Vory v zakone
Added 9/30/2009
Vory v zakone - Thieves in law.
This movie left me very pleased, the script is very good, nothing is over explained but every thing connects. There is a constant threat of menace all through the movie and the portrait of the Russian mafia is dark and sinister, not the men to be trifled with, in fact stay away.
So it is no place for a warm hearted midwife looking for the origins of a new born baby. Her investigations take her face to face with the inner circle of the mafia, a place no one should go. Drugs, assassinations, human trafficking, prostitution - it is a dark world that shuns the light and attention.
With strong preformances by Naomi Watts, Viggo Mortensen and Vincent Cassel it is the script that shines through. The directing is good and when there is violence it is no holds barred and all the time the potential for more is just below the surface.
It is a good and believable film. Highly recommended.
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Cronenberg and Mortensen's best
Added 8/30/2009
David Cronenberg has always been an edgy, disturbing director - and many of his films are difficult to watch. Eastern Promises is probably his most accessible film. There's something old world about this - no fancy turns - just plain old fashioned filmmaking and great acting. This is why the film succeeds. I can't praise the ensemble and script enough. This is definitely Viggo Mortensen's best role. He's a compelling actor. Vincent Cassel, who's always good, really finds his groove. As does Armin Mueller Stahl and of course Naomi Watts. The interplay and nuances of Eastern Promises makes it more Shakespearan and Godfather-like than a "thriller" as it's advertised. It's a thriller played out as a streetsmart chess game.
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It's not quite "A History of Violence," but it's definitely good
Added 7/29/2009
David Cronenberg's career has been one of the most unusual among prominent directors. After a decade of making highly novel and intellectual horror films Cronenberg flirted with the mainstream in "The Fly" and "Dead Ringers" before retreating into a bizarre third phase marked by adaptations of seemingly unfilmable material in the forms of "Naked Lunch" and "Crash." With "A History of Violence" Cronenberg opened the fourth phase of his career and took one more stab at a conventional narrative. Of course, "A History of Violence" is a far more unusual thriller than it may initially appear, and the same can be said of his follow up "Eastern Promises." Eastern Promises" is ultimately not as striking or as distinct as the aforementioned film, but it provides further evidence that the controlled, idea-oriented Cronenberg can (with assistance from screenwriter Knight) craft a more human drama, and can still place a distinct stamp on a convention-dominated genre.
"Eastern Promises" explores Russian-run organized crime in modern day London, opening when a young prostitute Tatiana (Sarah Jeanne Labrosse) dies during childbirth, and her nurse Anna (Naomi Watts), a second generation Anglo-Russian, discovers Tatiana's tragedy-filled diary. Anna takes it upon herself to place the child with the girl's relatives, and her investigations lead her to Semyon (Armin Mueller-Stahl), a seemingly helpful elderly Russian man who is soon revealed to be a powerful mobster with good reason to hide Tatiana's story. Simultaneously we glimpse into the core of the mafia while following the day-to-day lives of Kirill (Vincent Cassel), Semyon's haughty, self-absorbed son who constantly causes trouble and the cool, detached Nikolai (Viggo Mortensen), Kirill's friend and an up and coming "driver" within Semyon's organization. Nikolai soon notices Anna's investigations and, after first trying to warn her away, becomes personally involved, even at the risk to his place in the organization.
Though that synopsis suggests a crime/thriller film, "Eastern Promises" is substantially more staid than that, playing more as a straight drama set in the mafia's world. Though punctuated by moments of striking violence, the film is more obsessed with character and sorrowful mood, and Cronenberg cuts down on his an ace visuals to create a wintry London locale that is a flat, desolate place, wholly appropriate to the somber nature of the narrative. Moreover, "Eastern Promises" takes a more classically-styled approach to character than most recent mafia pics. While modern cinematic mobsters are typically mundane, bestial or neurotic, the brass of the Russian mafia here display a sort of self-regarding, aristocratic air even as they commit the basest crimes. The film's greatest strength is in the depth of the characters, most of whom initially appear to be standard types, but who grow to be more sophisticated as the film progresses. Particularly notable is Kirill, who is so tiresome and whiny at first, but who finally displays a surprising humanity, especially compared to his cold, business-like compatriots. (Cassel has long specialized in playing self-absorbed French punks, and he makes the transition to self-absorbed, Russian punk effortlessly.)
Watts and Mortensen make up the heart of the film. Though Watts's Anna is somewhat thinly written, she is the film's line to the real world, the shocked innocent who finds that a dark, unseen underworld surrounds us all. Conversely, Mortensen's mysterious Nikolai may seem to be nothing more than the mobster with a heart of gold, but his commanding presence dominates the film. Some are dissatisfied with his accent, but I fear that Russian accents are naturally goofy, and Mortensen's pure physical presence, with his dark glasses and slicked hair, generates cool aloofness. He is, however, a deeply sympathetic character who takes great personal risk for no personal benefit. In short, Nikolai displays the mix of detachment and self-control underlined by altruism/honor that marks so many classic heroes.
