silence of the Lambs”.

If that doesn’t tell you something is rotten in Denmark, nothing will.

The trailer of “Cop Land” (James Mangold) with Ray Liotta.

You’ve seen “Goodfellas”.

My recommendation for a Ray Liotta movie is “Cop Land” (James Mangold, 1997).

Fine movie on corruption. A rare good movie with Sylvester Stallone.