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.
A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
Jake Vig (Burns) is a consummate grifter about to pull his biggest con yet, one set to avenge his friend's murder. But his last scam backfired, leaving him indebted to a mob boss (Hoffman) and his enforcer.
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
Josh Hartnett (Slevin) lived with writer Jason Smilovic and his girlfriend in New York while the script was being written. Smilovic said that he thought of having Slevin wear a towel a lot of the time because he saw Hartnett in one so often. More so it added a vulnerable quality to Slevin. See more »
During the opening credits when Nick is walking towards the camera to sit down, you can see the reflection of the camera man moving around in the back of the front left blue chair. See more »
John Hartnett secures the record for Longest Period of Time Wearing a Towel and Nothing Else in "Lucky Number Slevin," a groan-inducing title for a groan-inducing movie. After what seemed like at least a good half-decade of hibernation, yet another hack filmmaker has emerged from the bushes and taken his suck-pump to dredge the remaining puddles of silt at the bottom of the now-drained Tarantino Lake; Jason Smilovic penned this too-familiar tale of criminals with oh-so-enigmatic names (The Boss, The Rabbi, Slevin) speaking in a torrent of pop-culture clichés (James Bond, Norman Rockwell, Andy Griffith, and Alfred Hitchcock get shout-outs), involved in some oh-so-wacky, oh-so-ironic, oh-so-postmodern shenanigans, and director Paul McGuigan put the frantically-edited mess up on screen for all to see. When you notice the missed beats in the dialog between Bruce Willis (whose persistent smirk seems to be holding back laughter) and another character during the opening scene, it doesn't bode well for the remainder of the film...and "Slevin" just gets progressively worse. The characters are a collection of pretentiously self-aware ciphers, and following the plot is pointless, since the film uses the LAST 30 MINUTES to tell us what the hell is going on (via dialog and flashbacks where--yup--information that was withheld is now revealed!), because its structure is so tediously contrived. In any other case, "Slevin"'s unusually excellent cast would (at least somewhat) redeem the film, but veterans like Morgan Freeman, Ben Kingsley, and Willis seem to be going through the motions of a flat, unmemorable script; meanwhile, Lucy Liu and Josh Hartnett radiate youthful cuteness, but precious little sympathy. Actually, the one smidgen of talent on display in "Slevin" might be McGuigan's ability to squander a cast most directors would kill for--now THAT is a true achievement. For those who have never seen a good crime thriller and would like to look 'hip' and 'with it,' have a ball with "Lucky Number Slevin"; the rest of us will be re-watching "The Usual Suspects" and "Pulp Fiction."
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