THE RACKET: Saved By The Olives

THE RACKET (Blu-ray)

1951 / 89 min

Warner Archive Collection

Available at www.MovieZyng.com

Review by Mr. Paws😽

Robert Mitchum and Robert Ryan are a couple o’ film noir olives. 

There was a time when I decided to make martinis my drink of choice, probably because people in the movies looked cool drinking them. Then I actually tried one and…eh. As mixed drinks go, I suppose they do the job if you wanna cop a buzz, but I didn’t think there was anything all that special about it, save for the two plump olives marinating on a toothpick. Those were delicious, and I’m pretty sure I looked cool stirring my drink with ‘em.

If it was the olives I loved, I’d be better off sticking with a Bloody Mary, where a couple o’ fat Manzanillas make an already tasty beverage absolutely perfect. It’s the same with the two Roberts when it comes to film noir. Take 1947’s Crossfire, for example (which actually had three Roberts). Already a solid film, the presence of Mitchum, Ryan (and Young!) made it really crackle.

If Crossfire is a film noir Bloody Mary, then 1951’s The Racket is an example of a martini. It’s certainly watchable, but for the most part, it’s a standard-issue story of a big city police captain taking-on corruption and organized crime. For fans of the genre, there aren’t a hell of a lot of surprises, though John Cromwell’s meat-and-potatoes direction keeps the story moving fairly efficiently. But by throwing in a couple o’ Roberts, The Racket is suddenly a little more memorable.

"Eew...this one's mushy."

If there was such a thing as the Film Noir Hall of Fame, Robert Mitchum and Robert Ryan would be among the first inducted. They bring their indomitable badassery to characters that would have been forgettable otherwise. As the incorruptible Captain McQuigg, Mitchum is enjoyably stoic and unflappable. Ryan’s even more fun as Nick Scanlon, a hot-headed gangster whose violent methods bely his organization’s efforts to discreetly influence local politics. Ryan has been a bad guy or anti-hero in enough films that he could probably do it in his sleep, but who better to turn your generic antagonist into someone truly intimidating?

This is actually based on a popular Broadway play, so maybe the overall lack of action is indicative of the story’s stage origins. The Racket is ultimately second-tier noir, and its two stars have certainly done better films before and since. But they make it more palatable, much like the olives in my martini.

EXTRA KIBBLES

AUDIO COMMENTARY - By the one & only Eddie Muller, who’s always worth listening to.

TRAILER

THE ALTO KNIGHTS: Mob Movie Comfort Food

THE ALTO KNIGHTS (Blu-ray)

2025 / 123 min

From Warner Bros

#InPartnershipwithWB

Review Mr. Bonnie, the Boss😺

The inherent problem with any gangster movie starring Robert De Niro is that - fairly or not - it is inevitably gonna be compared to Goodfellas…and never measure up, even when he re-teams with Martin Scorsese. That’s not to say Casino and The Irishman aren’t great films, but come on…Goodfellas is freaking iconic.

The Alto Knights is certainly no Goodfellas. It ain’t Casino, either, though this one does boast a similarly constructed narrative by the same screenwriter (Nicholas Pileggi). And while Barry Levinson is no Scorsese, he did direct Bugsy, so he’s not a stranger to the genre. So let’s cut Bobby, Nicky and Barry a bit of slack and try to assess this one on its own terms.

First off, The Alto Knights indulges in a little stunt casting of sorts, with De Niro playing both lead roles. Frank Costello and Vito Genovese have been friends since childhood, both becoming high ranking mob bosses. As the movie begins, Frank is shot the head but survives. Also serving as the story’s narrator, Frank reveals it was Vito who ordered the failed hit. 

This sets up the remainder of the story, which details how and why the two became enemies: Before going into hiding for 15 years, Vito left Frank in charge of everything. After returning, Vito wants it all back, but as Frank tries to explain, a lot has changed since the old days. Frank is generally soft-spoken, reserved and a meticulous planner, while Vito is brash, hot-headed and more than a little paranoid, which makes him dangerous. Even after Frank decides he’s had enough of mafia life and wants out, Vito now sees him as the enemy.

Robert sticks himself with the bill.

Like Goodfellas and Casino, The Alto Knights is based on real people and events. Its historical accuracy is a debate I’ll save for someone else because I don’t really care. What does matter is I enjoyed the story and characters. I’m not sure what purpose De Niro playing both roles ultimately serves, but he manages to convey their individual personalities quite well. And since he’s previously demonstrated a penchant for scenery chewing should a movie call for it, I’m assuming he had a lot more fun playing Vito.

