Miller's Crossing (1990) User Reviews (393)

Coen brothers gangster masterpiece

[SnoopyStyle · 8/10 · 3 July 2014]

It's the Prohibition era. Leo O'Bannon (Albert Finney) is an Irish mob boss who controls the city. Tom Reagan (Gabriel Byrne) is his right hand man. Verna (Marcia Gay Harden) has the boss wrapped around her little finger. Only Leo doesn't know that Verna is also sleeping with Tom. Italian rival Johnny Caspar (Jon Polito) wants to kill bookie Bernie Bernbaum (John Turturro) who's been taking advantage of him. Tom tries to get Leo to give up Bernie but he's Verna's brother and Leo refuses. Leo and Johnny go to war. Leo kicks Tom out when he reveals his affair with Verna. Tom goes to work for Caspar and he's commanded to execute Bernie in the woods at Miller's Crossing.

It's the third big great movie from the Coen brothers and they show a real mastery of the cinematic arts. It is beautifully shot, ultra violent, and the actors are some of the best around. It is hard-boiled gangster noir and one of the best for fans of the genre. The mannerisms and dense dialog can put off some people and may lose some who don't pay enough attention. There are no good guys in this story. It is strictly anti-hero stuff. That may also put off some people. The audience is asked to pull for Gabriel Byrne even though he's still a gangster, just a more reasonable one.

The Coen Brother's Take on the Gangster Genre!

[gab-14712 · 8/10 · 6 June 2022]

To be honest, I did not truly understand or rightfully digest Miller's Crossing until hours and even days after I watched the film for the very first time. Going into the film, I knew it was a Coen Brothers film and was about gangsters. That's all I knew. Would it be compared to Goodfellas (which ironically was released the same weekend in 1990) or The Godfather? The opening scene where the two gang (Irish versus Italian) rivals met actually was an homage to the Francis Ford Coppola classic. In hindsight, I learned what a powerful film this was. It is a Coen Brothers film in every sense. That means sharp, lyrical dialogue, impressive if slightly oddball characters, and a style unique to the Coen Brothers. The cinematography from Barry Sonnenfeld is very impressive. The sequence with Gabriel Byrne and John Turturro in the forest is a sweat-inducing example of how Sonnenfeld shot the film. Being labeled as a gangster film, I was mildly surprised about the lack of action sequences. There are some, yes, including a fiery shootout with Albert Finney, but the Coens used their words to craft the story. Do be warned. When violence occurs, it is abrupt and sudden. That adds to the power of the story. When you have the head of the Italian gang talking about "business ethics," you might want to put your thinking caps on. The Coens have their obvious gangster film influences, particularly from those made in the 1930's, but they also have their film noir influences. If anything, this film is a film noir packaged up as a gangster film. The film goes at its own pace and the Coens embellish in their style. People expecting something a la Goodfellas should prepare for disappointment. I originally felt let down, but the power of the Coens got to me in hindsight.

The Coen Brothers last film was the delightfully quirky Raising Arizona. If anyone can maintain that level of quirkiness despite a complete 180-degree genre shift, it is Joel and Ethan Coen. I would not necessarily say humor is prevalent, but it has a similar tone. These characters are more oddball than one would expect in something like...The Godfather. Yet, there are scenes of tension that rank with the best of them, especially that forest scene. I was ready to say goodbye to John Turturro's character immediately. But the Coens, of course, are smarter than that. Goes to show how masterful they are at writing and directing scenes. It is impressive they were able to complete this dense script. They had to put the script aside because of writer's block. Before they came back to this script, they wrote their next movie about a guy who has writer's block in a span of three weeks. I know some people were irked but I liked how the film's location was unknown. It was shot in New Orleans given its Prohibition-era architecture. In addition, this is a fine character study. It is about one man, Tom, who has no ambition or drive. It is about a man who plays both sides because he wants to. He uses intelligence rather than violence. He has an ambiguous moral code. And, of course, a woman is involved. A woman that drives the deeds of the Irish boss.

