Little Odessa

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.

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.

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.

Joshua Shapira, a hitman for the Russo-Jewish mob (Tim Roth), ordered to kill an Iranian jeweler, unwilling returns to his childhood home in Brighton Beach and to his estranged family. The first feature by director James Gray is not lacking for intenseness. Roth is excellent as the vicious hood who rediscovers his relationship with his younger brother (Edward Furlong) and the story (much of which is about 'black-sheep' Joshua's relationship with his family) and script are quite good, as is the rest of the ensemble cast. There were some odd, inconsistent scenes (for someone who wants to remains unnoticed, Joshua frequently waves his pistol in people's faces, and his 'crew' at a shooting just drop the guns on the ground (a plot-driving event) despite not wearing gloves) and the ending, though unexpected, seemed a bit abrupt. I didn't really like the neo-gothic soundtrack, which struck me as pretentious (but other people though the score was excellent). Generally, a good, gritty if slightly fanciful mob-meller.

I'm a long time fan of Tim Roth, who doesn't do nearly as much as I'd like him to, these days. The other British stalwart in this, the equally excellent Vanessa Redgrave was another point of interest for me.

There's a real brutal efficiency to this film that makes it unlikeable but also demands respect and our attention. Roth is the roving assassin who is forced to do his next job in his old neighbourhood and that means getting reacquainted with his family: dying Mum (Redgrave), hateful and abusive Father (Maximilian Spiel), as well as impressionable younger brother (Edward Furlong). 24 year old débutant director James Gray comes up with - and scripts - a surprisingly mature piece of crime cinema that is both poignant, moving and shocking.

To my mind, the violence should rate the film at 18, not 15; the cold- blooded unfeeling of Roth's callous and unflinching "jobs" don't even give us time for any bad taste to form in our mouths. I can see that some would find this a barrier to their enjoyment in what is mostly a character- driven drama of some depth. The winter-set scenes of back street Brooklyn are chillingly authentic and bleak and these help remind us of the family's Russian roots. The father, a devout Jew, who's also having an affair often speaks Russian still, hanging to his identity the best he can, in an alienating, changing and disintegrating world.

There are also some tender moments between assassin son and brain-tumour suffering mother, and of him lovemaking with his girlfriend, who wants to try to understand him and his motives. His younger brother tries to keep his own feet on the ground, whilst his sibling gradually but surely steals his innocence.

Yes, it is sad - and savage but strangely rewarding, too.