If "Eastern Promises" has a weakness, it is the thinness of the story. Even though Tatiana's story has wide-ranging impact on the mafia, by the film's end it still feels as if we've barely scratched the surface. The later acts are highly compelling, especially Nikolai's deservedly famous, audacious naked brawl in a public bathhouse, but the viewer can't help but feel that there is more to be uncovered. (Of course, this weakness is arguably a testament to the film's effect as well, as few movies seem to demand that they be longer and more elaborate, but the slight let down exists nevertheless.)
Still, that minor caveat aside, this is a distinctive, if not utterly unique, film and among Cronenberg's finest. He is known for his transformations, but I hope Cronenberg sticks with this approach for a little bit longer, as quality crime pics are in short supply, and he has the track record to bolster those standards quite a bit. Check it out.
Grade: B+
1 out of 1 people found this helpful.
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Cronenberg - one of our best directors.
Added 7/28/2009
"I seem to be drawn to enclosed hermetically sealed subcultures whether they're ones that I've invented myself in sci-fi terms or things like M. Butterfly which was the Peking Opera. This is not only Russian culture transplanted to England but mob culture, which is a subculture of a subculture. I think it's my existentialist underpinnings that draw me to that, the idea that we create our own reality through our culture and our art. We create a reality that seems as real as anything else, but in fact, it's quite transitory and is really a projection of our own creative will. And so, too, it is with this crime family and that we discover in EASTERN PROMISES." -David Cronenberg.
Fascinating, yes? Well summing up in in couple of sentences the story, a nurse (Watts) stumbles into the world of the Russian mafia in England after taking an interest in a patient that died in her hospital and the patients newly born baby. Things aren't often what they may seem. She means well, but is in over her head. Will good prevail? I wasn't bored for a second and there are a couple of nice surprises.
*Great script.
*Great cast...
*Naomi Watts is wonderful. Also I like her Uncle. He's "old school". Viggo Mortensen is a very talented actor and he delivers an incredible performance as a Russian mobster. One of his finest. Viggo always prepares extensively for his roles, doing in depth research, immersing himself in the part. He actually traveled deep into Russia "a couple of time zones east of Moscow, Saint Petersberg, and the Urals" to a place called Yekaterinburg, located far from Western Europe and that "feels quite different". He met people and would sort of just absorb their "Russianness". If you never saw Viggo in previous roles you'd absolutely believe he is a Russian actor.
*DVD contains great bonus material.
Like many, I enjoy films that depict the underbelly of society and criminals. I'd have to say "Eastern Promises" is in the top 6-7 films "gangster/mob films" ever made -which is saying a lot. Some believe David Cronenberg to be America's greatest director of recent decades. This film certainly helps make that case. He is surely one of the most interesting.
1 out of 1 people found this helpful.
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I'm just the driver
Added 7/20/2009
This film is definitely adults-only. While the overall ambiance is violent, several gruesome scenes leave little or nothing to the imagination. Given the role of organized crime that is to be expected, though in a few scenes graphic gore was gratuitous. In those instances the plot could have been as strong or stronger left to wilder imaginings. From the vantage point of the Russian mob (Vory), this film presents a shadier side of London, which is very artfully done without using any of its typically associated shtick. There is no polite reserve or refinement in the lives of these characters. What is presented is a very bare, bleak existence that without geographical reference could easily have been a grey eastern land. No one character stood out, thus no performance stood out. Rather, the fluid chemistry amongst the cast created this believable world, part of it intent on resolving a mystery as furiously as the rest of it focused on hiding clues.
The one thing that I felt this film suffered was the absence of history connecting Nikolai to the Vory. The omission doesn't detract from the plot resolution or from Nikolai's development as a character, though a mere two lines would suffice to tie him more thoroughly into the family and generate more sympathy for his plight. As it stood his involvement was vague and confusing, which definitely took away from the rest of the well-crafted story. All-in-all this film carries itself well, just expect to have lingering questions in the end.
0 out of 0 people found this helpful.
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Vory v zakone
Added 9/30/2009
Vory v zakone - Thieves in law.
This movie left me very pleased, the script is very good, nothing is over explained but every thing connects. There is a constant threat of menace all through the movie and the portrait of the Russian mafia is dark and sinister, not the men to be trifled with, in fact stay away.
So it is no place for a warm hearted midwife looking for the origins of a new born baby. Her investigations take her face to face with the inner circle of the mafia, a place no one should go. Drugs, assassinations, human trafficking, prostitution - it is a dark world that shuns the light and attention.
With strong preformances by Naomi Watts, Viggo Mortensen and Vincent Cassel it is the script that shines through. The directing is good and when there is violence it is no holds barred and all the time the potential for more is just below the surface.
It is a good and believable film. Highly recommended.
