Tag Archives: Dominic Chianese

Out for Justice (1991, John Flynn)

I didn’t hate watching Out of Justice. I didn’t even dislike watching it some of the time. It’s never good, but it’s really dumb and director Flynn knows how to direct a dumb action movie. It feels like it could be a cheap seventies exploitation film–cop hunting gangster on killing spree. Only it’s not exactly cheap. It never looks great, but it never looks cheap. The supporting cast is either familiar character actor types (Jerry Orbach) or solid newcomers (Gina Gershon, Julianna Margulies, Shannon Whirry). It’s professional. It’s a professionally made attempt at trying to convince the viewer Steven Seagal is an Italian-American, Brooklyn native who can kick everyone’s ass and does. It’s not exactly like Steven Seagal’s version of Goodfellas, but it’s closer than not.

Because Seagal wants to act in the film. He tries a lot. He tries so much, so earnestly, he eventually just earns a pass. The ganger on killing spree is William Forsythe. He’s smoking crack and killing almost everyone in sight, he’s a really bad man. Only he’s the worst villain in the entire movie. There’s no character. And Forsythe, in an extremely physical performance, seems asleep at the wheel. He’s not bringing anything to the movie either.

Flynn directs the action scenes rather well. Whenever Seagal gets to do some martial arts, Flynn is careful to showcase them, not just for the theatrical exhibition, but also for the eventual home viewers. Flynn’s ability to fill the frame while keeping it 4:3 safe is significant. Out for Justice is a very professional package. Technically, the film’s nearly completely fine (except the montages). It’s just dumb and inconsequential.

It couldn’t be any better, but it could be a lot worse. And there is a lot of solid acting throughout; not to mention the nostalgia value of familiar faces.

So, like I said, I didn’t dislike the experience of watching Out for Justice. I just didn’t like anything about that experience.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Flynn; written by David Lee Henry; director of photography, Ric Waite; edited by Don Brochu and Robert A. Ferretti; music by David Michael Frank; production designer, Gene Rudolf; produced by Arnold Kopelson and Steven Seagal; released by Warner Bros.

Starring Steven Seagal (Det. Gino Felino), William Forsythe (Richie Madano), Jerry Orbach (Capt. Ronnie Donziger), Jo Champa (Vicky Felino), Shareen Mitchell (Laurie Lupo), Sal Richards (Frankie), Gina Gershon (Patti Madano), Anthony DeSando (Vinnie Madano), Dominic Chianese (Mr. Madano), Julianna Margulies (Rica), Shannon Whirry (Terry Malloy) and Ronald Maccone (Don Vittorio).


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The Public Eye (1992, Howard Franklin)

According to IMDb, it took Howard Franklin ten years to get his script produced. In that time, I wonder if he worked on it, because the finished product does not appear to have been considered. The Public Eye is beyond tedious. The combination of Franklin’s plotless script and Mark Isham’s nap-inducing score make the whole thing unbearable. It’s not bad–though Pesci’s performance is flat and his character (thanks to Franklin’s script) lifeless–but there’s nothing good about it either. It’s totally uninteresting, a 1940s crime photographer who does… something.

Franklin’s trying to juggle a few genres here–one is a period-piece mystery, which isn’t exactly film noir and Franklin seems to know it isn’t film noir and he’s not using that genre’s standards. As a result, he’s trying something (relatively) unique and he isn’t suited for it as a director or writer. Additionally, Franklin doesn’t make the setting interesting. The Public Eye trades on the assumption the viewer is going to find 1940s mobsters interesting. Why I have no idea. But it certainly does, because Franklin does nothing to make his content compelling.

I’ve noticed I’ve been saving the “big problem” for its own paragraph lately. And again. The big problem–Franklin obviously thinks Pesci’s character is real interesting, the crime photographer who sees everything as a possible picture. The most embarrassing scene comes early, when Pesci is supposed to be selling a photo book and even Pesci can’t muster enthusiasm for his dialogue. It comes off monotone and disinterested, like he took the part because it needed a short guy and Pesci needed top billing in a film, any film.

The Public Eye is a pointless, meandering waste of time. An attempt at auteur from someone who shouldn’t try. It reminds me of a sitcom no one remembers, but it ran for three weeks in 1988, so someone must have watched it. But there’s simply no point in watching something like The Public Eye; though it does manage to be abjectly uninteresting, as an example of an uninteresting movie.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Howard Franklin; director of photography, Peter Suschitzky; edited by Evan Lottman; music by Mark Isham; production designer, Marcia Hinds-Johnson; produced by Sue Baden-Powell; released by Universal Pictures.

Starring Joe Pesci (Leon Bernstein), Barbara Hershey (Kay Levitz), Jared Harris (Danny the Doorman), Stanley Tucci (Sal), Jerry Adler (Arthur Nabler), Dominic Chianese (Spoleto), Richard Foronjy (Farinelli), Richard Riehle (Officer O’Brien) and Gerry Becker (Conklin).


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