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.

Once again, Chandor gives us a well-written, well-acted, beautifully photographed film, on a relatively small budget, that winds up being incredibly watchable. I would say he's done this with all 3 of his films. None of them were action-packed film, but that all had a truth and reality to them, that really pulled me in.

I've read some reviews on here that complain that the film was too slow for them or that it was "boring." Look, despite it's title (which may have mislead a lot of viewers going in), this film is not for the Fast and Furious or Transformers crowd. It's not even for people who loved the blood-soaked Scarface.

It portrays violence and the fear of running a business in NYC in the early 80s, in a very real way. And it captures the early 80s look flawlessly.

This film may, however, be be for people who loved films like The Godfather or DePalma's Dressed to Kill. Not only does Oscar Issac seem to channel bits of Michael Corleone, but the film is lit and photographed in a very similar manner to the way that Gordon Willis shot The Godfather. Also, for those who think there was a ton of action and killing in the Godfather, outside of the final few minutes, there really isn't. Though very different films, what pulls you into the Godfather and Dressed to Kill is similar to what pulls you in here. Tension, honesty, a simple story, well told. No BS. No shooting up a whole town, with dead bodies falling everywhere, and then cutting to the next scene at dinner.

In real life, violence is frightening, finding a gun is frightening, shooting a gun at someone is frightening, having your life savings at stake, and the fear of losing everything you've worked for is frightening. Chandor pulls this all together to build tension, and it results in a very satisfying film.

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.

It's 1981 NYC, and it's not American Hustle. A Most Violent Year is set in the most brutal year in the city's history, when Mayor Koch and the DA would not like it to be so. While Hustle sets the scene with humor and style, Violent is happy to understate lawlessness and concentrate on the dialogue, which has undercurrents of corruption in each syllable.

Oscar Isaac plays immigrant, oil delivery company owner, Abel Morales, with an Al-Pacino veneer that goes low key, not Godfather or Scarface operatic. His double-breasted suits and ever-present camel overcoat suggest the smooth, verbal, charismatic, but unassuming business owner who wants to be as straight as his wardrobe. It's a difficult ideal because someone is hijacking his oil trucks and selling the oil on the black market.

What to do? His wife Anna (Jessica Chastain), beautiful but born to a crime family, is at times more ready to deal with the sabotage in a traditional mob way than her husband is. But Morales deals with it in a civilized, diplomatic way that of course makes him and his employees vulnerable to the rude, irrational hoodlums.

Director J.C. Chandor knows minimalist dialogue, apparent in his All is Lost, where Robert Redford gives out with one line but an Oscar worthy performance anyway. Much more dialogue here, still minimal, but it has the David Mamet attention to the power of each word.

In a world Sidney Lumet depicted quite well, everyone has a brush with lawlessness, from truck drivers to cops to politicians—no one is exempt, except maybe Morales, who tries to do the "best right" thing in the face of pressure to use violence as the tried-and-true technique. That's why this is such a sweet action, crime drama: You can identify with the protagonist and not be bogged down by gratuitous violence.

This is one of the best action-crime dramas in years. Isaac is Pacino without his edginess; Chandor's dialogue is soft Mamet, a welcome substitute for rude bullets. Indeed, while the film is titled A Most Violent Year, it is not the most violent movie. Leave that to Martin Scorsese.

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