Il più loffio dei film di Mann è sempre un gran film perché il regista riesce a costruire, ancora una volta, una storia più grande della vicenda che mette in scena. Depp non sarà un grande attore ma riesce a infilare un po' di cuore nel suo personaggio, Bale ambiguo e durissimo.
Ho stentato a credere che fosse un film di Michael Mann. Piatto,meccanico,quasi scolastico,con alcune scene d'azione(suo marchio di fabbrica) che sembrano girate da un regista agli esordi.Non riesce a coinvolgere minimamente,forse anche a causa di un Johnny Deep inadeguato più che mai.A mio avviso l'unica cosa salvabile è il carisma che Bane mette nelle sue entrate in scena. Heat o The Insider sono lontanissimi.
An ultra-stylish (although perhaps too digital at times) take on the gangster film with performances that aren't rooted in cliché or homage and cinematography that borders on documentary realism. The beautiful bursts of gunfire and highly detailed set pieces are just two reasons to revisit this film. Additionally, the soundtrack was well-suited and the climax was woeful and surprising.
I'm a sucker for mob flicks. That's why I was looking forward to this despite the bad press. It was hard for me to think that the guy who made Heat would screw-up in this genre. But in-fact, the movie is a mess. Lacks character development, Dillinger dosen't seem relentless. The 3/4 bank robbing scenes are identical and forgettable. Everything runs in the shadows and in weird close-ups. Prepare for a headache, peeps.
A modern masterpiece full of sweeping romanticism and existential dread, and Michael Mann's best crime film since "Heat." The digital photography creates utter transparency; the impression is not that these are actors dressed up in period clothing and driving antique cars, but that we are witnessing a window into history itself. The Little Bohemia sequence must be the best shootout I've seen in the past 10 years.
The first, and until now, only time that I watched Public Enemies I just plain didn't like it. Now I think it's one of Mann's masterpieces; a stylistically daring, big scoped, beautiful movie with a break-neck pace. Oh, and Johnny Depp will always, always give better performances when he doesn't have to depend or draw upon quirky or eccentric flourishes. Try this on a double feature with American Gangster
Fast-paced, very entertaining, great costumes and attention to set design, good acting, great score. My only complaint is the constant hand camera shots. They're too jerky and "behind the scenes" looking to fit in with the rest of the film. In moderation it would have been okay. The close-up shots that dominate the film sometimes aggravated me, but I acknowledged their importance by the end.
As a reviewer on DVD Verdict put it, Mann sometimes seems to be fond of doing a sort of thematic slight-of-hand, and this movie is just such an example. On the cover, it's about the life and death of legendary bank robber John Dillinger. In reality, it's about treating Dillinger and Co. and the FBI as groups, and situating them in the birth of the modern surveillance state. Underrated movie, gorgeous to look at.
The gangster film presented as a psychological study on loneliness, futility and the changing world; with the internal thoughts and feelings of characters, their inadequacies and uncertainties, being suggested through sound and image. Mann introduces a new visual grammar to the American cinema; the fly on the wall made epic. The most significant "digital film" since Shunji Iwai's All About Lily Chou Chou.
Digital video affords Mann the freedom to film anything and the liberty not to film everything. Abolishing the assured bombast that has long corrupted the staging of action sequences, the camera flits between body, weapon and face with equally disengaged urgency and intimacy; in an aesthetic world of guns that spit smoke and flame whilst clouds of blood linger in the air, it is no longer sure where it ought to look.