0 out of 0 people found this helpful.
|
Cronenberg and Mortensen's best
Added 8/30/2009
David Cronenberg has always been an edgy, disturbing director - and many of his films are difficult to watch. Eastern Promises is probably his most accessible film. There's something old world about this - no fancy turns - just plain old fashioned filmmaking and great acting. This is why the film succeeds. I can't praise the ensemble and script enough. This is definitely Viggo Mortensen's best role. He's a compelling actor. Vincent Cassel, who's always good, really finds his groove. As does Armin Mueller Stahl and of course Naomi Watts. The interplay and nuances of Eastern Promises makes it more Shakespearan and Godfather-like than a "thriller" as it's advertised. It's a thriller played out as a streetsmart chess game.
0 out of 0 people found this helpful.
|
It's not quite "A History of Violence," but it's definitely good
Added 7/29/2009
David Cronenberg's career has been one of the most unusual among prominent directors. After a decade of making highly novel and intellectual horror films Cronenberg flirted with the mainstream in "The Fly" and "Dead Ringers" before retreating into a bizarre third phase marked by adaptations of seemingly unfilmable material in the forms of "Naked Lunch" and "Crash." With "A History of Violence" Cronenberg opened the fourth phase of his career and took one more stab at a conventional narrative. Of course, "A History of Violence" is a far more unusual thriller than it may initially appear, and the same can be said of his follow up "Eastern Promises." Eastern Promises" is ultimately not as striking or as distinct as the aforementioned film, but it provides further evidence that the controlled, idea-oriented Cronenberg can (with assistance from screenwriter Knight) craft a more human drama, and can still place a distinct stamp on a convention-dominated genre.
"Eastern Promises" explores Russian-run organized crime in modern day London, opening when a young prostitute Tatiana (Sarah Jeanne Labrosse) dies during childbirth, and her nurse Anna (Naomi Watts), a second generation Anglo-Russian, discovers Tatiana's tragedy-filled diary. Anna takes it upon herself to place the child with the girl's relatives, and her investigations lead her to Semyon (Armin Mueller-Stahl), a seemingly helpful elderly Russian man who is soon revealed to be a powerful mobster with good reason to hide Tatiana's story. Simultaneously we glimpse into the core of the mafia while following the day-to-day lives of Kirill (Vincent Cassel), Semyon's haughty, self-absorbed son who constantly causes trouble and the cool, detached Nikolai (Viggo Mortensen), Kirill's friend and an up and coming "driver" within Semyon's organization. Nikolai soon notices Anna's investigations and, after first trying to warn her away, becomes personally involved, even at the risk to his place in the organization.
Though that synopsis suggests a crime/thriller film, "Eastern Promises" is substantially more staid than that, playing more as a straight drama set in the mafia's world. Though punctuated by moments of striking violence, the film is more obsessed with character and sorrowful mood, and Cronenberg cuts down on his an ace visuals to create a wintry London locale that is a flat, desolate place, wholly appropriate to the somber nature of the narrative. Moreover, "Eastern Promises" takes a more classically-styled approach to character than most recent mafia pics. While modern cinematic mobsters are typically mundane, bestial or neurotic, the brass of the Russian mafia here display a sort of self-regarding, aristocratic air even as they commit the basest crimes. The film's greatest strength is in the depth of the characters, most of whom initially appear to be standard types, but who grow to be more sophisticated as the film progresses. Particularly notable is Kirill, who is so tiresome and whiny at first, but who finally displays a surprising humanity, especially compared to his cold, business-like compatriots. (Cassel has long specialized in playing self-absorbed French punks, and he makes the transition to self-absorbed, Russian punk effortlessly.)
Watts and Mortensen make up the heart of the film. Though Watts's Anna is somewhat thinly written, she is the film's line to the real world, the shocked innocent who finds that a dark, unseen underworld surrounds us all. Conversely, Mortensen's mysterious Nikolai may seem to be nothing more than the mobster with a heart of gold, but his commanding presence dominates the film. Some are dissatisfied with his accent, but I fear that Russian accents are naturally goofy, and Mortensen's pure physical presence, with his dark glasses and slicked hair, generates cool aloofness. He is, however, a deeply sympathetic character who takes great personal risk for no personal benefit. In short, Nikolai displays the mix of detachment and self-control underlined by altruism/honor that marks so many classic heroes.
If "Eastern Promises" has a weakness, it is the thinness of the story. Even though Tatiana's story has wide-ranging impact on the mafia, by the film's end it still feels as if we've barely scratched the surface. The later acts are highly compelling, especially Nikolai's deservedly famous, audacious naked brawl in a public bathhouse, but the viewer can't help but feel that there is more to be uncovered. (Of course, this weakness is arguably a testament to the film's effect as well, as few movies seem to demand that they be longer and more elaborate, but the slight let down exists nevertheless.)
Still, that minor caveat aside, this is a distinctive, if not utterly unique, film and among Cronenberg's finest. He is known for his transformations, but I hope Cronenberg sticks with this approach for a little bit longer, as quality crime pics are in short supply, and he has the track record to bolster those standards quite a bit. Check it out.
Grade: B+
1 out of 1 people found this helpful.
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