Momod..kalau dah ada thread nie..merge je lah yer..sbb dah selak tadi..mcm takde....
Sapa dah tengok citer nie? Best sangat. Terdiri dari pelakon2 hebat. Dua darinya dah menang Oscar dalam Academy Award ( Phillip Seymour Hoffman citer Capote...Marisa Tomei..* aku tak tahu Marisa nie pernah menang award..citer apa yer ) dan dua lagi selalu nominee Academy Award ( Ethan Hawke dan Albert Finney )..kisah dua adik beradik yang bangang nak rompak kedai emas keluarga sendiri...dan menyebab kan kematian emak mereka...
Lakonan keempat-empat pelakon2 dia mmg berkesan ( paling suka Albert Finney ngan Phillip Seymour Hoffman ).. Si bapaknya (Albert Finney ) tu mati-matilah ingat isterinya tu mati sebab perompak lain dan tak menyangka perompak tu dirancang oleh anaknya...
Aku malas nak citer lebih-lebih..spoiler nanti..tapi citer nie mmg best lah..and sbb utama best adalah pelakonnya and jalan citernya.......
Aku lepas tengok citer ni rasa sedih n terkilan sangat... Watak Andy ni betul-betul terkesan la....manusia yg suffer dr pelbagai segi....mangsa ketidakadilan familynya,ditipu bini,ketagihan dadah....
Babak yg paling terkesan sekali bila dia buang batu-batu dari dalam bekas tu lepas bini dia blah...masa tu betul-betul menggambarkan kehancuran hati dia...
Sidney Lumet's "Before the Devil Knows You're Dead" is such a superb crime melodrama that I almost want to leave it at that. To just stop writing right now and advise you to go out and see it as soon as you can. I so much want to avoid revealing plot points that I don't even want to risk my usual strategy of oblique hints. You deserve to walk into this one cold.
Yet that would prevent my praise, and there is so much to praise about this film. Let me try to word this carefully. The movie stars Philip Seymour Hoffman and Ethan Hawke as brothers -- yes, brothers, because although they may not look related, they always feel as if they share a long and fraught history. Hoffman plays Andy, a payroll executive who dresses well and always has every hair slicked into place, but has a bad drug habit and an urgent need to raise some cash. Hawke plays Hank, much lower on the financial totem pole, with his own reasons for needing money; he can't face his little girl and admit he can't afford to pay for her class outing to attend "The Lion King." Hank looks more like the druggie, but you never can tell.
Andy suggests they solve their problems by robbing a jewelry store. And not just any jewelry store, but find out for yourself. He has it all mapped out as a victimless crime: They won't use guns, they'll hit early Saturday when the shopping mall doesn't have customers, the store's losses will be covered by insurance, and so on. Sounds good on paper, before everything goes wrong. And that's when the movie becomes intense and emotionally devastating.
These two brothers are capable of feeling emotions rare in modern crime films: grief and remorse. They cave in with regret. And they still need money; Andy learns that when you are heartbroken it is bad enough, but even worse when your legs may be broken, too. Meanwhile, their dozy father (Albert Finney) starts looking into the case himself, and that leads to a conversation with one son that Eugene O'Neill couldn't have written any better.
The movie fully establishes the families involved. Finney has been married forever to Rosemary Harris, and still loves her to pieces. Hoffman is married to Marisa Tomei, who just keeps on getting sexier as she grows older so very slowly. Hawke is divorced from Amy Ryan, who would happily see him in jail for non-payment of child support. Although the film opens with Hoffman and Tomei ecstatically making love in Rio (say what you will about the big guy, Hoffman looks to be an energetic and capable lover), their marriage is far from perfect.
The Japanese name some of their artists Living Treasures. Sidney Lumet is one of ours. He has made more great pictures than most directors have made pictures, and found time to make some clunkers on the side. Here he takes a story that is, after all, pretty straightforward, and tells it in an ingenious style we might call narrative interruptus. The brilliant debut screenplay by Kelly Masterson takes us up to a certain point, then flashes back to before that point, then catches us up again, then doubles back, so that it meticulously reconstructs how spectacularly and inevitably this perfect crime went wrong.
And it doesn't simply go wrong, it goes wrong with an aftermath we care about. This isn't a movie where the crime is only a plot, and dead bodies are only plot devices. Its story has deeply emotional consequences. That's why an actor with Albert Finney's depth is needed for an apparently supporting role. If he isn't there when he's needed, the whole film loses. As for Hoffman and Hawke, so seemingly different but such intelligent actors, they pull off that miracle that makes us stop thinking of anything we know about them, and start thinking only of Andy and Hank.
