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 thief with a unique code of professional ethics is double-crossed by his crew and left for dead. Assuming a new disguise and forming an unlikely alliance with a woman on the inside, he looks to hijack the score of the crew's latest heist.
The story focuses on a man who suffers "anesthetic awareness" and finds himself awake and aware, but paralyzed, during heart surgery. His mother must wrestle with her own demons as a drama unfolds around them, while trying to unfold the story hidden behind her son's young wife.
Call me a product of the ADD age, but it's not very often these days that I'll actually sit through an entire movie without at least fast forwarding through some parts (you know, like the de rigeur musical montage in romantic comedies). And when I saw Cuba Gooding's name in the opening credits, I seriously considered putting an end to the movie and to my misery right there and then (I still have nightmares about his and Christian Slater's disastrous last effort at movie-making). And yet, as the movie developed, I found myself drawn into the plot and the characters. Mind you, this film is not a treatise on either. The plot and characters are rather simple, and we only get brief glimpses into the origins of the relationship between Cuba's character and that of his boss, but it's all we need. The rest is like a good old fashioned shootout at the OK corral. All in all, I'd say this movie was every bit as good as The Departed, minus the star cast and director.
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