Little Odessa

this film totally transcends its derivative storyline and machismo-charged genre. avoiding predictable characterisation (which some of the previous commentators seem to desire)and melodrama, the film may seem (and is at least visually) cold, but its warmth is built through nuance, not cliche. Great soundtrack too, with Arvo Part.

This is without a doubt the best debut by a filmmaker in the last decade. James Gray has directed with a sure hand, exerting amazing control over a wide variety of performers and flawlessly maintaining a haunting and menacing mood in his tale of crime and punishment among Russian immigrants in Brooklyn. Vanessa Redgrave is superb, as usual, and Maxmillian Schell has been kept from the unrestrained emotionalism to which he is prone (see JUDGMENT AT NUREMBERG), so that he gives one of his very best performances in years. As for Edward Furlong and Tim Roth, both of whom can be very good or very bad, lets just say they haven't been this good before or since. Gray's command over such aspects of the film as pacing and visual style is impressive. The whole thing builds to a stunning climax.

I enjoyed the movie. Tim Roth, who is apparently British, sounded to me (a Texan) as a perfect second-generation Russian Jew. He was so coldly efficient in this character that I did not even recognize him as the hapless robber in Pulp Fiction. Kudos also to Moira Kelly, Edward Furlong, and Maximilian Schell. Good direction and photography. The use of the Russian choral music throughout set the mood on medium-creepy, even when that was the only clue. I've never been to Brighton Beach, or even Brooklyn, but the film really brought home the gritty reality of that immigrant community. (I really just mean the day-to-day atmosphere of the place, not the mobster story plastered on it.) Worth checking out if you don't mind a slower, more cerebral sort of hit man movie.

A stunning debut by this young writer-director -- Dostoyevskian themes, an exact sense of place, and a lyricism touched by few of his peers. And now six years' wait!

While most U.S. indie filmmakers spent the 1990s studiously copying Tarantino, Gray in this overlooked gem created something entirely different: a character study of tragedy among the unhip and uncool. Torn by illness and the return of a prodigal son, a Russian immigrant family in New York tries to outlast the omens promising its destruction. The film owes something to Coppola, but you might feel the presence of Bergman, too. Unsentimental, unsparing, with brilliant performances by the principal cast. A must see.

The thing I remember that most impressed me about Little Odessa was how director James Gray actually made me feel cold. There are a lot of exteriors that show a frozen, snow covered New York, but the whole thing is so wonderfully photographed that it actually made me feel chilled. The story is above average and Tim Roth is starting to run the risk of stereotyping himself into these kinds of violent characters...but this film will always remain one of my favorites because the simple look of the film affected me.