Mikey et Nicky

This is a typical Cassavetes/Falk movie disguised as a crime/drama. Of course, anyone who believed this is something like COLLATERAL or a Scorsese gangster movie, is gonna be disappointed. The crime element and plot (Someone is after Cassavetes' character) is only a "MacGuffin" for Peter and John. The whole movie is about these two friends, they constantly argue/fight/talk and of course, there is a lot of improvisation here if i am not mistaken. This is a similar movie to HUSBANDS (1970), HUSBANDS is a superior movie though.

Only for a specific audience. For me, this is a very good movie but it's just my personal taste. Many people won't like it. These are unlikeable characters, i mean, Cassavetes' character seems almost unredeemable and Falk character did something that can't be excused. Furthermore, it seems reasonable to me for a moviegoer to not find anything interesting here. But if you are looking for something different, something real/raw/honest and you haven't heard of Cassavetes, maybe you will like it too.

A list of best films-you-didn't see from the seventies and eighties could not be complete without a host of John Cassavetes films: THE KILLING OF A CHINESE BOOKIE (1976 - given thumbs down on release, lauded as a classic now), and LOVE STREAMS (1984) are just two overlooked gems. Likewise, the only reason you can make for anybody not seeing MIKEY AND NICKY (Cassavetes starred, but didn't write/direct) is that nobody heard of it.

I assume you have one of two reasons for reading this review. Either (a) you love the film and are looking for like-minded opinion; or (b) you stumbled upon it accidentally, in which case I shall put it as simple as possible: you gotta see it.

Mikey (John Cassavetes) sits in a shoebox hotel room, a price now on his head, scared stiff. In desperation he calls his gangster childhood pal Nicky (Peter Falk) to help him get out of town.

A synopsis doesn't cover the density of the film. Two fragile male egos rebound off each other as the leads recall just why they love and hate each other so much. I cannot think of a better casting move than coupling Cassavetes and Falk. Good friends in real life, and frequent collaborators, they bring an intimacy to the film rarely seen elsewhere.

Within the first half-hour it dawns on the audience that engrossing as the story is, the outcome is not the most important aspect. Director Elaine May draws strength from the honesty of the characters. Her handling is at once compassionate and even-handed. The result: the characters are likeable for all their flaws.

It resonates more and more every time you watch it, enough for me personally to consider it will be a major influence on anything I might have the chance to film in the future.

The passing of Cassavetes was heartbreaking, the casual neglect of his output just as much so. If you don't know much about the man who took Scorsese under his wing, take the time today to investigate. Elaine May went on to make ISHTAR. Sadly, she hasn't directed since.

MIKEY AND NICKY is one of the greatest American films ever made.

Mikey and Nicky, two small time mob guys wander around town while a hitman chases Nicky (sort of). They bicker and yabber endlessly the whole time.

I'd wanted to see this for a long time. It's called some kind of misunderstood classic, lost work of genius, etc. I'm sad to say it's not. There's not really enough here for the running time and what is here is barely interesting. Lots of talking and improvising (despite what May says, I don't buy that this wasn't, in parts, largely improvised. There are too many nonsensical bits to be anything other than spur of the moment choices). Also, it's shockingly poorly edited, with loads of continuity errors, off camera dialogue to on camera closed mouths, poorly framed shots, out of focus inserts, freeze frames on details they forgot to cover, and even reused reactions. It's obvious that there was way too much film shot, no focus, and bad construction.

This is not some fabled hidden gem, but it's not a total waste. There are a couple of okay scenes and the bookend shots work nicely. Solid Meh.

Viewers familiar with John Cassavetes' directing style will see his influence in this film, but Elaine May wrote and directed it. It is an engaging, highly unusual drama about two childhood pals mixed up with the mob. Don't expect Martin Scorsese or Francis Coppola glitz here---this movie is different. There is a real, uncinematic edge to it. It almost plays like a documentary, or a "reality movie." And the actors--Falk and Cassevetes were good friends and frequently worked together--allow for unique male-bonding (and a dissection of the male sex) that rarely occurs in modern film (another characteristic of a Cassavetes-directed film). Women are basically throwaway characters in many of his films, and that is the case here. This movie will either be an endurance test for audiences, or a fascinating experience. It was the latter for me.

People give respect to give respect to Scorsese's "Casino", to "Taxi Driver", to "Mean Streets", they give respect to "The Godfather" and a whole slew of gritty organized crime movies. But I've never heard a single mention of this movie. Thankfully, people have been coming slowly around to Cassavetes-directed movies, but seldom, if ever, have I heard anyone compliment this movie for which Cassavetes is only credited for his acting. The silence regarding this movie is ridiculous, because of how great this movie is. It's so pure, it's so rough, it makes "Mean Streets" look big budget. The director, the comic-timing pro Elaine May, is a genius to let the actors do their thing, because they are legendary actors and to get too involved would ruin the chemistry. I think it's wise to go into this movie without knowing too much except maybe the names of the two leads and the director, and that the whole production is amazing without being perfect.