In this unknown city, all we know is that there is the gang war that takes place in the 1930's. Leo (Albert Finney) and his lieutenant Tom (Gabriel Byrne) control the city. Johnny Caspar (Jon Polito) heads the Italian gang and drives for power. He approaches Leo to ask to kill lowlife swarm Bernie (John Turturro). Leo says no which upsets Tom. From Leo's viewpoint, Bernie is Verna's (Marcia Gay Harden) brother. Verna is Leo's girl, so we see the conundrum here. It turns out that Tom was fooling around with Verna and is kicked out of the mob. Because of boredom, he decides to join Caspar's gang. He arouses Caspar's right-hand man, Eddie Dane's(J. E. Freeman) suspicion when he discovers he still contacts Verna and Bernie. Dane grows even more suspicious when Tom is personally ordered to kill Bernie. But did that really happen?

The Coen Brothers are able to make sharp, cynical screenplays but the actors need to breathe the words to life. They do more than that here. Gabriel Byrne never has been better. The film revolves around his character, and he has some fascinating arcs. His character is not out of place in a Humphrey Bogart film-noir. In a sense, this role reminded me of some of Bogart's more complex roles. Thankfully, Byrne is surrounded by a competent supporting cast. Bernie is written for John Turturro's capabilities! He is swarmy, a coward, and an important humor source. I did like Albert Finney's charismatic performance, even if his character is a little too naïve for my liking.

Coming off a successful picture in Raising Arizona, the Coen Brothers shifted gears to create a compelling gangster drama that requires patience. They maintained their style that gotten them popular in Hollywood. The cinematography is important for the storytelling (that forest scene, I tell ya). Let's not forget Carter Burwell's musical contributions. His score is based off traditional Irish music. Yes, you will hear "Danny Boy." I originally had a sense of disappointment because it is not a quick, right-in-your-face epic like Goodfellas. This is a slow burn that will capture you in a different way.

My Grade: B+

Grimly majestic film; one of the Coens' best

[inkblot11 · 9/10 · 6 December 2017]

Tom (Gabriel Byrne) is the right hand man of mobster Leo (Albert Finney). They've always "ruled" their city, despite elected officials. But, now, complications arise. Leo's galpal, Verna (Marcia Gay Harden) is seen as a hardened dame, using Leo for a better life. Her brother, Bernie (John Tuturro) is a bookie who is in trouble with Leo and with another rising mob boss, Johnny (Jon Polito). Because Bern is his lover's bro, Leo is reluctant to act against him. Meanwhile, Verna and Tom are having a secret affair, hardly loyal to Leo. Then, too, Tom is exploring working on the side for Johnny, because he has big debts to pay. Wouldn't you know it, Tom is soon asked to "off" Bernie at Miller's Crossing, a secluded wooded area where few bodies will be found. After all, Tom must prove his allegiance to Johnny. Fortunately, Tom finds a way out of his dilemma, but it doesn't solve the long term situation. Plus, Leo discovers Tom's double life, beats him up, and disowns him. With a growing battle between mobsters, who will remain standing? This intriguing, grimly majestic movie is a stellar piece of film making. The dialogue is superb, making the viewer hang on every word. Then, too, the direction includes scenes of great expertise, such as the one where a boy discovers a dead body, only to be startled when the man's toupee flies off. The actors, too, are great, with Tuturro, especially, exhibiting mighty prowess. As a period piece, one admires the thirties costumes and decor. All in all, MC was one of the first great Coen flicks and fans can argue it is the best of them all.

The Jewel of the Coen Crown

[PClark · 10/10 · 8 July 1999]

One of the great undiscovered gems of recent movie history. In my opinion, Miller's crossing is easily the best of the Coen brothers' films, and one of the true classics of American cinema.

On the surface, the story of warring gangsters in 1920's America is one that has been told many times before. But never before has it been handled with such artistry and precision. The (rather violent) action scenes keep the movie going along at a brisk pace, and the camera work is every bit the equal of "Fargo".

I became a lifelong Gabriel Byrne fan as a result of this movie, despite his best efforts to disappoint me since. Byrne's Tom Reagan is a compellingly amoral character, who takes more unchallenged beatings than perhaps anyone in film history. Men beat him up. Women beat him up. Collection men, bookies, gangsters, and even his boss gives him a terrible thrashing, and he hardly lifts a finger in opposition (with one notably humorous exception).

