A modern, gothic tale of crime and redemption about an aging police officer from a small Ontario Mennonite town who hides a violent past until a local murder upsets the calm of his newly reformed life.
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.
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.
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.
Walter is the chief of police in a small Ontario town that has its first murder victim, an attractive young woman who is found naked on the shores of the nearby lake. The woman isn't local and while the Ontario Provincial Police have taken the lead in the investigation, Walter assists where he can. The town is mostly a close-knit Mennonite community and Walter has recently returned to his church. He is also trying to deal with his own temper that led to a violent incident some months before. As the young woman is identified, it becomes apparent that Walter's former love interest may be lying. Written by
The lights on Walter's squad car are not flashing as he walks towards Steve's truck after pulling him over for speeding. When Walter walks back to his car after writing the ticket, the lights are flashing. See more »
This is almost an exhibit in acting. Peter Stormare is as great in this as the bit players. There is no weakness to be found in the acting department. The short running time is good too, the music is well selected and the script is as tight as it should be. I personally do not agree as much with Coen comparisons, because this is far more serious than a Fargo.
It's important to know, because people will think of Fargo and not of Millers Crossing or other serious themed movies the Coen brothers did. Most of the people that is. All in all it wouldn't do justice to the filmmaker just comparing him to someone else. He did something really amazing here, mixing photography and sound to make a movie about human downfall(s).
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