Movie Review: Rob the Mob (2014)

by Tony Dayoub

They just don't make enough New York mob movies anymore, something I was reminded of by the endearing Rob the Mob. Director Raymond De Felitta clearly loves this kind of film, long on New York iconography and staffed by a panoply of Italian-American actors who directors like Sidney Lumet and spiritual descendant Spike Lee kept working for years but have fallen out of fashion with the retirement of The Sopranos. In Rob the Mob, they play up the uncertainty within organized crime circles during the John Gotti trial, a time when bosses like Big Al Fiorello (Andy Garcia) warn their subordinates to keep a low profile, lest they bring down upon them the full wrath of the Feds the way the flashy Teflon Don did.

Movie Review: Dallas Buyers Club (2013)

by Tony Dayoub

What is it like when you find out you've got less than a month to live? Is everything you see or hear a marker signifying the dwindling amount of time you have in the face of impending death? According to director Jean-Marc Vallée's Dallas Buyers Club it just might be. The Canadian director's last film, Café de Flore, displayed a penchant for magical realism even in the context of profound grief, perhaps overly so. But Dallas Buyers Club tempers Vallée's predilection for the whimsical while still allowing him to indulge in some not inappropriate lyricism. Small details like the perfectly timed but tangential Billy "Crash" Craddock lyric "...he loves her so much he wants to die..." playing on a car radio or a bright, bold "30" on a blank calendar after doctors inform shitkickin' electrician Ron Woodroof (Matthew McConaughey) of his terminal condition bolster the story of this irreverent antihero, on a quixotic quest to extend the lives of those afflicted with HIV/AIDS, including his own. But it's the sober, strong performances by McConaughey and costar Jared Leto that keep Dallas Buyers Club firmly anchored in reality.

Slumming It Lumet-Style in Broken City

by Tony Dayoub

Private detective Billy Taggart (Mark Wahlberg) is a brittle shell encasing a multitude of failings. Jealous, obsessive and paranoid, he tells his soon to be ex-wife Natalie (Natalie Martinez), an actress on the verge of overnight success, that she can't fool him. "I'm a detective. You couldn't if you tried." So, into the mix that makes up Taggart, you can also add a certain measure of arrogance characteristic of some who "uphold" the law. Taggart's hubris is a strong indicator that he is headed for a big fall. With such a perfect noir set-up, why then does Broken City feel so prosaic?