Albert Finney is tremendous as Leo, the local crime boss. His "Danny Boy" scene should go down in film history as one of the greatest pieces ever filmed. Jon Polito is at once absurdly funny and threateningly psychotic as Johnny Caspar, Leo's rival in the turf war. J.E. Freeman, John Turturro, and Marcia Gay Harden all lend strong support in a cast that was assembled and performs to near perfection.

I will never understand why this film has not received more recognition and acclaim. As an example of the modern style of Film Noir, it has no equals ("The Usual Suspects" would rate a close second). Among gangster films, only "The Godfather" can compete, and "Miller's Crossing" features superior pacing and dialog, although it lacks "The Godfather's" epic proportions. Perhaps someday this film will receive, like "The Manchurian Candidate" and "Touch of Evil", the belated accolades it so richly deserves.

Awesome

[teigeng · 10/10 · 13 November 2005]

I was blown away by this film the first time I saw it. After giving myself a couple hours to shake off my dumbfounding amazement, I became addicted. This film has everything. It's witty in its dialogue, suspenseful in its action and violence, beautiful in its cinematography, and (being so like the Coen brothers) it can make you laugh and cringe in the same scene.

The script is superb. The characters are absorbing and the dialogue (as some reviewers have already observed) flows like words in a book. You have to watch some scenes more than once to totally get what's going on, and even then you still might miss something.

The acting is top-notch, even down to the lowest thug. Gabriel Byrne plays the antihero Tom to lonely perfection and Marcia Gay Harden's hooker without a golden heart is excellent. The rest of the cast is great as well, including good mobster Albert Finney and a funny cameo by Steven Buscemi. However, the show is stolen threefold by Jon Polito as the erratic Italian underboss Johnny Caspar, John Tuturro as the slimy "schmatta" Bernie Bernbaum and J.E. Freeman as Caspar's dark, vicious adviser/thug Eddie Dane. Jon Polito's monologue in the very beginning on ethics and Tuturro's desperate pleas at Miller's Crossing are both powerful scenes, and Freeman commands the screen whenever he is on.

My rating is a 10/10. The best part about this movie is that it gets better and better every time you watch it. Oh yeah...the Danny Boy scene is reason enough to watch this movie anyway.

masterpiece

[meisterpuck · 18 March 2001]

In my modest opinion, this film is the Coen's greatest achievement to date, even greater than Fargo. I was happy to see so many recent entries on this page, because that means something I predicted long ago is coming true: film buffs are finally "discovering" Miller's Crossing, an underground masterpiece that has dwelt in obscurity for ten years.

The central motif of the hat, and Johnny Caspar's preoccupation with the altitude thereof, brings to mind another underrated masterpiece, Drugstore Cowboy. The complex Jungian symbolism of forests, doors and especially hats is my favorite aspect of the film.

The only criticism I've heard of this film (and I think it's B.S.) has to do with the "over-acting"--a criticism that has been directed at more than one Coen film. Admittedly, Coen screenplays read more like novels than movie scripts and are not always actor-friendly. Gabriel Byrne, who appears in all but two scenes, does a great job playing an extremely complicated character. Tom Reagan is a smart guy surrounded by morons, and exists in a scenario where only muscle counts and brains don't. And he hates it. And he hates himself because he knows he's all brains and no heart. He tries to redeem himself through a selfless devotion to Leo, whom he hates. All this makes for an immensely challenging part, and the film could easily have fallen apart with a lesser actor than Gabriel Byrne playing the lead.

But the acting is great from top to bottom: Marcia Gay Harden (in her big screen debut) as the hard-boiled moll; Jon Polito as the maniacal Johnny Caspar; Steve Buscemi as the hop-addicted Mink; J.E. Freeman, who is such a marvellous screen villain you have to wonder why he's still toiling in obscurity; and Albert Finney, an actor who embodies the term "screen presence." But the Grand Prix goes to John Turturro, who carries the most powerful scene in the movie: when Tom takes Bernie out to Miller's Crossing to "whack" him.

Another criticism frequently levelled against the Coens is that they are preoccupied with "scenes" and don't focus enough on plot coherence. This too is an invalid criticism, as far as I'm concerned. Some people are irritated by a film that you have to watch a couple times to fully understand, but that's precisely the kind of film that I love, and that's why I love Miller's Crossing so much. Every time I see it I pick up on something that I didn't catch before.

