“Gangs of New York” – 2003. Dir. Martin Scorsese

With Daniel Day-Lewis, Leonardo DiCaprio, Cameron Diaz, John C. Reilly, Henry Thomas, Gary Lewis with Jim Broadbent, Brendan Gleeson and Liam Neeson.

“You see this fucking knife? I’m going to teach you how to speak English with this fucking knife.”

  • Bill “the Butcher” Cutting (Daniel Day-Lewis).

I need to get this off my chest now. Cameron Diaz is fucking awful in this film, Leonardo DiCaprio is miscast and I don’t know what Scorsese was thinking by casting Henry Thomas. Phew…I feel better now. That being said, “Gangs of New York” is Martin Scorsese’s masterpiece.

The film starts out bold. Priest Vallon (Liam Neeson) is preparing his men for an epic battle with the Confederation of American Natives which is lead by Bill “the Butcher” Cutting (Daniel Day-Lewis) to see who controls the Five Points for good and all. Vallon and his men mount inside a rundown church, and meet outside in the Five Points (where all major roads meet to a town square). They stand outside in the dead of winter and stand idle – waiting for hell to unleash.

Men with top hats and blue sashes begin to slither out of buildings, and stand on the other side of the square. This is where we see Cutting, glass eye and all. What unleashes is a brutally violent battle. The battle sequence is one of the best filmed, being slowed down to 12 frames per second and queued up to Peter Gabriel’s ambient and eerie sounding “Signal to Noise”.


Men are screaming, ripping each others cheeks apart, and stabbing each other with dull and rusty blades. It’s a chaotic scene but our focus begins to turn to Cutting who is weaving through the crowd, blood lust is in his eye and his sights are set on Vallon. Cutting takes no prisoners; killing his own men who stand in his way just to get to Vallon.

He gets to Vallon and stabs him in the side, then in the stomach. The Priest falls and the battle is over. All the men halt. A young Amsterdam Vallon (played as an adult by DiCaprio) is taken to an orphanage and is to be sure to get “a good education” scowls Cutting.

Time passes and Amsterdam is then let out as an adult. He returns to the Five Points with a mission of revenge. He is slowly taken under the wing of Cutting and Amsterdam gets as close to him as possible so he can avenge the death of his father.

This is an extremely flawed film; I’ll be the first to admit that. There are a lot of things very wrong with it. I have always said that Colin Farrell would have be absolutely PERFECT as Amsterdam. My belief is that since Scorsese had been trying to make this film for decades, the studio would only green light the film if he had star appeal. As much of a great actor Day-Lewis is – he’s not a box office draw (for the masses anyway), so DiCaprio and Diaz were forced into the film for their box office appeal. But to be positive, this film did start a wonderful collaboration between Scorsese and DiCaprio (and to be negative – it’s starting to run its course). But don’t think for a second the collaboration is anywhere near as good as Scorsese/DeNiro or Scorsese/Keitel.

DiCaprio just doesn’t work. His shitty neck beard and pretty bad Irish accent are very distracting. Every scene he shares with Day-Lewis he’s completely overshadowed. The character that Diaz plays is a thief that has a special relationship with Cutting – so she’s given free reign and doesn’t owe him “tribute” – just sex.


The character of Jenny should have been turned into an older “street woman” and played by Jodie Foster. She could still have that relationship with Cutting, and also allow Amsterdam’s fixation with her as well – creating the jealously trap that happens. I think it would have added more maturity and weight to the film.

This is Day-Lewis’ film hands down. He carries the entire film on his back with the help of Neeson, Gleeson and Reilly (hey – remember when he used to be an actor?). The attention he commands from you is unreal. I’ve never seen an actor be able to do this with every single film he’s in. The guy is a fucking titan of cinema.

This is the film that combines all of Scorsese’s passions, everything he’s built his career on. It’s a period piece epic, it’s an antiwar film (the Civil War draft directly reflecting Vietnam), the setting is New York City (which Scorsese loves more than anything) and it’s about the birth of organized crime – or the mob if you will. The film is an ensemble film, which Scorsese is wonderful at crafting. This is an extremely personal film for Scorsese – as personal as “Mean Streets” or “The Last Temptation of Christ”. The guy had tried making this film since the 1970’s!

This film is vintage Scorsese. I haven’t felt this in a Scorsese film since “Gangs”. His use of steady cam, tracking shots, and slow motion just reminds us that he is the greatest living director. When Diaz is introduced into the film, it’s in a slow motion sequence that’s queued up to music – much like Sharron Stone in “Casino” – Scorsese is a master of his craft and I will battle each and every one of you to the death over “Gangs of New York” being his masterpiece.


Daniel Day-Lewis’ performance is absolutely wonderful. My words can’t do his art justice. One of my dreams have always been to direct a film with Day-Lewis, but I can’t even imagine how intimidating such a thing would be. This is a guy who invests himself into his characters for the entire film. He’s not Daniel Day- Lewis, he’s Bill Cutting. He doesn’t speak with an English accent; he speaks with his thick New York accent on and off the screen. Anyone who can’t admire his passion, admire his skill is a fool.

Review 10/10

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“In Bruges” 2008

“In Bruges” – 2008.  Dir.  Martin McDonagh.  With Colin Farrell, Brendan Gleeson and Ralph Fiennes.

“In Bruges” is an interesting film.  The set-up is two hitmen Ray and Kev (Colin Farrell and Brendan Gleeson) get sent to Bruges by their boss Harry Waters (Ralph Fiennes) after their last hit went terribly wrong.  They are told to sight see and wait for a call from their boss, and Gleeson couldn’t be happier wandering around the beautiful town that has so much history to it.  Farrell on the other hand can’t stand it, he hates being in Bruges, he hates everything about it.  The only thing he enjoys is going to the pub and getting “pissed”.  We slowly start to learn why Ray is wound extremely tight and is on edge.  The last hit they performed went so horribly wrong it leaves Ray in a permanent state of guilt and remorse.  Ray can’t even find absolution for what he has done, and he can’t even stand himself anymore.  He slowly starts to lose control until he falls in love with a beautiful woman, Chloe who robs tourists.

The film is remarkable in the sense that it masks it very, very heavy subject matter with witty and fresh dialogue that’s so funny it makes you laugh out loud.  It allows you to enjoy the character of Ray, even after you find out what he did.  You enjoy him for the outlandish things he says and does (including doing cocaine with a midget, while the midges discuss the inevitable war that is going to break out between blacks and whites).  Colin Farrell gives one of the best performances of his career, which did garnish him a Best Actor Musical/Comedy at the Golden Globes, and it’s one of the rare occasions that the award actually meant something.

The real treat of the film is Harry Waters.  Waters is the ruthless boss of Ray and Kev, who isn’t seen till the end of the film.  He’s a viciously wicked, scary and funny character.  Ralph Fiennes gives his finest role since that of Charles Van Doren in “The Quiz Show“.  Fiennes’ performance was snubbed by all awards which to me is absolutely shocking.  I don’t mean to be short on Fiennes, but I’ll be posting something specifically about his performance very soon.

Review: 9/10.