Smokin' Aces (NEW Joe"Narc"Carnahan film)
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Another cool poster
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New Stills
Carmine Falcone
So it goes.
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Ray liotta is the ****
Master Chief
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This movie is giving me a major hard on.
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MmMMmmm, finally a change of pace and I still can't wait.
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Vern's Seen SMOKING ACES!!
Hey, everyone. Moriarty here. Carnahan fans have been waiting a while now for his follow-up to NARC, and it seems crazy that its almost here.
If youre a fan, you might want to hop over to CHUD, where Devin Faraci has been fielding questions that Carnahans been answering on his very own blog.
In the meantime, lets see what our own Vern has to say about this film that Im eagerly looking forward to:
Vern's Seen SMOKING ACES!!
Hey, everyone. Moriarty here. Carnahan fans have been waiting a while now for his follow-up to NARC, and it seems crazy that its almost here.
If youre a fan, you might want to hop over to CHUD, where Devin Faraci has been fielding questions that Carnahans been answering on his very own blog.
In the meantime, lets see what our own Vern has to say about this film that Im eagerly looking forward to:
You know what this movie is, it's a remake of BOBBY. Almost the whole movie takes place in and around this hotel. And you got your huge all-star cast of characters with their various intersecting stories going on. But instead of them all living their lives and making corny speeches not knowing Bobby Kennedy is about to be assassinated, they are all trying to sneak into the hotel to kill Jeremy Piven. And instead of tons of stock footage of Kennedy speeches there is all kinds of fighting and guns. So it's a reflection of our times. Or a very loose remake. A reimagining.
Let me give a little background so you can compare notes. I was hoping to like this movie, but not predisposed to it. Joe Carnahan wrote and directed, and I'm not a member of the cult of Carnahan yet. I liked NARC okay but to be frankly honest I didn't understand why everybody made such a big deal about it. I thought the trailer for this one looked insane in a good way, but usually hate these hyperactive showoffy everybody-look-at-me type approaches to filmatism. There was clearly a higher than usual probability of Guy Ritchieness. Or CRANKitude. Or, gulp, DOMINOism. Going in I felt like there was a good chance I would love it and an equal or greater chance that I would want to kill it.
The opening scene has FBI agents Ray Liotta (why the **** did they cancel SMITH?) and Ryan Reynolds (why the **** did they cancel BLADE?) in a van staking out an old mafia dude. The dialogue and acting is somewhat naturalistic, the camera is handheld (director code for "gritty crime story and/or police procedural"). It seems serious. But then some giant fonts come on telling us the characters' names and occupations.
Bad sign, right? Maybe even a dealbreaker, tying to pull that TRAINSPOTTING **** at this late date. But here's the thing: it's not a freeze frame. They write the names on the screen BUT THEY DON'T FREEZE THE FRAME! No avid farts either. And they hold the shots for a reasonable amount of time. I don't think I ever saw this combination of styles before. The editing in this movie does not necessarily appear to have been done under the influence of pixie sticks, it serves the story well. As soon as I realized they had written the names on the screen without freezing, I was sold on the movie. It got me.
Then when they introduced the other characters they freeze framed on all of them. God damn it. But that's the way things go these days.
SMOKIN' ACES is a big ****in mess, but mostly on purpose. The plot for the most part is this: Jeremy Piven plays a mafia-connected Vegas magician named Buddy "Aces" Israel, whose lawyer played by Booger (RAY) is currently putting together a deal for him to turn state's evidence. The mobster he's turned on has apparently put a million dollar bounty on Israel, so we follow various hitmen and women who are trying to kill him as well as these two agents trying to bust the mob.
That part I liked. There is also a whole mess of overly complicated backstory and ending revelation nonsense. It's as convoluted as Steven Seagal's recent DTV works and explained in big awkward chunks of dialogue, SILENT HILL style. To be honest I was too stupid to follow all of it but I bet if I understood it I would still be against it.
The cast includes (but is not limited to) Andy Garcia as the FBI chief, Common (from the Gap ads) as some guy who works for Piven, the singer Alicia Keys as a hitwoman, Taraji "I dropped the P now" Henson (HUSTLE & FLOW) as her feminist partner, Jason Bateman (TW2) as a
hilariously cold-sored loser lawyer, Peter Berg as some
guy, Martin Henderson from TORQUE, etc. The whole cast is good with the one exception being Ben Affleck as a bail bondsman who stresses his Boston accent and dresses kind of the way Andrew Dice Clay does now, with a big hat and everything. Honestly I got nothing against Affleck, he is a charming guy and whatever but he is just not convincing as a tough guy (I mean seriously, a bail bondsman?) and his persona is not one you can accept in this role. It's laughable. But...