Speaking of "scenes", the "Danny Boy" scene is the best. The second best is the following scene, where Tom and Terry walk through a hallway lined with goons. The third is the police raid on the Sons of Erin Club, in which Leo takes on the entire police force.

I'll resist the temptation to call Miller's Crossing "The Greatest Film of All Time"--because who has the right to say that? But I must say that it is my favorite film of all time.

Bugsy Malone on Scotch or Irish...

[Xstal · 7/10 · 16 October 2020]

I think I'll resign myself to being one of those that is prepared to have missed a few things rather than flagellating myself several times to squeeze out that essence others seem so keen to leach on. It's an enjoyable film, with some great performances and dialogue, albeit with some daft stuff thrown in for good measure.

The Intellectual's Gangster Film

[ams13 · 10/10 · 24 May 2003]

"I'm talkin' about friendship. I'm talkin' about character. I'm talkin' about--hell Leo, I ain't embarrassed to use the word--ethics." So Jon Polito, as crime-boss Johnny "Caspar," describes to his overlord, Albert Finney as "Leo," his point of view while seeking permission to kill a double-crossing underling (played by John Turturro) in the opening lines of __Miller's Crossing__. Had the script sought only to explore the power relationship between the two chief mobsters (one the rising Italian, the other the diminishing Irishman), this would have been a very good gangster film. It portrays an earlier era in the nation's history of organized crime (perhaps Chicago in the late '20s), and one can imagine Leo as the Irish predecessor of __The Godfather__'s Don Vito Corleone (Marlon Brando).

Just as __The Godfather__ was really about family relationships and the ethical complexities arising when familial loyalty collides with the business of violence, however, __Miller's Crossing__ is actually about, as Caspar tells us, friendship and character put under the enormous strain of that same business of violence. The film, therefore, centers on Leo's trusted adviser Tom (played flawlessly by the Irish actor Gabriel Byrne). Tom is not a gunsel, but the brain behind Leo's muscle. His decisions carry life and death consequences, however, and we watch him try to live with himself, to preserve his character, as he works out a code that will help him and his friends survive brutally violent upheavals. Critics of the film have cited its graphic cruelty and the seeming coldness of its characters, yet these are essential features in developing the film's theme.

Sentimentality might get any of the major characters killed, and one notes the pathos and dark humor that underline an ironic distance that each character, especially Tom, cultivates as a tool for survival.

Clues abound as we wonder what Tom will do next. Follow, for example, the men's hats over the course of the film. Who "keeps his lid on," so to speak, and who loses his? Note the number of times characters exclaim "Jesus!" or "Damn!" when saying the name "Tom." What has he sacrificed? Has he damned himself?

Spectacular action sequences, beautiful production values, top-notch camera work by Barry Sonnenfeld, a haunting musical score, and the best dialogue ever written by the Coen brothers make this a great gangster film. The fascinating and complex theme of friendship, character, and ethics make it one of the great films from any genre.

Miller's Crossing

[preston-luther · 7/10 · 8 June 2013]

Miller's Crossing is a film containing characters of the gangster genre occupying a noir-style world. Visually, the film holds up with other Coen Brother films in terms of its style, which includes elaborate set designs, costumes, landscapes, etc. Visually, the film is magnificent and eye-catching.

Where the film falters lies in its dialogue. A staple of Coen Brothers' scripts, particularly their earlier films, involves characters who possess an uncharacteristically sharp tongue and wide vocabulary. Miller's Crossing is no different. Don't get me wrong, the dialogue is well-written, but at times too well-written. Characters speak so fluently in wise-cracking threats that their eloquence undermines their threats. The audience, rather than invest care in the characters, instead marvels at their wit and articulacy. But again, this isn't to say that the dialogue is bad. In fact, most will probably find the characters and dialogue appealing.

The plot does not become apparent until after the credits roll. For the beginning of the film, characters speak swiftly back and forth, referencing off-screen characters nobody in the audience has yet seen. This may lead to some confusion regarding what in tarnation is happening, which subsequently may lead to a lack of emotion or care invested into the story by the viewer(s). Ultimately, Miller's Crossing is one of those films you're going to have consider in retrospect in order to piece it together.

