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.
In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged-out rock 'n' roller presumed to be dead but very much alive -- has a multi-million-dollar prize fall into... See full summary »
In an airport waiting room, a man in a wheelchair tells a stranger a story about a fixed horse race in 1979 that resulted in a family's deaths. In Manhattan, two bookies and the son of a Mob boss die. A young man just out of the shower answers the door to a neighbor woman and explains that he's visiting, has had a bad week, including being mugged, and doesn't know where his pal, who lives there, is. The neighbor is chatty; she's a coroner. Two thugs arrive and, believing the visitor to be the guy who lives there, take him to see the boss with the dead son, who tells him to kill the son of his Mob rival. Mistaken identity? What connects the threads? Cops are watching. Written by
Towards the beginning of the film at the horse track they show a horse fall during a race in 1979. In one of the scenes you can see a new John Deere tractor in the upper left hand corner of the screen. See more »
After Laughter (Comes Tears)
Written by Johnnie Frierson and Wendy Rene (as Mary Frierson)
Performed by Wendy Rene
Courtesy of Atlantic Recording Corp.
By Arrangement with Warner Music Group Film & TV Licensing
Published by Irving Music, Inc. o/b/o East Memphis Music Corp. See more »
(one quick thing when watching: don't make the same huge mistake Roger Ebert did and expect Lucky Number Slevin to be a serious movie, the triviality of the characters is meant to be that way)
Almost every thriller is set up so you know there is a twist coming. What makes a thriller stand out is when you forget it's a thriller. Fight Club is just an epic fighting movie. Memento makes you concerned with figuring out what's going on, much like he is trying to do. The Usual Suspects has you guessing at how the boat incident came to be and who Keyser Soze is. All of them make you forget you're watching a thriller, and just leave you concerned with what is happening instead of what will end up happening. Lucky Number Slevin does this brilliantly. With one of the best scripts I've ever heard (the film style and transitions are just as poetic), a very unique and entertaining set up for a story, and a constant introduction of interesting characters, it makes you forget why any of it is related to the opening scenes. Whether or not you love the movie, you must respect what a masterpiece it is, the amount of thought that went into every line and transition is impressive and if you consider yourself a critic in any sense you won't be let down.
Now as far as Lucky Number Slevin being compared to The Usual Suspects, I think Slevin trumps. If any comparison is to be made, it's that Slevin fixed all the problems with Suspects. In the first five minutes I knew who the mastermind was because they showed him and had him talk, one of the most obvious things I've ever seen. Slevin doesn't do that, only one face is shown and that's because he is telling the story. Also, Suspects doesn't have anything really unique to it, the structure isn't that special, and besides a few good quotes it can't compare to Slevin. Slevin and Suspects are completely different, and I would never think judge one from the other. If you want to see a pioneer for thrillers, see Suspects. If you want to experience a script, story, and film style come together virtually flawlessly, see Slevin.
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