If you are already planning on seeing this movie then skip this paragraph because it's gonna SPOILER all over the best scene in the movie. If you are planning to skip it you can keep reading because I'm gonna bring out the big guns. See, Affleck brings together a couple guys who are gonna make a play for this bounty on Piven. He makes a bunch of tough guy speeches that explain all the backstory and what not. He meets with a lawyer. He comes up with a plan for sneaking into the hotel where Piven is hiding out. In a parking lot, he opens up his hatchback to show his guys the uniforms he rented, exactly like the ones the hotel security wear. Okay, so here's how it's gonna go down, he starts explaining. While he's going through it, an El Camino drives past them, blaring Motorhead or some ****. He ignores it, but then the El Camino starts to back up, so the music gets louder, completely drowning him out. It seems like a movie joke, he keeps telling his plan but we don't hear it because it's drowned out by the music. But then machine guns fire out of the windows and fill Affleck and his two accomplices full of holes. The savages responsible are the Tremor brothers, who look and act like they stepped out of ROAD WARRIOR into this movie by accident. After killing these three, one of them takes a sharpie and marks three hatches on his lip, both a body count and a Hitler mustache. He also carves it into the roof of his car for posterity. Then two of the Tremor brothers wrestle each other like pitbulls while the other one plays with Ben Affleck's corpse, making him mouth that he forgives them and will see them in Heaven. It is one of those rare scenes where for a couple minutes straight you can't help but think, "Holy ****, am I really sitting in a theater watching this?" Even if you don't like the movie overall, you gotta admit that this scene is an instant classic. It's like Samuel L. Jackson's famous death scene in DEEP BLUE SEA except that this is Affleck, you WANT him to die early and you can't believe you got so lucky. By the way, thank you for reading this paragraph, those other guys who didn't read it are a bunch of sissies. **** those guys.
Hello again, friend. If you are just joining us from non-spoilerland, you missed my explanation of my favorite characters in the movie, the Tremor Brothers. Since the '90s there have been alot of horrible movies trying to depict cool hitmen. They have tried alot of different ways (usually involving skinny ties and references to pop culture) but I don't think anybody has done hitmen who appear to believe they live in a post-apocalyptic wasteland. Until now. These dirty beasts wear goggles, pads, chains, no shirts, they have obscene tattoos, they carry flares and chainsaws, they roar much more than they talk. We hear that they are redneck neo-nazis, but the way they act they might as well be completely free of politics or knowledge of human systems, neanderthals given access to automatic weapon technology millions of years ahead of schedule. Any time they were on screen I couldn't stop laughing, and after their great scene that you didn't read about in that last paragraph there was no way I could completely turn against the movie, even when it wasn't working.
But more often than not it does work. Everybody gets good bits. Taraji Henson has a really funny rant about women she considers skanks. Jason Bateman is only in about two scenes, but gets the biggest non-Tremor laughs of the movie. He sounds like he was up all night yelling and I don't believe he ever wears pants in the movie. Piven gets so sweaty and coked up that it makes your heart beat fast just looking at him. There is some funny **** about the rock star lifestyle of a magician. His number two guy almost seems like they cast the real life road manager to some rock band or rapper.
Of course you got the usual problem of a movie like this, there are so many characters that nobody gets to do a full movie star's amount of business. But because of the actors and to a lesser extent the script, they manage to endear some of these characters to you. I really liked Ray Liotta, Ryan Reynolds, and the pair of hitwomen, I was rooting for all of them to make it out okay. And I think Reynolds deserves special recognition, like maybe a ribbon or a pin or something. Because we all knew Liotta could play a role like this, but Reynolds (the closest thing to a lead in the movie) is still proving himself. I liked him in the not-as-good BLADE movie but here he mostly steps away from that smartass thing he's so good at and pulls off more of a straight role. Way to go bud.