Either way, De Niro is the best part of the film. He's supported by a decent cast, but other than Debra Messing as Frank’s concerned wife, most have comparatively little actual screen time. Elsewhere, the narrative structure - and Pileggi’s screenplay - definitely evokes a strong sense of deja vu, but in a way, that’s part of its overall appeal…a slice of mafia movie comfort food, if you will. As a director, Levinson can’t match the energy and exuberance of Scorsese, but if nothing else, this is his best movie in years.

The Alto Knights is no classic and ain’t destined to be mentioned among Hollywood’s greatest mob movies. In fact, it’ll probably be largely forgotten in a year or two. But keeping that in-mind, the movie still works as an engaging (if familiar) way to kill a few hours.

HIGH CRIME (4K): Superlative Poliziotteschi

HIGH CRIME (4K UHD)

1973 / 103 min

FROM BLUE UNDERGROUND

Review by Mr. Paws😺

When unearthing, restoring and releasing classics (especially cult classics) on physical media, I wish more boutique labels would follow Blue Underground’s lead. For certain films, in addition to the usual 4K & Blu-ray copies, they’ve been throwing in a bonus CD of the music score. More often than not, it’s a rare chance to hear the music outside of the context of the movie.

Let’s see a streaming service offer that.

This time, they pull out all the stops for 1973’s High Crime, a popular, influential Italian thriller and one of the better films in the poliziotteschi genre. Franco Nero stars as Belli, a cop fiercely dedicated to disrupting the heroin trade, which he suspects is overseen by the powerful Griva family. Belli frequently refers to “retired” gangster Cafiero (Fernando Rey) for assistance, though the latter may very well be trying to insinuate himself back on top of the heap. 

However, the Grivas are practically untouchable despite a massive dossier compiled by Belli’s superior, Commissioner Scavino (James Whitmore). After Scavino is murdered, Belli becomes the new commissioner, and his scorched earth approach in nailing Grivas dramatically raises the stakes, both personally and professionally. 

Franco gets near-o.

Like many Italian movies of the era, particularly those directed by Enzo G. Castellari, High Crime is clearly inspired by American cinema, stopping just short completely ripping-off what's currently popular. In this case, it's The French Connection, going so far as to tap Fernando Rey (the antagonist in Friedkin’s film) for a key supporting role. I suppose the biggest difference is that, even though Belli is just as obsessed as Popeye Doyle in pursuing his case, it comes at tremendous personal cost (which I won’t spoil by elaborating here). This element (however briefly) renders the film more emotionally affecting than The French Connection…

…not that this one ever approaches the grit, artistry and tension of Friedkin’s film. Not even close. Still, High Crime is to The French Connection what Grizzly was to Jaws…a knock-off to be sure, but a very enjoyable slab of action in its own right. There are shoot-outs, bombings and one hell of an opening car chase, all directed with efficient aplomb by Castellari, who proudly wears his influences on his sleeve. While Nero’s obviously no Gene Hackman, he delivers a tough, dedicated performance that approaches scenery chewing, but as Belli, he’s an engaging and likable hero. Elsewhere, Rey conveys the same cool menace as he did in The French Connection, while Whitmore is sort of wasted in a comparatively thankless role.

A huge hit in Europe, High Crime is undoubtedly a product of its era and region, but remains a superlative poliziotteschi film. Considering the genre’s somewhat scrappy reputation, that might be considered faint praise, but fans of this stuff are sure to eat it up, especially with a 4K restoration. In addition to an excellent transfer (it looks great and sounds even better), this disc comes with a terrific selection of bonus features. 

EXTRA KIBBLES

4K & BLU-RAY COPIES (a majority of the supplements are on the Bluray disc).

SOUNDTRACK CD - Following an audio introduction in both Italian & English, the disc features 19 jazzy tracks with occasional Goblin-esque touches. Certainly a product of its time, its nevertheless an enjoyable listen on its own terms, with a couple of catchy recurring themes. Composed by Guido & Maurizio De Angeles (collectively known as Oliver Onions). Track listing and musical credits are on an insert.

ARCHIVAL INTERVIEWS - Several individually filmed interviews, most in Italian with English subtitles. The Genoa Connection features director Enzo G. Castellari and actor Franco Nero; From Dust to Asphalt is another interview with Castellari; Hard Stunts for High Crimes features stuntman Massimo Vanni; Framing Crime features cameraman Roberto Girometti; The Sound of Onions features composers Guido & Maurizio De Angeles.

3 AUDIO COMMENTARIES - 1) By director Enzo G. Castellari; 2) By actor Franco Nero and filmmaker Mike Malloy (who once directed a poliziotteschi documentary called Eurocrime!); 3) By historians Troy Howarth, Nathaniel Thompson & Eugenio Ercolani.

THE CONNECTION CONNECTION - Filmmaker Mike Malloy discusses this film and its derivative origins. 

ALTERNATE ENDING - Almost the same, save for a shot that's removed from the final cut, which renders the ending even bleaker.

