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Author Topic: Public Enemies (2009)  (Read 64063 times)
Groggy
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« Reply #150 on: November 06, 2009, 08:38:15 AM »

I didn't like the Baby Face Nelson and Pretty Boy Floyd inaccuracies

I didn't bring them up in the post you seem to be replying to. I said there was no character depth, and there really isn't for anyone but the lead.

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cigar joe
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« Reply #151 on: November 06, 2009, 04:00:20 PM »

Quote
and bye bye blackbird - the most important thing for a man close to death was to pass a message to the girl he loved most in the world.

That was the biggest "Hollywood Turd" laid in PE,  lol, Hollywood formulaic schmaltz. Dillinger was at the theater with a hooker, probably got a BJ during the film, too.  Azn  Give us a break.

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« Reply #152 on: January 17, 2010, 04:25:24 PM »

He was good is Shaft (2000) as well.

Finally saw the film and it's a real turkey. There is absolutely no narrative flow. Scenes come to an end and everything just stops. There are almost no transitions; nothing to propel viewers into the next sequence. It's as if a number of set pieces had been filmed at random, and then an editor tried cobbling them together to make a movie. This might have been okay if the set pieces themselves were any great shakes: they aren't. They are standard fare, indifferently executed. The decision to shoot on digital rather than on film gives certain scenes a weird, unreal vibe that doesn't serve this kind of movie at all. There are no characters. We never have any idea why Dillinger does what he does. There is almost no plot development. Episodes are virtually interchangeable, and nothing is built upon. Finally, when Mann decides to end things, he suddenly assembles the elements necessary to kill Dillinger and we have to endure an excrutiatingly long build up for the inevitable to occur. The music for the film is, the put it kindly, uninspired. The dialog is insipid. Here's a sample from the Little Bohemia sequence:

G-man: Somebody got out!

Purvis: Was it Dillinger?

G-man: Yeah, I think so.

The Little Bohemia sequence is the only place I got a laugh. After the crooks bust out of the lodge and the feds take off after them, Mann pours so much light on the chase through the woods that it looks like this middle-of-the-night event is occurring in broad daylight.

Mann also made the classic mistake, intercutting clips from a better movie into the present fiasco. Bad as Manhattan Melodrama is, when I say Gable, Powell, and Loy on the screen I kept wishing that that was the movie I was watching.

This. Every word of it.

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Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre. What did you think of the script?
Groggy
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« Reply #153 on: January 17, 2010, 05:24:08 PM »

For all the energy I put into defending this against CJ's trolling on IMDB, I have no great desire to see it again. A pity, as it could, perhaps even should, have been a great film.

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« Reply #154 on: March 18, 2013, 05:34:50 AM »

I was disappointed by this one, it became a bore after the first hour or so.

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