Albert Finney and Jon Polito offer tremendous performances as respective racketeer bosses. Gabriel Byre successfully plays Tom Reagan, a man caught in the middle of the warring mobsters. The wonderfully gifted John Turturro plays the two-timing Bernie Bernbaum. For this role, the Coens couldn't have scripted anyone better than Turturro, who in one instance can seem sputtering and weak 'til the next scene in which he confidently points a gun in someone's face.

Overall, Miller's Crossing is a good film that possesses many reasons to watch it; though ultimately you may find yourself having to watch it again.

this movie is splendid, magnificent, unique: don't miss it

[pzanardo · 10/10 · 30 August 2000]

In my opinion, "Miller's crossing" is by far the top work of the Coen brothers, and one of the best movies in the history of cinema. The huge Coens' talent being now fully recognized, I hope that this masterpiece will get the credit it deserves.

The plot deals with the war between Irish and Italian gangsters, caused by the Jewish crook Bernie (the Coens like to joke with the rivalry of different ethnic groups). The crook's affectionate sister Verna is the mistress of Leo O' Bannion, the boss of the Irish gang, who consequently opposes to have him killed by the Italians. But Tom Reagan, the old mate and factotum of O' Bannion, has different plans... The story is extremely interesting, exciting, entertaining. There are no flaws in the development of the plot, despite its complications (a homage to the intricate classic film-noirs of the Golden Age). The script is sharp, cynical, sarcastic, full of memorable lines and of black sense of humor, with many delightful subtleties: the celebrated Coens' wit at its best. The photography is magnificent and very original. The music is great. The action scenes are superbly filmed: violence explodes suddenly and unexpectedly. The finale is perfect and splendidly crowns the movie.

Tom Reagan, played by Gabriel Byrne, is one of the most memorable characters I have seen on the screen. A gangster who tries to use intelligence instead of violence (with alternate success), following a peculiar moral code. Cynical but devoted to friendship. A systematic liar, but capable of generosity. Despite his skills, he is not ambitious, he prefer to be subject to a big-shot. And then, with all his smartness, he strangely chooses to destroy himself with alcohol and gambling. A magnificent psychological design. With this sober, brilliant, subtle performance, worth of a Bogart in great shape, Byrne just shows that he is the best actor in the world (my opinion, of course).

The aged Irish boss O' Bannion - Albert Finney is the opposite of Reagan: naive, sometimes dumb, with a strong love and childish attachment for his girl-friend, he is confident only in his own charisma and in brutal force. Speaking of brutal force, he will show in a gun-fight that he's still the number one, in spite of years passing (incidentally: this is one of the best action scenes I've ever seen).

Also the other characters are shaped with outstanding intelligence and care, from the main ones (Bernie, his sister, the Italian boss, his right-hand Dane) to the last of the thugs. The whole cast is fantastic: Finney, Turturro, Marcia Gay Hayden, Polito, Freeman and all the other excellent supporting actors. A special mention for the scaring gangster Eddie Dane - J.E. Freeman: he really makes you shriver. Turturro is a bit histrionic for my taste, but this is his style of acting, suited for the role of the crook, mean and coward, but cunning and dangerous as a snake.

To summarize, in "Miller's Crossing" fun, drama, action, suspense, mystery are masterly blended with deeper themes such as love, friendship and human loneliness. This movie is splendid, magnificent, unique, don't miss it.

An Interesting Film That Goes....Nowhere?

[doug1717 · 6/10 · 6 March 2008]

You can't really find fault with the acting, the dialog, the story or cinematography of this film. Some of the violent gun deaths are over the top, but is never on a par with other gangster films for blood and gore. The film does lack however, in setting the mood for the era and for the feel of the ethnic gangs. "Gangs of New York", "The Molly MacGuires" and "Godfather" do a tremendous job of this. This film is more like a stage play. "Miller's Crossing" is all pretty much good or excellent. But this is a film that is ultimately unsatisfying. That's because it carries you along and slowly builds up a double cross and hope for redemption in a very suspenseful and rewarding way, but there is no payoff in the end. All the potential that the film builds is just tossed away when Gabriel Byrne walks away from his life and everything he lied, cheated and killed for. So you are left wondering what it all meant. We get the foreshadowing of this very boring and unsatisfying ending when the Verna character off handedly said that the hat dream was a metaphor, how pursuing it would lead to a payoff, and Byrne cut her off and said there was nothing there, just a hat. Well, that's the movie in a nutshell. Just a gangster movie. It's not "The Sting", it's not "Goodfellas", it's just a lot of good acting in an ugly and violent world that leads to absolutely nothing. So I give the film a 6 out of ten. It is watchable, but why? It doesn't make you think. You just walk away feeling like you were cheated.

