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 »
A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free. He targets not only the killer but also the district attorney and others involved in the deal.
In order to foil an extortion plot, an FBI agent undergoes a face-transplant surgery and assumes the identity and physical appearance of a ruthless terrorist, but the plan turns from bad to worse when the same criminal impersonates the cop.
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
Went directly to DVD in Germany after no distributor could be found. See more »
When Goodkat is shooting two silenced pistols at the men coming through the wall, the pistol in his left hand has a bent silencer. It is obviously bent down at about 15 degrees and would be dangerous to the shooter if shooting anything but blanks. See more »
2006 Sundance Film Festival From the opening scene in Lucky Number Slevin, you will be straining to keep up. People are getting killed left and right, and it's never clear until the end of the movie how they are all connected. But you know it fits somehow and Scottish director Paul McGuigan (Wicker Park) manages to keep you guessing while firmly grabbing your attention and holding it with hardly a second to take a breath.
In the film noir tradition, but with the intense and graphic violence of the Lock Stock and Layer Cake genre, Slevin is really a caper movie, and frankly reminded me more of The Sting than anything else. It dances nimbly from grisly stomach-churning action to clever and light-hearted banter. This could only be accomplished by a truly incredible cast, led by Josh Hartnett in an outstanding performance, great work by Lucy Liu, Bruce Willis doing his thing, and supported by the always excellent Morgan Freeman and Ben Kingsley. There's even a little time for Stanley Tucci.
Liu plays Lindsay, the next-door-neighbor/natural sleuth/coroner/love interest who discovers Slevin in her neighbor Nick's apartment. They mystery that immediately engages her is what happened to Nick, who never shows up. However, plenty of people do show up, mistaking Slevin for Nick, and before long he is neck deep in murder contracts, called debts and warring gang factions. Hartnett plays the role to perfection. I've never seen him this good. He is both convincing and empathetic as a glib, fearless victim of mistaken identity, yet filled with confidence that he can make his plan work.
This is a terrific film, assuming you can stomach the bloody violence. The pieces fit neatly together (well, I have one bone to pick with the scriptwriter, but it would be revealing too much to share it). I highly recommend Lucky Number Slevin.
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