The movie gets real ****in violent. Alot of people get shot. There is a huge shootout in a regular sized elevator. The gun sounds are more realistic than usual so it gets pretty tense. We are having fun, there is alot of humor and silly gimmicky characters, even a master of disguise. This is one of those movies where not only are the characters a bunch of arrogant pricks, but the movie itself seems to think it's hot ****. And there are times here and there where that cockiness is not earned. For example, those freeze frames I mentioned earlier. You have to wonder who they think they're impressing with that corny ****. What made them think that was gonna be hip in 2006? I mean, TRAINSPOTTING was ten years ago, dude. They did that on both OUT FOR A KILL and SUBMERGED, let's retire it for a while. There is also one sped up driving scene with cheesy guitars and beats. It's like an old man wearing an eyebrow ring.
But I think the thing that overcomes all this, that makes the movie work for me, is that when a character dies it's sad. And sometimes it takes time. People sit next to dying people to comfort them, or worry that someone they care about has been shot in all this mayhem, try to find them to make sure they're okay. It's not just "ha ha, his head got blown off." Even in this over-the-top, jokey story, Carnahan treats his characters as real and his violence as bad. This way the movie may be too cool but it avoids being too cool for school. It still goes to summer school at the very least.
But there is certainly enough in here to annoy many people, and you can't deny that it has similarities to a LOCK STOCK AND TWO SMOKING BARRELS type movie and all the horrible **** that came after that one. I wouldn't say it was very Tarantino because thankfully there is no dialogue that seems to be aping him. Maybe you could argue that the eclectic selection of music on the soundtrack is trying to be like him (although I wouldn't have expected even Tarantino to put a Skull Snaps song in a movie).
On the surface maybe it's like LOCK STOCK but I think its soul is more like WAY OF THE GUN. A movie that covers territory others have famously covered, but manages to put its own spin on it, depite being weighed down by its clumsy and unnecessary attempts at a complex narrative. I think WAY OF THE GUN is a very flawed movie but I still enjoy going back and watching it every once in a while. Only time will tell if SMOKIN' ACES will have a similar future. But is it worth checking out if you like this sort of ****? Lord knows I checked it out, and did not regret the checking out of it. Therefore I must conclude that it was and will continue to be worth checking out.
Thanks, buds.
--Vern
Let me give a little background so you can compare notes. I was hoping to like this movie, but not predisposed to it. Joe Carnahan wrote and directed, and I'm not a member of the cult of Carnahan yet. I liked NARC okay but to be frankly honest I didn't understand why everybody made such a big deal about it. I thought the trailer for this one looked insane in a good way, but usually hate these hyperactive showoffy everybody-look-at-me type approaches to filmatism. There was clearly a higher than usual probability of Guy Ritchieness. Or CRANKitude. Or, gulp, DOMINOism. Going in I felt like there was a good chance I would love it and an equal or greater chance that I would want to kill it.
The opening scene has FBI agents Ray Liotta (why the **** did they cancel SMITH?) and Ryan Reynolds (why the **** did they cancel BLADE?) in a van staking out an old mafia dude. The dialogue and acting is somewhat naturalistic, the camera is handheld (director code for "gritty crime story and/or police procedural"). It seems serious. But then some giant fonts come on telling us the characters' names and occupations.
Bad sign, right? Maybe even a dealbreaker, tying to pull that TRAINSPOTTING **** at this late date. But here's the thing: it's not a freeze frame. They write the names on the screen BUT THEY DON'T FREEZE THE FRAME! No avid farts either. And they hold the shots for a reasonable amount of time. I don't think I ever saw this combination of styles before. The editing in this movie does not necessarily appear to have been done under the influence of pixie sticks, it serves the story well. As soon as I realized they had written the names on the screen without freezing, I was sold on the movie. It got me.
Then when they introduced the other characters they freeze framed on all of them. God damn it. But that's the way things go these days.
SMOKIN' ACES is a big ****in mess, but mostly on purpose. The plot for the most part is this: Jeremy Piven plays a mafia-connected Vegas magician named Buddy "Aces" Israel, whose lawyer played by Booger (RAY) is currently putting together a deal for him to turn state's evidence. The mobster he's turned on has apparently put a million dollar bounty on Israel, so we follow various hitmen and women who are trying to kill him as well as these two agents trying to bust the mob.
That part I liked. There is also a whole mess of overly complicated backstory and ending revelation nonsense. It's as convoluted as Steven Seagal's recent DTV works and explained in big awkward chunks of dialogue, SILENT HILL style. To be honest I was too stupid to follow all of it but I bet if I understood it I would still be against it.
