Director Henry Corra’s exploration of what New York was in 1977 is quite fantastic and a surprisingly rare chronicle of the political and economic turmoil that ironically bred timeless art and music. As a born and bred Bronxite, 1977 is a mythical year, and a period of the decade that I’ve heard about very often from elder family members. In particular, the night of the infamous black out of New York, my mom and uncle were stuck in the edge of downtown Manhattan and had to brave their way home during the mass looting and rioting. “NY77” garners a very unique tone that balances out the inherent importance of the year, the depressing living conditions of the city, and the obvious fun that was had by most, who managed to endure poverty with laughs and creativity.
Adam Wingard is one of my favorite filmmakers working in film today and he almost always works alongside Simon Barrett, a cuttingly funny and witty man who knows how to churn out a damn good script. Wingard and Barrett pull off some amazing feats together, and “The Guest” is another notch in Wingard’s belt that oddly enough doesn’t get as much mention as his banner horror film “You’re Next.” Granted, I love “You’re Next” and have seen it at least two hundred times since it arrived in theaters, but “The Guest” is such a unique horror thriller with a premise that’s very socially relevant without ever being preachy.
Leon is a hit man, the best hit man working for Tony. He kills without a sound, without any emotion, he has only one rule “no woman, no child”, he’s the perfect hit man. Leon lives in the same building as Mathilda and her dysfunctional family. Mathilda’s father is a drug-dealer who does not care much, her stepmom does not seem to like her much, and her big sister seems to hate her. Mathilda’s sole solace is her younger brother, whom she loves very dearly. Comes in New York City’s crooked DEA, Norman Stansfield, who hired Mathilda’s father as a drug dealer. After the drugs are found to have been cut, Stansfield demands an answer as to how this has happened by 12 noon the next day.
Dobermann follows the title character (Vincent Cassel) and his group of bank robbers as they evade the law and particularly a maniacal cop, Cristini (Tcheky Karyo). The tone of the movie is set right away with the opening sequence, at the end of which a gun is given to a baby at his Baptism. The rest of the story, based on cop novel, is fairly simple; bad guys versus good guys, or is it?