Public Enemies

On the one hand, the digital camera (I don't get it, but by the end I got used to it), the drawn-out plot and several historical inaccuracies, on the other hand, the perfect actors and especially the actress, the excellently filmed shootouts, very suspenseful scenes and Goldenthal's magical music. Public Enemies is good, even very good, but it’s not perfect. If Michael Mann had wanted to make something like Heat from the 1930s (and he probably did, given how sympathetically or unsympathetically Dillinger and Purvis are portrayed), he didn't succeed. But nobody expected that anyway, did they? (2013-03-11)

A "Michael Mann film" with everything there is to love and hate about it. It's probably going to have a hard time getting through the movie theaters, judging by the reaction of the Johnny Depp fans sitting next to me when I was sitting in there, but it's a hot contender for the title of "film of the year." (2009-07-10)

Another gem with heart and conceptual depth that many people (in the cinema, but also on FilmBooster) won't understand and will only see what is visible at first glance: a standard and routine crime story with a handheld camera and raw shootouts with a minimum of emotions. Michael Mann is still the same, but the film is incredibly cool and well thought out. A slightly weaker version of Heat, more intimate and unfortunately set in the 1930s. (2009-07-25)

Miami Heat in the thirties where the first half is rather slow (even for Mann) but the second half more than makes up for this in genius. Production design? Pricey. Atmosphere? Such that money can’t buy. P.S.: If you ever read King’s short story “The Death of Jack Hamilton", you’ll have come across similar characters. (2009-07-02)

Here we have another opus in which Christian Bale plays second fiddle. This is also one of the reasons that Michael Mann did not achieve the perfection of his classic Heat, in which the protagonists were equal. Here, the star is Johnny Depp, or rather his Dillinger, a tough bank robber with a heart in the hands of his beloved Marion Cotillard. I also perceive the disadvantages of the digital camera (cheap home-made visuals, noise) as a handicap; what worked effectively in Cloverfield, because it is a mirror of current technological development and the definition of a new sub-genre, cannot work well in a gangster film set in the 1930s. Despite that, the film has numerous positive aspects. It is an elegantly directed, manly retro crime movie with a brilliant Depp, who is the film’s alpha and omega. It also has excellent shootouts, quality set designs and costumes, as well as great dialogue between Depp and Cotillard. Mann brilliantly captures the period atmosphere, makes the film dark in the proper noir fashion and doesn’t forget to pay homage to the golden age of Hollywood. Public Enemies is not as deep as Heat, but it’s not as shallow as Miami Vice. It’s something in between and even though I expected a little bit more, I’m still satisfied. (2009-07-01)