This is a movie, I promise you, that grabs you and won't let you think of anything else. It's wonderful when a director like Lumet wins a Lifetime Achievement Oscar at 80, and three years later makes one of his greatest achievements.
An Irish toast goes "May you be in heaven half an hour... before the devil knows you're dead," and it's from this source that the latest movie by 83-year-old veteran director Sidney Lumet derives its name. With films like Serpico, Q&A, and Night Falls on Manhattan on his resume, Lumet has gained a reputation as a director who enjoys demythicizing the boys in blue. The role of cops in Before the Devil Knows You're Dead is incidental, however - this is a plot-heavy thriller that looks at crime and its personal (and unintended) consequences.
Andy (Philip Seymour Hoffman) has come up with the perfect crime: rob the jewelry store owned and operated by his parents, Charles (Albert Finney) and Nanette (Rosemary Harris). The $600,000 stash is fully insured, so Charles and Nannette won't lose anything. Andy and his accomplice, younger brother Hank (Ethan Hawke), will each walk away with $60,000 after fencing the merchandise. It seems like a flawless scheme until Hank pulls in an outsider. Instead of using a fake gun, Bobby (Brian F. O'Byrne) brings a real one to the party. And it turns out that Nanette also has a hidden firearm in the store. The resulting bloodbath leaves two dead and three badly shaken. Two of them are struggling with their consciences even as they fight over the same woman: Gina (Marisa Tomei), whom Andy has married and with whom Hank is having an affair.
Before the Devil Knows You're Dead is told in a distinctly non-chronological fashion, eschewing linear storytelling in favor of a method that flashes forward and backward and presents certain events from multiple viewpoints. While this approach lends a freshness to the early scenes, it quickly becomes tiresome, especially because there's no reason to present events this way except that it's unconventional. The inherent problem is that the viewer becomes hyperaware of how the plot is being revealed; the seams are all on display.
At the film's core lies a simple question: how does someone cope with being the inadvertent architect of a parent's death? Both brothers' lives are spinning out of control and this event only exacerbates matters. The money obtained from the robbery would have gotten them back on track, but not only do they not have the money, they have lost a mother as well, and she has died because unexpected elements entered an equation. There are plenty of contrivances littered throughout Kelly Masterson's screenplay, but none of them diminish the fascination we develop with this lurid melodrama. Before the Devil Knows You're Dead is enjoyable even if it's far from airtight.
Philip Seymour Hoffman is in fine form as a man teetering on the edge. It's never clear exactly what Andy's motives for the robbery are - does he need the money so he and his wife can move to Brazil and start over or is the loot intended to feed his drug habit? Hoffman's performance here echoes what he did in 2003's Owning Mahowny. It's a single-minded, balls-to-the-wall portrayal that's riveting. Ethan Hawke exists primarily in Hoffman's shadow, but manages to hold his own. Hawke isn't great here, but he's good enough to make us interested in the character. Marisa Tomei shows how important reaction shots are. For the most part, she doesn't have a lot to do (although she easily shows more flesh here than in any of her previous roles), but her low-key interaction with the other actors enhances their performances without diminishing hers. (Watch her expressions during Andy's in-car meltdown.) Albert Finney is underused. The movie tries to make Charles the third leg in the triangle of perspectives (Andy and Hank being the other two), but Finney's part is underwritten and there's not a lot he can do by way of acting to repair the flaw.
The family dynamic becomes a crucial aspect of Before the Devil Knows You're Dead. Although it starts as a crime story stepped in bitter irony, it turns into a drama about fathers and sons and brothers and the issues and rancor and jealousy that can exist in those relationships. Andy is the most interesting character, Hank is the most complicated, and Charles is the most driven. In fact, Charles' scenes allow Before the Devil Knows You're Dead to stray into the revenge/vigilante territory that has recently been mined by films such as The Brave One and Reservation Road. This is not classic Sidney Lumet, but it's ample evidence that after more than 40 years working in this business, the director is still capable of crafting an entertaining and thought provoking motion picture.
i dunt pour my heart for this movie although these two main characters are relatable to all of us.
maybe i got distracted mengenangkan Marisa Tomei ni macam trademark sorang sundal Hollywood
asalkan dia berlakon jer mesti bab seks telanjang bogel bagai...
Post time 25-2-2008 10:58 AM
变色卡
Author
Watak Andy ni betul-betul terkesan la....manusia yg suffer dr pelbagai segi....mangsa ketidakadilan familynya,ditipu bini,ketagihan dadah....
