1981: Indagine a New York

Chandor (All is Lost) is one of the more prolific young directors working. With AMVY, an adult mystery-drama-thriller, he screams of the classics: tension of French Connection, quiet of Chinatown, and menace of Mean Streets. It's a fantastic period piece that creates an authentic, distinct look at 1980s New York, while tonally replicating films from that era. Is it a bit TOO quiet and a bit TOO slow at times? Yep…but the taut skill on display is too good to ignore. Abel Morales, a successful, hardworking oil company owner, tries to thrive and survive during 1981 NYC, the most violent year in history. Despite this premise, the crime-action is more a successfully imminent background thought than a constant in-your- face presence. As the movie progresses and ultimately gets better, the subtle suspense builds, and each individual incident pushes Morales closer to his breaking point. Isaac shines in the protagonist role, playing one of the coolest characters around: broken yet proud, strong yet vulnerable, decent yet pressed, and shrewdly bad-to-the-bone. I wish Chastain was a bit more up to the task as his ominous, hardly-doting wife, but luckily she's not a huge distraction to the otherwise stellar acting by some of Hollywood's great new talents. Throughout the solid work being done, we are presented with some great things to ponder: wanting the American dream without knowing why; struggling to be successful without becoming corrupt; juggling humility and pride in a world that drains you. Unfortunately the character's relationships with these different questions bring the movie to a bore at times. Mostly though, it manages to be a solid little award-season drama.

This is a movie I often don't recommend to any of my friends because I truly feel it takes someone with a certain level of appreciation for film and the patience to watch this plot unfold. Now I don't mean for that to come off as snobbish, but this is a movie that could easily be cast off as boring by people who are just looking for an entertaining film. However, if you are a person who possess some level of appreciation for film and would like to see a good, albeit slow tale, I would highly recommend this movie.

The first thing of note in this movie is Oscar Issac's performance. He plays Abel Morales, an entrepreneur who runs a fuel company. He is one of Hollywood's best rising stars, and he shows what he's got in this film. He gives a very subtle, even performance that is reflective of his character, and it works very well. Jessica Chastain is also very good as his wife, and her character's primary motivation is her children and their safety. I felt that she really cared about her kids.

I don'y want to go too much into the story because it is a good one. But the fine details of the story is not what matters. It is the intricacy of the characters that is the important aspect of this film. To see how hard Abel will work for his family and his legacy shows the drive of man, and a sort of twisted sense of the American dream.

So I read a lot of complaints about the movie being slow and missing tension and violence. Why? Because of the title? Do the viewers nowadays pick their movies just on title and trailer?

The title is perfect: This movie is all about violence. Every single moment in this film is a consequence of- or triggered by violence. Even all the news broadcasts on the radio are about violence. Abel's business is, as he says "in a rough patch". There are good years and bad years and this one is a particularly bad one. The fact that the movie doesn't feature a lot of violence makes it an even better one as the threat of it is constantly palpable.

As for the tension: my god, what tension did I feel. I won't describe moments, but one particular chase sequence had me biting my nails, and I haven't done that in a very long time. There is constant tension in almost every scene and almost unbearable tension in some. And of course throughout the whole film you keep asking yourself; is he that honest, will he yield, or will he even snap. Oscar Isaac's role as Abel is written and played out so well I can understand the comparisons to Pacino's Michael Corleone in the Godfather. Hell you could even mention the two films in one breath. It has a great classic feel to it, though this is much smaller and more intimate.

A modern classic like: "We own the night" by James Gray or the recent "The Drop" by Michael R. Roskam. Beautiful slow burning masterpieces. This film will stay with me for quite a while. I'll put it away, wait for a rainy day somewhere in winter and experience it all over again. 8/10

J.C. Chandor's A Most Violent Year takes place in 1981 New York City – the year New York suffered more murders than in any other. Without knowing a thing about A Most Violent Year, I looked forward to a police procedural or a mafia thriller, dealing with the homicidal apex to the desperation of the recession of 1980. But I was wrong. Very wrong.

