Tiro de Misericórdia

Aside from being a great, dark film, with a substantial plot line and a GIANT cast (Oldman, Penn, and Harris), this is an Oldman performance not to be believed. Mr. Oldman himself has been quoted as saying that "State of Grace" is HIS favourite performance. And, as usual, he gives a performance to be equalled by none.

Sean Penn is marvelous, too, and Harris portrays evil incarnate.

This film should be re-evaluated, and Gary Oldman should have received the Oscar for it. His portrayal of Jackie Flannery, a wild, violent young gangster with an ethereal tender streak - is simply phenomenal.

"State Of Grace" is a film loosely based on the story of the "Westies", the New York Hells Kitchen Irish mob that thrived during the 70s and early 80s. This gang of hoods was extremely violent and unpredictable, and even gave most of the Italian Mafioso (who far outnumbered them) the jitters. Gary Oldman is phenomenal in this film. He is a highly versatile actor in a class by himself, or at the very least, belongs with the likes of Olivier and DeNiro, in that Oldman has proven himself in a wide range of diverse roles besides this one (e.g., in "JFK" as Lee Harvey Oswald, in Dracula as the title role, and even in "Lost In Space" as Dr. Smith). If nothing else, see it for him. But kudos must also go to Sean Penn and Ed Harris for their excellent performances as well. Sean Penn in particular was very well cast. The story is believable, the atmosphere is realistic, and the acting keeps you on the edge of your seat. A very good modern-day crime film.

All the while as I was watching this, and especially during Gary Oldmans scenes...all I could see is Heath Ledgers inspiration for his Joker character. Sid Vicious is nothing next to Jackie. But I get why nobody talked about this movie...not now, not in the '90s. It came out at the same time as Goodfellas...it didn't stand a chance.

But man, Gary Oldman was all out. He really is one of the greats. And beside him so many other greats in this hidden gem from 30 years ago: Robin Wright, Ed Harris, Sean Penn, John Turturro, a young John C. Reilly. With a roster like this it really deserves a viewing. And the story in not bad either, it could have been tighter and a little more sophisticated but you can really follow it easily. Comparisons with Donnie Brasco and The Departed or Infernal Affairs are obvious but this one was before all of them. What does that tell you?

This is what happens when you have a great story but you don't have a great director. It is a forgotten film but remade by much better directors with a much tighter script, that is not so telegraphed.

You don't need to be a film genius to realise the gangster thriller is as old as cinema itself, although by the Seventies, it was looking a little ragged around the edges.

The Godfather revitalised the genre and then things grew quiet again in the land of wise talking hoods and their molls.

Hollywood has always been a place where trends mean a host of movies with the same theme all opening within a few months of each other. After body swap comedies and underwater thrillers in the late Eighties, the turn of the Nineties saw the turn of the post modern gangster drama.

So we had a third helping of The Godfather, Goodfellas, Billy Bathgate, Mobsters, the sublime Miller's Crossing and one of the best of the bunch - State of Grace.

The drama centres on a band of low-level Irish-American hoods who operate in the Hell's Kitchen area of New York City. Rising rents are forcing them out of the neighbourhood, so needless to say, yuppies are not their favourite breed.

Sean Penn is Terry Noonan, a New York cop who used to live in the area, and has been on the road for a few years.

Now he's back and glad to see his old mate Jackie Flannery (Gary Oldman). But inflitrating his band of ne'er do wells soon leads to unbearable dramatic tension and a finale which will leave you hooked.

While Sean has always been an okay actor, Gary blows him off the screen as Flannery, the Irish American gangster who keeps severed hands in his fridge so he can use the fingerprints on his firearms.

Yes, really.

Before Oldman started making big budget confections such as Lost in Space, The Fifth Element and Air Force One, he really proved himself in roles such as this.

A self-confessed alcoholic, he never let the booze get in the way of delivering a knockout performance - although by the time he made the dreadful Scarlet Letter, Gary decided to give the sauce a rest and concentrate on his acting.

One of the reasons that Oldman is one of the most sought after actors in the world is his utterly manic style mixed with a conviction that can chill you to the bone.

Although his performance here isn't quite as focused as corrupt DEA officer, Norman Stansfield in Leon, there's still enough menace in Flannery to make the hairs on the back of your neck stand to attention.

For example: There's a scene in which Flannery takes Noonan along one night when he burns down a construction office on a site that will soon be a yuppie apartment building. Oldman's character decides to make arson fun by pouring the petrol between himself and the door - and then see if he can run through it without killing himself.

Yes, Noonan really is that unhinged but while some actors would have used such pyrotechnics as a dramatic crutch, Gary makes you believe the scene was shot for real.

The supporting cast is also pretty good. Ed Harris has always been excellent value for money in The Abyss and The Rock. Here he is on fine form as the mob leader, and Jackie's brother, Frankie, who attempts to reign in his errant sibling. While the only woman in the film, Robin Wright, is wasted as the love interest, don't worry girls. This is not just a film for the lads.

Ennio Morricone's haunting score perfectly accentuates Phil Joanou's direction and as the title suggests, there is a state of grace to the drama which makes it one of the most under rated big screen gems of the last decade.

Written by Dennis McIntyre (his only screenplay sadly) and photographed by the legendary Jordan Cronenweth of Blade Runner fame, this dark fairytale of New York will haunt many for weeks to come.

.....up to and maybe including walk on water? Oldman is so utterly and completely Jackie Flannery in this film, you might be tempted to dismiss his performance as 'playing to type'. Until you see this inspired chameleon's other work, where he IS Lee Harvey Oswald or TRUE ROMANCE's Drexl or Joe Orton or - tell you what, YOU pick the role. Oldman inhales, and the character he's portraying exhales. (And this is not to shortshrift the incredible work offered by Penn, Harris, Wright, Reilly and the rest of this film's ensemble.) It's disgraceful that Hollywood can't think of anything better to do with this brilliant and courageous actor these days than 'villain roles' in big-budget comic books like LOST IN SPACE, but when he's working with material commensurate to his skill, he's without peer. When an actor pushes himself like this, takes risks like this, you become aware that there can be no nobler profession. Gary Oldman may not be 'box office', and now and then he may even crash and burn...but when he flies, he soars higher than any performer presently working. For Pete's sake, see this movie and everything else he's done.