TRAILER

GALLERY - Features lobby cards, stills, posters, home video cover art, etc.

REVERSIBLE COVER

BLACK MASS (4K): Would’ve, Should’ve, Could’ve

BLACK MASS (4K UHD)

2015 / 122 min

FROM WARNER BROS

Available ar www.MovieZyng.com

Review by Princess Pepper😺

Though winning an Oscar for Best Actor in 2015 was probably never in the cards, Johnny Depp should’ve at-least been nominated. His remarkable performance as notorious criminal Whitey Bulger is not only the best of his career, it sure as hell topped those of Michael Fassbender & Eddie Redmayne (who were nominated).

If nothing else, after years of starring in cynically manufactured tripe that capitalized on his once-endearing quirky persona, Black Mass showed once and for all that Depp was capable of transforming to completely disappear into a character. He’s since done similarly serious roles in some lesser-known films, but this one should’ve stuck him back on the A-list (offscreen behavior issues be damned).

I’m also wondering if Black Mass should've been made with a different director, perhaps based on different source material. That’s not to say it’s a bad film by any stretch. Based on the non-fiction book and taking place over a couple of decades, Black Mass is about Bostonian crime boss James “Whitey” Bulger, who became an informant for the FBI, primarily to get rid of his enemies and continue his own illegal (and violent) operations under a blanket of immunity. His bureau contact is agent John Connelly (Joel Edgerton), a childhood friend who becomes increasingly corrupt in protecting Bulger from prosecution.

For the most part, Black Mass is a very compelling gangster film that tells an intriguing story. But at the same time, I felt myself wanting more. As interesting as Bulger’s alliance with the FBI is, the narrative offers comparatively little detail about his life as a career criminal, to say nothing of a personal family tragedy that’s basically summarized in a few brief scenes. 

"But I called shotgun."

No disrespect to director Scott Cooper, but had someone like Martin Scorsese been behind the camera, I suspect Black Mass could’ve been another potential Goodfellas, an epic chronicle of the rise and fall of one of the East Coast’s most notorious gangsters, with the FBI alliance merely comprising the middle act. Had we seen the relationship between Bulger and Connelly develop naturally - as well as the introduction of Whitey’s politician brother, William, played by Benedict Cumberbatch -  their ultimate fates would’ve carried more dramatic weight. As it stands, we’re mostly informed of their friendship through exposition, and William barely even figures into the actual story.

The film concludes just as the most fascinating aspect of Bulger’s life is about to begin. After escaping Boston, he remained a fugitive for over 16 years. I don’t often wish for movies to run any longer than they already do, but an extra half-hour of Whitey on the run would’ve been the perfect conclusion. 

Would’ve, should’ve, could’ve. Oh well…maybe someone will eventually make that epic film chronicling Bulger’s entire life. Until then, Black Mass is a compelling look at one of the more unusual alliances in American crime,  anchored by Depp’s truly sinister and unnerving performance. Now available in 4K Ultra HD, this disc features solid picture and sound, as well as a smattering of archival bonus features, including a documentary that could sort-of serve as a sequel.

EXTRA KIBBLES

THE MANHUNT FOR WHITEY BURGER - This is an excellent hour-long documentary that picks up where the film leaves off, with the manhunt for Bulger, who remained on the lam for years. 

FEATURETTES - Black Mass: Deepest Cover, Darkest Crime features interviews with numerous cast & crew, including director Scott Cooper and actors Johnny Depp, Joel Edgerton & Benedict Cumberbatch; Johnny Depp: Becoming Whitey Bulger focuses on Depp’s preparation and physical transformation into the main character.

THE GODFATHER, PART II and the Big Mistake

THE GODFATHER, PART II (1974)

Starring Al Pacino, Robert Duvall, Robert De Niro, Diane Kearon, John Cazale, Lee Strasberg, Michael V. Gazzo, Talia Shire, G.D. Spradlin, Bruno Kirby, Richard Bright, Morgana King, James Caan. Directed by Francis Ford Coppola. (202 min).

A Suggestion by D.M. ANDERSON💀

Geroge Lucas has historically gotten a lot of flack for revisiting his movies and tinkering with them, the original Star Wars trilogy in particular. He’s reedited them, restored deleted scenes, added new ones, updated special effects and even replaced old actors’ faces with new ones. 

Word has it that he’s even planning to create a ‘Special Edition’ of his wedding videos, de-aging himself, removing Hayden Christensen from the reception footage (he was pretty drunk) and replacing his wife with images of Dana Delany from Exit to Eden. But try as he might, the retooled wedding night footage probably won’t stop inevitable “George Shot First” comments.

