Huérfanos de Brooklyn

I found this film satisfying overall, but one anachronism distracted me and pulled me out of the 1950s setting. Lionel's symptoms of Tourette's syndrome, repetitive verbalizations of a rhyming nature, were accepted equanimously by everyone he encountered. No one displayed annoyance, made fun of him, or called him insulting names to cast aspersions about his intelligence. His repetitive touching of people on the shoulder as he faced them ought to have caused women to back away and men to knock his block off. They did neither. It was as if these 1950s characters had been taught the acceptance of people with disabilities that was not really commonplace until the 21st century. This is the biggest mystery in the movie.

After the end of this film, I was very grateful to Edward Norton. For the wise craft of each piece of the film. For atmosphere, music, cast, for the story and , sure , the New York of 1950. And for his Lionel Essrog. A seductive film for details, performances and for something defining a fine director. Sure, many lines of plot, to generous perspective and the end as a sort of compromise. But the good use of Alec Baldwin, Bruce Willis and Willem Dafoe is just a noble virtue. Not ignoring the job of Edward Dafoe himself and good jazz, smart use of interracial problems, the abuses for urban solutions and the reasonable solution for a delicate case. So, very subjective, a film reminding the art of Edward the Great.

If you couldn't keep up with Chinatown's and LA Confidential's plot and continuous placing and connecting of characters' names associated with civic and political corruption then Motherless Brooklyn will have you drowning in it.

That's why I give it a seven rating. It's almost 2 1/2 hours of figuring out what's going on and who's doing it, but at least the look and sound of the movie provides a huge respite with the best sounding Bee Bop jazz and lush background theme soundtrack I've ever heard in a movie.

As a photographer I thought the cinematography was stunning in color and composition, less film noir and more '50's style New York street Kodachrome photography with compositions of odd reflections and angles interspersed smoothly with the flow of the narrative master shots in a style similar to Winogrand and Vivian Maier.

The variety of vintage '50's automobiles in pristine and brand new condition with the rich look of Kodachrome color is another treat. The sound of the rattle of car doors slamming is even accurate.

#MotherlessBrooklyn has the authenticity of a period piece like Road to Perdition combined with the corruption & intrigue of The Departed. Writer/director/actor Edward Norton paid homage to the classics in this movie. Featuring an All-Star cast, there was no way he could lose with the characters' performances. I think that is the one drawback of the film, with such a stellar cast he had to give everyone time and the movie boasts a runtime of 2:24 minutes. A bit lengthy for a crime drama/who done it because there will be slower portions of the film. However, it was never boring and the dialogue is spot-on with the snappiness of Sin City but it doesn't come across as a caricature. A very entertaining film and please don't be emo like me and cry after the opening scene.

I went into this not expecting much but Edward Norton gave till it hurt. Overall, this was a great movie with some amazing performances by Norton and his fantastic ensemble cast. So well acted by such fine actors. It's a very good murder mystery. That classic gum shoe style was done perfectly. I love the art direction. He painted a great picture of 50s style New York. And the music was stellar. Those jazz numbers really blended in perfectly with the atmosphere. Then I had that one piece of music made by Thom Yorke of Radiohead (you'll know it once you hear). This was a really great movie.