The MacManus brothers are living a quiet life in Ireland with their father, but when they learn that their beloved priest has been killed by mob forces, they go back to Boston to bring justice to those responsible and avenge the priest.
Sean Patrick Flanery,
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
To foil an extortion plot, an FBI agent undergoes a face-transplant surgery and assumes the identity of a ruthless terrorist. But the plan backfires when the same criminal impersonates the cop with the same method.
When a Las Vegas performer-turned-snitch named Buddy Israel decides to turn state's evidence and testify against the mob, it seems that a whole lot of people would like to make sure he's no longer breathing.
Two Irish brothers accidentally kill mafia thugs. They turn themselves in and are released as heroes. They then see it as a calling by God and start knocking off mafia gang members one by one. Willem Dafoe plays the detective trying to figure out the killings, but the closer he comes to catching the Irish brothers, the more he thinks the brothers are doing the right thing. Written by
The script's initial sale garnered a considerable amount of publicity (including the cover of USA Today) as a "rags-to-riches" story; writer/director/composer Troy Duffy was a bartender at J. Sloan's in Los Angeles when Miramax head Harvey Weinstein not only bought the script, but signed Duffy to direct, his band to score the film and agreed to purchase the bar for Weinstein and Duffy to co-own. However, Duffy quickly managed to sour the deal, putting the script into turnaround where it was eventually produced for less than half of the budget offered by Miramax. After its limited theatrical release, the film gained popularity on home video as a Blockbuster Exclusive, unfortunately Duffy's contract did not give him any royalties from video sales. Duffy's initial success and consequent self-destruction are chronicled in the documentary Overnight (2003). See more »
In the alley scene with the Russians, when Connor throws the toilet onto the Russian holding the gun to Murphy's head, he scares and fires a bullet, which presumably drills a hole into the dumpster. However, when you watch closely, you can see the gun being fired while aiming downward at the floor, not at the dumpster. See more »
Our father, who art in heaven, hallowed be thy name. Thy kingdom come, Thy will be done, on Earth as it is in Heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation, but deliver us from evil. For Thine is the kingdom, and the power, the glory, now and forever. Amen.
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Clips of people being interviewed about their opinions on "the saints" are shown while the credits roll. See more »
I guess it'll take a while for the effect to where off. I saw the unrated edition of "The Boondock Saints" two days ago and I'm still reeling in from the experience, which is surreal, to tell you the truth. Quite frankly, a movie that is this sharply written, acted, and directed is a true rarity these days. Writer-director Troy Duffy dives into the murkiest depths of the "law," and its apparent futility in modern times, and how it takes two Irish fraternal twin brothers, Conner and Murphy (Sean Patrick Flanery and Norman Reedus - both of whom are a little too convincing in their roles), to stir up enough debate about vigilantism to become media heroes. The release of "The Boondock Saints" was sidelined in 1999 because of the Columbine massacre and the plot about Conner and Murphy being on a mission from God draws some eerie parallels to the motives of Columbine killers Eric Harris and Dylan Klebold. As the film opens in Boston after St. Patrick's Day, Conner and Murphy get into a bar-room brawl with a couple of Russian toughs and said toughs are discovered the next morning in an alley in piles of their own blood and guts. FBI agent Paul Smecker (Willem Dafoe) shows up on the scene to show the local cops a thing or two about criminology and theorizes it was a revenge killing. Soon enough, both injured brothers waltz into the police station and claim self-defense. They're let off after a night in jail (plus experience a cathartic jail-cell baptism) and no charges filed. But soon, more bodies turn up, and Smecker learns that Conner and Murphy (and a third, David Della Rocco) may be the ones behind the mayhem on the streets. Duffy's film is a bloody one (most of the gruesome violence is extended in the unrated special edition), with a cackling screenplay that includes 246 uses of the f-word and assorted Irish-Euro-slang, and has earned a fearsome reputation in recent years and has been embraced as a cult phenomenon. (It's easy to see why, if one is a fan of relentless violence and bloodshed. P.S.: The action is so balletic in its style and excess that it's almost reminiscent of a John Woo picture.) I can't believe I stood away from this movie for so long, darn it! The opening moments don't prepare you for what comes up next and even though the action (which there is quite a bit of and, as stated earlier, is extended in the unrated version) is quite bloody, there's a morbid sense of humor running throughout the carnage and I fell out laughing on more than one occasion during this picture. And still, there is a sense of beauty and tragedy underlying much of the action in "The Boondock Saints," and its ending will certainly leave a bitter taste in the mouths of some. Lastly, I would recommend reading up on as much about the controversy surrounding "The Boondock Saints" as one possibly can; it'll make the experience much more hypnotic.
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