The cast includes (but is not limited to) Andy Garcia as the FBI chief, Common (from the Gap ads) as some guy who works for Piven, the singer Alicia Keys as a hitwoman, Taraji "I dropped the P now" Henson (HUSTLE & FLOW) as her feminist partner, Jason Bateman (TW2) as a
hilariously cold-sored loser lawyer, Peter Berg as some
guy, Martin Henderson from TORQUE, etc. The whole cast is good with the one exception being Ben Affleck as a bail bondsman who stresses his Boston accent and dresses kind of the way Andrew Dice Clay does now, with a big hat and everything. Honestly I got nothing against Affleck, he is a charming guy and whatever but he is just not convincing as a tough guy (I mean seriously, a bail bondsman?) and his persona is not one you can accept in this role. It's laughable. But...
If you are already planning on seeing this movie then skip this paragraph because it's gonna SPOILER all over the best scene in the movie. If you are planning to skip it you can keep reading because I'm gonna bring out the big guns. See, Affleck brings together a couple guys who are gonna make a play for this bounty on Piven. He makes a bunch of tough guy speeches that explain all the backstory and what not. He meets with a lawyer. He comes up with a plan for sneaking into the hotel where Piven is hiding out. In a parking lot, he opens up his hatchback to show his guys the uniforms he rented, exactly like the ones the hotel security wear. Okay, so here's how it's gonna go down, he starts explaining. While he's going through it, an El Camino drives past them, blaring Motorhead or some ****. He ignores it, but then the El Camino starts to back up, so the music gets louder, completely drowning him out. It seems like a movie joke, he keeps telling his plan but we don't hear it because it's drowned out by the music. But then machine guns fire out of the windows and fill Affleck and his two accomplices full of holes. The savages responsible are the Tremor brothers, who look and act like they stepped out of ROAD WARRIOR into this movie by accident. After killing these three, one of them takes a sharpie and marks three hatches on his lip, both a body count and a Hitler mustache. He also carves it into the roof of his car for posterity. Then two of the Tremor brothers wrestle each other like pitbulls while the other one plays with Ben Affleck's corpse, making him mouth that he forgives them and will see them in Heaven. It is one of those rare scenes where for a couple minutes straight you can't help but think, "Holy ****, am I really sitting in a theater watching this?" Even if you don't like the movie overall, you gotta admit that this scene is an instant classic. It's like Samuel L. Jackson's famous death scene in DEEP BLUE SEA except that this is Affleck, you WANT him to die early and you can't believe you got so lucky. By the way, thank you for reading this paragraph, those other guys who didn't read it are a bunch of sissies. **** those guys.
Hello again, friend. If you are just joining us from non-spoilerland, you missed my explanation of my favorite characters in the movie, the Tremor Brothers. Since the '90s there have been alot of horrible movies trying to depict cool hitmen. They have tried alot of different ways (usually involving skinny ties and references to pop culture) but I don't think anybody has done hitmen who appear to believe they live in a post-apocalyptic wasteland. Until now. These dirty beasts wear goggles, pads, chains, no shirts, they have obscene tattoos, they carry flares and chainsaws, they roar much more than they talk. We hear that they are redneck neo-nazis, but the way they act they might as well be completely free of politics or knowledge of human systems, neanderthals given access to automatic weapon technology millions of years ahead of schedule. Any time they were on screen I couldn't stop laughing, and after their great scene that you didn't read about in that last paragraph there was no way I could completely turn against the movie, even when it wasn't working.
But more often than not it does work. Everybody gets good bits. Taraji Henson has a really funny rant about women she considers skanks. Jason Bateman is only in about two scenes, but gets the biggest non-Tremor laughs of the movie. He sounds like he was up all night yelling and I don't believe he ever wears pants in the movie. Piven gets so sweaty and coked up that it makes your heart beat fast just looking at him. There is some funny **** about the rock star lifestyle of a magician. His number two guy almost seems like they cast the real life road manager to some rock band or rapper.
Of course you got the usual problem of a movie like this, there are so many characters that nobody gets to do a full movie star's amount of business. But because of the actors and to a lesser extent the script, they manage to endear some of these characters to you. I really liked Ray Liotta, Ryan Reynolds, and the pair of hitwomen, I was rooting for all of them to make it out okay. And I think Reynolds deserves special recognition, like maybe a ribbon or a pin or something. Because we all knew Liotta could play a role like this, but Reynolds (the closest thing to a lead in the movie) is still proving himself. I liked him in the not-as-good BLADE movie but here he mostly steps away from that smartass thing he's so good at and pulls off more of a straight role. Way to go bud.