Oscar Isaac plays Abel Morales, owner of a New York fuel oil company, in the midst of purchasing property along the East River which would position his company as a major player in the regional fuel oil market. Simultaneously, a rival firm is attacking Morales' truck drivers and stealing their fuel. Morales' wife, Anna, is descended from a mafia family, and she offers their assistance. But Abel Morales is a good and decent businessman, and he resists. At first. As the driver attacks amplify, Morales' salesmen and even his family are soon targeted by the rival businessmen. Meanwhile, an assistant district attorney, played by David Oyelowo of "Selma," is investigating corruption in the local fuel oil industry, including Morales' firm. And the deal to purchase the East River property becomes dubious when his bank backs out of financing it. All this is set against the backdrop of the 1981 New York murders. The murders themselves are not the story, but we hear about them anytime one of the characters turns on a radio.

Now this set-up may sound like a glorified TV movie, but A Most Violent Year is so much more. As the tension in Morales' life builds, director Chandor draws us into the story the way Martin Scorsese does. We find ourselves pulling for an honest businessman in an increasingly dishonest world. We wonder how long it will take until he involves his wife's mafia family – or worse, takes matters into his own hands. This could be a story about one man's downward spiral, but with a resolution that will surprise and delight you. And you'll love the thrill ride along the way – culminating in a chase scene through the bowels of New York's subway and rail systems. It's as riveting as Gene Hackman's chase scene in The French Connection.

The performances are top-notch, beginning with relative newcomer Oscar Isaac in the lead role. A year ago, he played a folk singer in the Coen Brothers' Inside Llewyn Davis, a small, above-average picture which got buried in the onslaught of excellent films released at the end of 2013. Isaac really shines here. He should have received a Best Actor nod, but I'm sure his day is coming. Coincidentally, Isaac is slated to appear in the new Star Wars picture, which hits theatres next fall.

Jessica Chastain is also excellent as Morales' wife – a decent-hearted lady who wishes her husband were a little more daring in his business dealings. Her character is more than the standard "wife" character we've seen many times before. She's intimately involved in the business, and she's not afraid to stand up to adversaries. An almost unidentifiable Albert Brooks plays Morales' lawyer Andrew, again intimately involved in the business, but more than just the "straight man" character we've seen before. And I love how Chandor's script allows us to become acquainted with various characters in Morales' life and in his business – a truck driver and his wife, a salesman, the teamster boss who pushes for Morales to arm his drivers, a couple of Morales' business competitors, and so forth. Each character is well-drawn, and serves an important role in this supremely interesting story.

I also like the look of this picture. It's a bit of a modern-day film noir, cast in dimly-lit interiors, with characters who speak in hushed tones about important matters, occasionally bursting into the sunny yet unpredictable and unnerving outside world.

The only thing I didn't like about A Most Violent Year is its title. Much as the 1987 film Dirty Dancing had nothing to do with pole dancers at strip clubs, A Most Violent Year has nothing to do with violence, per se. In fact, I don't really understand what necessitated placing the story in 1981. The fact that New York's murder rate peaked that year is immaterial to the story.

A Most Violent Year is going to be a sleeper amongst Oscar contenders like Birdman, Selma, The Theory Of Everything, and others. But it's well worth a look. They don't make movies like this much anymore, and I'm glad J.C. Chandor has. It's one of this year's best films.

Having seen it a few days ago, the more I think of "A Most Violent Year", the more I like it.

This is not a spoiler, but a friendly tip: don't expect a lot of what the title implies, because the movie does not focus on violence.

While there are tense and violent moments, the movie's strenght lies in the performances and the interactions between characters.

Oscar Isaac plays Abel, a businessman who is trying to make a clean living while being more and more pressured by an unknown threat. The competition plays dirty while he wants to stay an honest man.

Abel's moral struggle is what the narrative revolves around. Jessica Chastain play Anna, Abel's wife and business partner. She is equally as powerful, assertive and dominant as he is, if not more so.

The director did a wonderful job at creating a tense, sad and dramatic mood throughout. The cinematography is wonderful, the subtle moody soundtrack plays a big part in creating a feeling of impending doom throughout the entire movie, and I am very impressed by the recreation of a 1981 New York. It's very immersive.

While nothing mainstream audiences will drool over, I find "A Most Violent Year" an excellent drama. If you like this movie, you should give "The Two Faces Of January" a chance as well. Not only you would notice what a chameleon Oscar Isaac is, but you might enjoy the classic mood and character-driven vibe of that film as well.