the New York Police Department, the feeling is that in fatal storm approaching: with a string of murder victims dumped near (or) bodies of a gun, the same for all, and laid on a piece of paper with a poem with rhyming reasons of death are certainly as far removed from good advertising in terms of public safety. Not to mention
of respectability, as the track followed by the investigators appears to point towards the body itself. A cop killer executioner, in short, that you would load a stock of weapons stolen and imaginative compositions, to disinfect the streets from the dregs of the big holes in the fabric of the law have allowed it to continue to commit crimes and walk undisturbed.
Investigations are assigned to detectives Turk and Rooster, thirty years of nails under the slime which has assumed the coloration of the flesh and who see the orologetto take the pension with a smile wider than ever and unsympathetic measures of their wrist.
The two are the best at what they do, but young players do not warm the bench for sure: the detectives Perez and Riley the craving spotlight and must be the first to conjecture the possible involvement of a colleague in crime.
These, in brief, as befits a yellow frame, the events around which Righteous, honest cop who becomes the event of the year for crazy shot scored by director Jon Avnet (Fried Green Tomatoes - at the Whistle Stop , Red Corner , 88 Minutes), ie the involvement in the guise of Turk and Rooster, of, respectively, Robert De Niro and Al Pacino, two living legends in the first acting experience together for most of the duration of a movie. In the past, the news report, only twice Lennon and McCartney (As they are dubbed in the film in question) had trod the same set: Francis Ford Coppola wanted them in 1974 it The Godfather - Part II without them ever meet Michael Mann and directed them in the 1995 action-masterpiece Heath - The challenge , where just a couple of scenes on more than two hours and recorded in the middle of viewing them face to face with potentially explosive atmospheres.
The screenplay by Russell Gewirtz engineered part of the atmosphere with the alternation in the opening credits of detail, and with close-ups of the two protagonists engaged in a complicated exercise to the polygon that results in perfect summation of their time on color film of dust gun, before beginning a tormented excavation ambiguity in how to perform a job that's neat and pinto cinema has often only the oath, which does not provide the opportunity in his formulation of a gag for the accuracy dictated by the fabrication of false evidence, the only pick to refute testimony tainted by a fear that becomes invisible only to the cold pages of a code.
squassanti ethical issues are also offered by Gewirtz, who has not, however, had the foresight to take advantage of all the ink used to pen the script for debut, Inside Man to: pay a few steps nebulosity mistaken for stimulating said unsaid and the curly-erotic sadomasochistic between a De Niro to (appreciably, as Pacino also) does not hide his age, and a bewitching and determined member of the CSI team, Karen Corelli, do not escape the impression of filler. On the assets count
an exquisite game players (pull out the nails Carla Gugino, John Leguizamo and Donnie Wahlberg) that generates real characters in their instincts and passions, the authority of another grand old man of cinema as a tough and Brian Dennehy a vigorous self-mockery about the strength of the lock once. Jon Avnet
turn contracted with an exuberance to the minimum wage, which is a shame. It 's true that Al and Bob are directed only to the brazier and the stir of attention to duty until stabbing finale, a mente fredda unico momento realmente orchestrato sulla tensione, ma se la giustizia al di là della giustizia di Sfida senza regole fosse stata soppesata da un Martin Scorsese, sicuramente staremmo rubricando l’ennesimo, necessario, capolavoro.
Originariamente pubblicato, fatte salve alcune modifiche, sul quotidiano il Levante nel mese di Ottobre 2008.
of respectability, as the track followed by the investigators appears to point towards the body itself. A cop killer executioner, in short, that you would load a stock of weapons stolen and imaginative compositions, to disinfect the streets from the dregs of the big holes in the fabric of the law have allowed it to continue to commit crimes and walk undisturbed.
Investigations are assigned to detectives Turk and Rooster, thirty years of nails under the slime which has assumed the coloration of the flesh and who see the orologetto take the pension with a smile wider than ever and unsympathetic measures of their wrist.
The two are the best at what they do, but young players do not warm the bench for sure: the detectives Perez and Riley the craving spotlight and must be the first to conjecture the possible involvement of a colleague in crime.
These, in brief, as befits a yellow frame, the events around which Righteous, honest cop who becomes the event of the year for crazy shot scored by director Jon Avnet (Fried Green Tomatoes - at the Whistle Stop , Red Corner , 88 Minutes), ie the involvement in the guise of Turk and Rooster, of, respectively, Robert De Niro and Al Pacino, two living legends in the first acting experience together for most of the duration of a movie. In the past, the news report, only twice Lennon and McCartney (As they are dubbed in the film in question) had trod the same set: Francis Ford Coppola wanted them in 1974 it The Godfather - Part II without them ever meet Michael Mann and directed them in the 1995 action-masterpiece Heath - The challenge , where just a couple of scenes on more than two hours and recorded in the middle of viewing them face to face with potentially explosive atmospheres.
The screenplay by Russell Gewirtz engineered part of the atmosphere with the alternation in the opening credits of detail, and with close-ups of the two protagonists engaged in a complicated exercise to the polygon that results in perfect summation of their time on color film of dust gun, before beginning a tormented excavation ambiguity in how to perform a job that's neat and pinto cinema has often only the oath, which does not provide the opportunity in his formulation of a gag for the accuracy dictated by the fabrication of false evidence, the only pick to refute testimony tainted by a fear that becomes invisible only to the cold pages of a code.
squassanti ethical issues are also offered by Gewirtz, who has not, however, had the foresight to take advantage of all the ink used to pen the script for debut, Inside Man to: pay a few steps nebulosity mistaken for stimulating said unsaid and the curly-erotic sadomasochistic between a De Niro to (appreciably, as Pacino also) does not hide his age, and a bewitching and determined member of the CSI team, Karen Corelli, do not escape the impression of filler. On the assets count
an exquisite game players (pull out the nails Carla Gugino, John Leguizamo and Donnie Wahlberg) that generates real characters in their instincts and passions, the authority of another grand old man of cinema as a tough and Brian Dennehy a vigorous self-mockery about the strength of the lock once. Jon Avnet
turn contracted with an exuberance to the minimum wage, which is a shame. It 's true that Al and Bob are directed only to the brazier and the stir of attention to duty until stabbing finale, a mente fredda unico momento realmente orchestrato sulla tensione, ma se la giustizia al di là della giustizia di Sfida senza regole fosse stata soppesata da un Martin Scorsese, sicuramente staremmo rubricando l’ennesimo, necessario, capolavoro.
Originariamente pubblicato, fatte salve alcune modifiche, sul quotidiano il Levante nel mese di Ottobre 2008.
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