However, ol’ George has nothing on his mentor, Francis Ford Coppola. Over the years, the legendary director has gone back and recut most of his movies…even if they didn’t necessarily need to be. He did it twice with Apocalypse Now, first by adding almost an hour of new footage and releasing it as Apocalypse Now Redux. 20 years later, he re-edited the damn thing yet again, now rechristened Apocalypse Now Final Cut.

He also retooled The Godfather Part III as The Godfather CODA: The Death of Michael Corleone, attempted to make The Cotton Club more interesting with The Cotton Club Encore and expanded The Outsiders as The Outsiders: The Complete Novel. More recently, Coppola tried to rescue his most notorious flop, One from the Heart, with One from the Heart: Reprise and even took a shot at making the experimental dumpster fire, Twixt, at-least watchable with B’Twixt Now and Sunrise (whatever the fuck that means).

Francis Ford Coppola...directing another rough draft.

Whether or not Coppola succeeded in improving these films is an argument best saved for another day. But considering he’s not exactly the most prolific director on Earth - and not getting any younger - maybe all that time in the editing room could have been better spent making new movies (or at least completely removing Keanu Reeves from Dracula).

Coppola has (so far) left The Godfather and The Godfather Part II more-or-less alone. I don’t count the times the entire saga was re-edited (more than once) into a single massive marathon (The Godfather 1901-1980) because it was never intended as anything more than an interesting way to watch events unfold chronologically. The original versions are still widely considered definitive…even by him.

Though the first two films are among the greatest ever made, there’s still a little room for improvement, The Godfather Part II, in particular. Not that it isn't already a masterpiece, expanding on The Godfather’s story and themes while elevating the entire saga to a Shakespearean tragedy. But to elaborate...

Without recapping the entire story of the world’s most famous mafia family (which most are probably familiar with anyway), a large part of the original Godfather focuses on young Michael Corleone (Al Pacino) avenging the attempted assassination of his father, Don Vito (Marlon Brando). He kills the man who gave the order, Sollozzo (Al Lettieri), and corrupt police captain McCluskey (Sterling Hayden), which triggers an all-out mob war. Michael goes into exile in Sicily, where he meets and marries young local girl Apollonia (Simonetta Stefanelli). Later, when enemies discover where he’s hiding, one of his bodyguards, Fabrizio (Angelo Infanti), betrays him by planting a bomb in his car. Instead, it kills Apollonia.

Fabrizio escapes, never to be seen again…though that wasn’t always the case…

Fabrizio...destined to be a bonus feature.

In The Godfather Part II, Michael has since become the Don, far more ambitious and powerful than his father ever was. Like Dad, he’s calculating, ruthless and coldly vindictive, with no qualms over ordering the deaths of enemies or those who’ve betrayed him, no matter how close or how long it takes (as when he kills his own brother, which lays the groundwork for themes of guilt and redemption explored in The Godfather Part III). 

However, the greatest example of Michael’s quest for total vengeance was actually left on the cutting room floor…

There’s a deleted scene that features Fabrizio, now much older and operating a pizza joint in America. Running a little over a minute, there’s no dialogue...just Fabrizio closing the restaurant and getting into his car, which explodes when he starts it. It’s an isolated scene that has no impact on Part II’s story, which simply continues afterward. If you hadn’t seen the first film, you wouldn’t even know who the hell this guy is. 

Fabrizio burns another pizza.

This scene was restored in some of the re-edited versions which presented the entire saga chronologically, but has never been included in the original cut. For the most part, the scene just exists as a DVD bonus feature, which is a damn shame. Presumably, it was originally removed because it fails to advance the story and disrupts the overall narrative flow. But I think cutting the scene was a mistake because it masterfully reminds us of just how deep Michael’s vindictiveness really goes…he doesn’t forgive and sure as hell doesn’t forget. Fabrizio was no longer even a threat, yet Michael’s meticulous nature simply won’t let him live. 

Additionally, it nicely parallels a flashback sequence where young Vito Corleone (Robert De Niro) returns to Sicily, decades after immigrating to America as a boy, just to murder the sickly old Don who shot his mother. Retaining Fabrizio’s death in the film would certainly reflect Michael’s similar belief that there’s no statute of limitations on payback.

As Michael himself transforms into the film’s true antagonist, this scene also provides one of the last times we can actually relate to him. “Way to go, Michael! You finally got that two-faced, wife-killing son of a bitch! Who cares if the only remaining threat he posed was putting pineapple on your pizza!” Keeping that scene would have been a genuinely audience-rousing moment. 

As is, The Godfather and The Godfather Part II remain one of the greatest one-two punches in American movie history. Maybe Coppola himself agrees because he has yet to mess around with either of them. But I would implore him to at-least restore Fabrizio’s fiery demise back into Part II, which makes a hell of a lot more narrative sense than extending Apocalypse Now to an unbearable length by adding 40 minutes of Captain Willard visiting a French plantation…a decision I still don’t understand.