Little Odessa

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.

Little Odessa, also release under the title "Contract killer" is a very effectively and realistically told mobster movie, from the Russian community. It's a take on the prodigal son, here as a cold contract killer. A great watch for connoisseurs of films, and mobster film in particular.

The movie stands out for great acting, directing and photography, being James Gray directorial debut. Music is excellent as well. The actors are making this a great watch. The whole film is stuffed with fabulous acting. Tim Roth and Edward Furlong is both fabulous as the brothers, as Vanessa Redgrave and Maximillian Schell is as the mother and the abusive father. I think this is some of the best I've seen from them all.

The film starts up with the contract killer, being the older brother Joshua Shapira coming back to his hometown of Brooklyn after being away for years, to do a contract job. He fled town after committing a killing, which obviously is not forgotten. He meets his younger brother, Reuben, which tells him that their mother is terminally ill with brain tumor. Joshua wants to see the mother, but are not welcomed by the father, being a danger to the whole family since wanted by the mobsters.

It's bleak, cold, gritty, effective and what I believe very realistic told. I was immediately sucked into the story, which is following the younger brother more than the older hit-man. it's no action movie, but a mobster movie told in the way we've seen many times. This does not stand back from these. The film builds slowly up to great scenes.

It's powerful on emotions, far more than on the action. However the persons are quite cold, and so is the violence. And there isn't much hope to see in the dreary days of this family.

The quote "We'll wait 10 seconds and see if God saves you" is said by Tim Roth's character before he does a killing. I would regard this is a must-see for mob film lovers, and a classic in the genre. I would likewise recommend the brilliant and effective "Eastern promises" by David Cronenberg, telling a story from the Russian mafia in Great Britain.

I saw this movie at a quite low age, I consider it one of the films that evoked my passion for this art form. This film is very bare, very raw yet somehow harmonious, as well. The violence is very well depicted, in a very cold & frightful way. This is a film without any greater hope, without any greater optimism of our future. A rapid & haunting way of showing the true face and consequences of brutal violence. Intensively and artistically this film displays a chaotic & desperate family, a destiny very honest and very haunting. Cinematography is stunning, as is the environment, which very well defines the fundamental characteristics of this film, cold, naked, intense & raw. Great debut by the very promising James Gray.

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.

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.