joe pesci Tagged Articles at Cinematical

The thing I've always loved about Martin Scorsese is that the man lives to tell you a story. He piles on the details and approaches every angle -- and as a result he creates living breathing people -- and thanks to him, his crime flicks are about as close to the mob as I need to get. When Casino was released in 1995, it was considered Scorsese's return to the world of crime after taking a little diversion with films like Age of Innocence and Cape Fear. But, the comparisons between Casino and Goodfellas were inevitable, and unfortunately Casino was branded the inferior film. Now I'm not denying the genius of Goodfellas, but I stand by the fact that Casino is a kick-a** film in its own right.

Now that it looks like Soderbergh and his crew are finished with the Ocean's series, perhaps some Scorsese veterans can pick up the torch and roll with it. The New York Post's Page Six reports that during a recent Oscar party hosted by Bob and Harvey Weinstein, Robert De Niro, Leonardo DiCaprio and Joe Pesci were off huddled in a corner talking shop. What kind of shop, you ask? Well, supposedly they were discussing a possible film they'd all co-star in; an "Italian-flavored heist" is how Page Six puts it.

It's hard to imagine these three guys coming together for a film without Marty Scorsese behind the camera, but the director seems pretty busy with other projects (like Silence), though one imagines nothing is set in stone until, well, it's set in stone. Then again, maybe they're coming together for another director (De Niro, perhaps?), without Scorsese? Either way, I'm definitely intrigued to not only watch De Niro and Pesci reteam on the big screen, but also to see DiCaprio (who co-starred with De Niro in This Boy's Life) thrown into the mix. And for a slick heist film, no less. Of course it's all rumors and speculation right now, but we'll let you know if any more news comes our way.

While it wasn't so fun to get "Smoke on the Water" playing on repeat in my brain after our EIC Erik Davis sent me the idea for this double feature, it's been great to reminisce about two films from the early '90s that dealt with fish out of water themes -- My Cousin Vinny and Doc Hollywood. One is an Oscar winner, and the other is a fluffy comedy, but both perfectly embody that moment in time -- the beginning of a new decade and the next step for some of the biggest names of the 1980's. On the one hand, you have Ralph Macchio, and on the other, the unbeatable Michael J. Fox. One might be up for murder while the other gets to save lives, but in both cases, they're guys who prefer the city, but get ensnared in small town life.

Keep that popcorn in the cupboard, pick up some fish and chips, and enjoy!


My Cousin Vinny



On the one hand, you've got the story. Two "youts" -- Billy Gambini (Ralph Macchio) and Stan Rothenstein (Mitchell Whitfield) are traveling through Alabama when they forget to pay for a can of tuna. They leave the store and soon find themselves in jail and awaiting trial when the store clerk is shot and killed. One can never underestimate the power of familial connections, and Billy's cousin Vinny (Joe Pesci) comes to save the day -- a fish in a very unfamiliar pond. He looks to be just a spastic Brooklynite with a saucy girlfriend (Marisa Tomei). However, first impressions aren't all they're cracked up to be, and it turns out that Vinny is just what the two guys need to break free.

On the other hand, you have the cast. It's just plain great. You've got Pesci, who rocks as Vinny, Tomei, who won an Oscar for her performance, and Macchio, who shows that there's more to him than his time as a karate kid. But that's just the first layer. There's greats like Austin Pendleton and Bruce McGill, but best of all -- Fred Gwynne, in his last performance, plays Judge Chamberlain Haller. Really, what else do you need?

Mona Lisa Vito in her god-awful, super-tight, floral body suit talks about what she's nervous about.

Vinny plans to go hunting, and Mona Lisa mourns the future slain dear.

The Judge feels mocked.

Owls aren't safe when Vinny is around.

More than two years ago, Erik wrote a post titled "Joe Pesci Returns!" and we were all excited. Of course, that return -- Pesci's first film role since 1998's Lethal Weapon 4 -- was just a tease. Fortunately, for those of us who couldn't get enough of him with that bit part in The Good Shepherd, the Oscar-winning actor is finally back for a starring role. And it isn't even a bad comedy a la Gone Fishin' or 8 Heads in a Duffel Bag. It's a new film from Taylor Hackford, whose last film, the biopic Ray, earned the director two Academy Award nominations. This one, titled Love Ranch, will also star Hackford's wife, Helen Mirren, who he last worked with on 1985's White Nights. The drama is about Joe and Sally Conforte, a couple who opened Nevada's first (and eventually largest) legal brothel, Mustang Ranch. Scripted by Mark Jacobson (The Believer), the movie will deal with the couple's problems with infidelity. Maybe we'll get to hear Pesci yell the line "You f***** my wife!" at whoever plays boxer Oscar Bonavena, who was shot dead by Mustang Ranch bodyguard Ross Brymer in 1976, allegedly because he was sleeping with Sally.