The movie gets real ****in violent. Alot of people get shot. There is a huge shootout in a regular sized elevator. The gun sounds are more realistic than usual so it gets pretty tense. We are having fun, there is alot of humor and silly gimmicky characters, even a master of disguise. This is one of those movies where not only are the characters a bunch of arrogant pricks, but the movie itself seems to think it's hot ****. And there are times here and there where that cockiness is not earned. For example, those freeze frames I mentioned earlier. You have to wonder who they think they're impressing with that corny ****. What made them think that was gonna be hip in 2006? I mean, TRAINSPOTTING was ten years ago, dude. They did that on both OUT FOR A KILL and SUBMERGED, let's retire it for a while. There is also one sped up driving scene with cheesy guitars and beats. It's like an old man wearing an eyebrow ring.
But I think the thing that overcomes all this, that makes the movie work for me, is that when a character dies it's sad. And sometimes it takes time. People sit next to dying people to comfort them, or worry that someone they care about has been shot in all this mayhem, try to find them to make sure they're okay. It's not just "ha ha, his head got blown off." Even in this over-the-top, jokey story, Carnahan treats his characters as real and his violence as bad. This way the movie may be too cool but it avoids being too cool for school. It still goes to summer school at the very least.
But there is certainly enough in here to annoy many people, and you can't deny that it has similarities to a LOCK STOCK AND TWO SMOKING BARRELS type movie and all the horrible **** that came after that one. I wouldn't say it was very Tarantino because thankfully there is no dialogue that seems to be aping him. Maybe you could argue that the eclectic selection of music on the soundtrack is trying to be like him (although I wouldn't have expected even Tarantino to put a Skull Snaps song in a movie).
On the surface maybe it's like LOCK STOCK but I think its soul is more like WAY OF THE GUN. A movie that covers territory others have famously covered, but manages to put its own spin on it, depite being weighed down by its clumsy and unnecessary attempts at a complex narrative. I think WAY OF THE GUN is a very flawed movie but I still enjoy going back and watching it every once in a while. Only time will tell if SMOKIN' ACES will have a similar future. But is it worth checking out if you like this sort of ****? Lord knows I checked it out, and did not regret the checking out of it. Therefore I must conclude that it was and will continue to be worth checking out.
Thanks, buds.
--Vern
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http://www.latinoreview.com/news.php?id=1223
Reader Review: Smokin' Aces
Date: December 13, 2006
By: Ronnie Adams
Source: J.T. Shake
Reader J.T. Shake caught an early screening of Smokin' Aces. He sent us in his thoughts on Joe Carnahan's follow up to NARC which you can read below.
Smokin' Aces - you gotta hand it to them
Smokin Aces is so far over the top its looking down on Scarface, saying, Why did ya hold back? It makes Pulp Fiction seem reserved. So wildly out there Smokin Aces is, youd almost expect a guest cameo by Mickey Rourke as an Elvis impersonator with high heels. No Elvis. No Mickey. But man is Aces circling plant maniac. Heres the deal. Aces is the nickname of a Las Vegas magician (Jeremy Piven) who also thinks hes tough, a connected wise guy. Which is fine for a while until he starts playing the role of the big wheel and doesnt have many places to spin after he pos the leader of the Vegas mob. So the mob guy fingers the magician for a $1 million hit. Thats when the FBI fellows decide to turn the magician as a rat, fix up him up nice and quiet at a Lake Tahoe suite until hes ready to cut a deal.
Which is a cue for a mad, mad, mad, mad world of some of the weirdest shooters you could imagine zeroing in on the target and the bucks. Theres a shape-shifting murderer, a sneaky sword shooting snake, a duo of slinky African-American street-wise killers, a tripped-out trio straight out of Mad Max, and three stooge-type bail-bonds dudes who couldnt catch a break if it broke them in the face.
They all converge on the Tahoe casino to collect their bounty, but get in the way of a bunch of things; themselves, security, and of course big heaping helpings of common sense. Calling Smokin Aces cartoonish would be under-estimating its capacity to flesh out ridiculous as a hyper-real art. Writer-director Joe Carnahan is the architect for this lavish exercise, and may have given us a hint of what he was laying down a few years previously when gave the movie world Narc, less operatic in its penchant for exaggeration. He definitely pumps up the volume here, sometimes so overwhelmingly it gets numbing. Now Im not saying this is a bad thing necessarily. But those who like a spoonful of subtle to go with their shoot-outs, well Woo-is-me. John Woo might even pace himself more.
