Mikey e 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.

Elaine May gives us a real portrait of friendship that hacks like Tarantino and LaBute could only dream of making. She doesn't get hung up on the hipness or the coolness of her characters. Mikey and Nicky are people she forces us to care about. They are reflections of ourselves, even if we have never been wanted by the mob. Elaine May gives us reasons to relate to and to sympathize with Mikey and Nicky, but she also shows us reasons to feel out and out disgust for them. Our decisions and emotions are not simple and our view of this characters cannot be one-sided. No one wears white. No one wears black. There is no right, no wrong. It's not about witty dialogue and unique and jaded perspectives on life. This film is life and it's not pretty and easy to swallow, but it is honest.

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.

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.

I decided to take a chance on this movie when I stumbled upon it in my neighborhood video store. I feel I should mention that I'm not a fan of Cassavetes' films, though I did know that he just acted in this movie and didn't write or direct. Cassavetes does give a good performance in the movie - in fact, all the other actors give good performances as well. Under the direction of Elaine May, the performances have a relaxed and unrehearsed feeling; at times I almost thought I was seeing real people caught by a hidden camera. May also captures the grit of an American city in the 1970s before things got cleaned up. Despite this good stuff, however, the movie eventually becomes somewhat tiresome. The Cassavetes character eventually becomes obnoxious and frustrating because we never really learn how he got into trouble. And after a time, you start to wonder where this thin story is going - you have to wait until the last half hour before the plot starts moving again. Not a terrible movie, but the script should have gone through a couple more rewrites before filming started.