Hackford begins shooting Love Ranch in Albuquerque in late January and hopes to have the film ready for the 2008 Toronto Film Festival. He told Variety that he is mostly excited to direct his wife again, and that he had to beg her to make time for this. I bet she finally saw him fit to direct her after getting those Oscar noms (even though he has a statue for a 1979 short film he directed). Hackford also mentioned that Pesci was his first choice for Joe and seems fortunate to have convinced the actor, who apparently isn't too interested in doing movies much anymore. Certainly Pesci is a perfect choice to play this seedy "godfather of legalized prostitution," as Hackford calls him. Now, can Hackford please try to get DeNiro in for a cameo?

I was working at a movie theater in the summer of 1998, the summer Lethal Weapon 4 was released. One of my job responsibilities was to stand and wave goodbye to people as they'd leave their movies. (Armageddon came out the week before LW4, and I got a lot of mileage out of the line, "With all this waving, my Armageddon tired!"). I was excited about Lethal Weapon 4. I hadn't loved the previous installment, but Mel Gibson and Danny Glover were back, I had come to terms with the fact that Joe Pesci wasn't going anywhere, Rene Russo is about as solid a love interest as an action movie can get, I think Chris Rock is hilarious and I had heard amazing things about Jet Li. Plus, this would be the first Lethal I saw on the big screen. How could it go wrong?

Answer: In just about every conceivable way.

Lethal Weapon 3 was a mess, but it was a fun mess. LW4 isn't fun at all. It's downright boring. Everyone looks tired and uninspired (rhyme). The laughs aren't there. The action, aside from a great highway chase, is run-of-the-mill and confusingly shot. And there's a downright icky sentimental streak running through it -- a sappy side that is light years away from screenwriter Shane Black's original vision for these characters.

Watching Lethal Weapon 3 in the middle of this season full of big, bloated "threequels," it almost looks quaint. It's also -- and again, this might be due to the dreary current state of the summer blockbuster -- somewhat better than I remembered. Somewhat.

Don't get me wrong, it's a hot mess. They tried to cram way too much into this movie, which is why you get a lot of scenes of Riggs and Murtaugh coincidentally standing next to crimes as they break out. There's not a whole lot of police work going on here. Basically, wherever Riggs and Murtaugh are hanging out -- action will materialize. Witness the unbelievably unbelievable scene where Murtaugh takes Riggs to a hamburger stand and gets behind the counter to make him the world's best hamburger. Why is this scene in there? So our boys can "stumble" upon a crime in progress -- right in the middle of Los Angeles' notoriously dangerous "Hamburger Stand District." It's all pretty damn lazy.

Mel Gibson and Danny Glover should teach a class in chemistry. Their natural, lovable work remains the real draw of the series. These guys could play these roles in their sleep, and indeed there's a bit less spark in their performances this time around. The Riggs character continues his unfortunate watering down, but Glover is given a little more to chew on outside of running around yelling "Riggs!" The "8 days from retirement" bit is beyond played out, but having Murtaugh deal with aging works well for the film. Scenes like the one where Murtaugh accidentally fires his weapon in a locker room and Riggs covers for him are pretty touching.

We're back, we're bad, you're black, I'm mad!

That about sums it up.

When I mentioned that I'd be writing about this series, I was surprised by how many friends cited Lethal Weapon 2 as their favorite. It's an extremely entertaining film, but for me, it doesn't pack anywhere near the impact of the original. There's much to love about this sequel, and Mel Gibson and Danny Glover ooze chemistry once again, but I do have some issues with it.

The way the original was set up, a sequel was hardly necessary. The Riggs character had an immensely satisfying arc, and no longer wants to die. The "suicidal hero" element was the main hook of the original, so taking it away presents what must have been a real problem for screenwriter Jeffrey Boam. It's sort of like being told you have to write a Robocop movie where Robocop is no longer a robot. The best part of the original essentially had to be removed. If LW2 opens with Riggs inexplicably suicidal again, you're making an action movie about coping with depression. If it opens with Riggs upbeat and completely sane, the character will be watered down and disappointing. Boam does a pretty good job of keeping the Riggs character edgy and off-balance, but that batshit crazy quality Riggs had in the first one is sorely missed here. And, it must be noted, it's in even shorter supply later in the series.

In a move that seems somehow appropriate, Sean Penn honored his brother's memory last weekend by confronting a photographer. Penn and his fellow macho man Mark Ruffalo are reported to have "got[ten] into a scuffle" with a photographer who was taking pictures at Chris Penn's funeral over the weekend. Apart from the fact that Ruffalo took the memory card out of the man's camera, details on the incident are few and far between. However, since The Guardian says that the photographer is the one who "disrupted" the funeral, it's safe to assume that Penn and his wingman will be portrayed as selflessly trying to protect the memory of the departed. God only knows what really happened.

In other news that involves hitting people, Joe Pesci is alleged to have also slugged a man who happened to be holding a camera, albeit nowhere near the Penn funeral. Apparently things in the Pesci case are a bit more serious, because he's been questioned by police about the incident - the actor could be charged with misdemeanor battery if the cops decide there's merit to his (alleged) victim's case.

Note to Pesci: next time you want to kick someone's ass for taking a picture of you, make sure there's a casket near by. If there is, you're home free.