For those who may not take Smokin Aces that seriously, there are lots of things. There are some laughs and many of them are intentional. And there are some decent acting performances amongst the in-excess carnage. Ryan Reynolds and Ray Liotta take their jobs seriously as the FBI guys surrounded by the anarchy. Andy Garcia is another FBI guy you may or may not want to trust. Piven, hardly the Entourage smart aleck in Smokin Aces, is as desperately as youd want a mob snitch to be. And Ben Affleck shows up in a glorified cameo as a bail bondsman with a plan. If you look close enough, you might catch a few other famous folks, including Matthew Fox who doesnt look Lost as much as he does out of step with his usual face. Arrested Developments Jason Bateman continues to steal scenes in other peoples movies, this time playing a deviant self-medicated cross-dressing lawyer who assigns guilt and three thugs to what may be their demise.
And hold on now. Darned if there arent some twist and turns along the way. Even a few surprises. Even a few tender-is-the-night moments. But then after some of the brutal and bloody confrontations, even a quiet moment has a soothing feel to it.
Reader Review: Smokin' Aces
Date: December 13, 2006
By: Ronnie Adams
Source: J.T. Shake
Reader J.T. Shake caught an early screening of Smokin' Aces. He sent us in his thoughts on Joe Carnahan's follow up to NARC which you can read below.
Smokin' Aces - you gotta hand it to them
Smokin Aces is so far over the top its looking down on Scarface, saying, Why did ya hold back? It makes Pulp Fiction seem reserved. So wildly out there Smokin Aces is, youd almost expect a guest cameo by Mickey Rourke as an Elvis impersonator with high heels. No Elvis. No Mickey. But man is Aces circling plant maniac. Heres the deal. Aces is the nickname of a Las Vegas magician (Jeremy Piven) who also thinks hes tough, a connected wise guy. Which is fine for a while until he starts playing the role of the big wheel and doesnt have many places to spin after he pos the leader of the Vegas mob. So the mob guy fingers the magician for a $1 million hit. Thats when the FBI fellows decide to turn the magician as a rat, fix up him up nice and quiet at a Lake Tahoe suite until hes ready to cut a deal.
Which is a cue for a mad, mad, mad, mad world of some of the weirdest shooters you could imagine zeroing in on the target and the bucks. Theres a shape-shifting murderer, a sneaky sword shooting snake, a duo of slinky African-American street-wise killers, a tripped-out trio straight out of Mad Max, and three stooge-type bail-bonds dudes who couldnt catch a break if it broke them in the face.
They all converge on the Tahoe casino to collect their bounty, but get in the way of a bunch of things; themselves, security, and of course big heaping helpings of common sense. Calling Smokin Aces cartoonish would be under-estimating its capacity to flesh out ridiculous as a hyper-real art. Writer-director Joe Carnahan is the architect for this lavish exercise, and may have given us a hint of what he was laying down a few years previously when gave the movie world Narc, less operatic in its penchant for exaggeration. He definitely pumps up the volume here, sometimes so overwhelmingly it gets numbing. Now Im not saying this is a bad thing necessarily. But those who like a spoonful of subtle to go with their shoot-outs, well Woo-is-me. John Woo might even pace himself more.
For those who may not take Smokin Aces that seriously, there are lots of things. There are some laughs and many of them are intentional. And there are some decent acting performances amongst the in-excess carnage. Ryan Reynolds and Ray Liotta take their jobs seriously as the FBI guys surrounded by the anarchy. Andy Garcia is another FBI guy you may or may not want to trust. Piven, hardly the Entourage smart aleck in Smokin Aces, is as desperately as youd want a mob snitch to be. And Ben Affleck shows up in a glorified cameo as a bail bondsman with a plan. If you look close enough, you might catch a few other famous folks, including Matthew Fox who doesnt look Lost as much as he does out of step with his usual face. Arrested Developments Jason Bateman continues to steal scenes in other peoples movies, this time playing a deviant self-medicated cross-dressing lawyer who assigns guilt and three thugs to what may be their demise.
And hold on now. Darned if there arent some twist and turns along the way. Even a few surprises. Even a few tender-is-the-night moments. But then after some of the brutal and bloody confrontations, even a quiet moment has a soothing feel to it.
hey yo its sean
Superhero
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Master Chief
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My gawt this movie is going to f**king rule.
Carmine Falcone
So it goes.
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There is no way that this movie is not sickeningly awesome.
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