Absolutely brilliant

[bk753 · 10/10 · 15 March 2023]

When someone asks "give me a great movie to watch that I probably haven't seen," this is my go-to response. To me, this is the Coen Brothers finest movie, a brilliantly crafted mob film with incredibly witty dialogue, beautiful sets, excellent characters, and wonderful plot twists. Tom Reagan, "the man who walks behind the man and whispers in his ear," is one of the greatest gangsters ever created, and the crazy love triangle of Tom, Leo, and Verna is just one of the great sub-plots in a movie FILLED with "up is down, black is white" moments. Gabriel Byrne, Albert Finney, and Jon Polito are stellar, the "Danny Boy" scene is a classic ("the old man is still an artist with a Thompson"), and my only regret here is that I can't give this masterpiece the "12" it deserves. Two thumbs up, as high as I can hold them.

An artful black mafia comedy

[igm · 7/10 · 2 June 2000]

This elegant tale of a supposedly heartless mobster named Tom Regan (Gabriel Byrne) is not your regular mob film. Opulent, prohibition-era sets provide the backdrop for the quirky, sassy dialogue. John Torturro delivers a stand-out performance in a small role, but it is Byrne who carries the movie with his icy demeanor and subtle depth.

The movie slows on occasion, and stalled during a scene with Regan and love interest Verna (Marcia Gay Harden). The Coen brothers seem more comfortable advancing plot than developing characters with dialogue.

Frances McDormand (of Fargo), appears briefly in an uncredited role as the mayor's secretary. Steve Buscemi, also of Fargo, plays Mink, love interest to tough guy Eddie Dane (JE Freeman) and Torturro's grifter.

Stylish and witty, the film is essential viewing for fans of the genre and of the Coens.

Good components, but they do not blend naturally.

[PenOutOfTime · 5/10 · 26 February 2008]

Tom Reagan, the main character in this film, frequently states that you cannot know a person well, and both much of the appeal, and the weakness of this film lie in just this approach to characterization. The film has an intricate plot, and many people will find that characteristic very appealing, but the many intricate plot twists and character decisions somehow do not seem to spring naturally from either the characters or events on screen.

This disconnect is an odd thing to see, because any, or at least most, individual scenes from the film are more or less viable and reasonable in and of themselves, but taken as a whole, you can see the puppet strings of the movie yanking the characters this way and that to achieve complexity and surprise. Because of this, while much of the acting is good, it feels false in context, with scenes failing to synchronize with one another, and with the only realistic characters, considering an individual performance as a whole, being the simple and somewhat stereotypical ones. If you are sensitive to this disconnect, you may well dislike the movie, but if you are instead, longing for a complex plot, you may love it.

I should note that as usual in a Coen brothers film, the dialog is a treat, but cannot fail to mention that unlike their better known work, you are likely to miss a good deal of it, as the sound quality is not high enough to decipher many a clever comment.

All considered, the easiest way of looking at this film is to see it as an early effort, pointing to future greatness perhaps, but not a complete and developed masterpiece.

what's the rumpus? this movie is one of the greatest

[ghe-2 · 10/10 · 1 January 2006]

This is for those who have seen the movie and given it the high hat.

"For a sheeny he's got a lot of good qualities." I'm watching the film AGAIN now and this gem just popped up. Any piece of dialog would make my quote book. This ain't no review. It's a response. First, seeing this as a gangster movie is like seeing Blade Runner as a sci-fi flick. Second, seeing this as film noir, with Tom as the typical anti-hero shows that we have to classify every film by the terms we are comfortable with. Finally, Tom is one of the most complex characters I've seen in film. Why? Because he's real. It reminds me a bit of the American Splendor comics and film where Pekar don't have to give a happy ending, a sad ending, clear symbolism, a strong message. Just a story even if it does not "fit" into what we expect from books, films, magazines, etc. Tom is one of my favorite characters and I still don't understand him and neither do you. This along with everything people have commented on (dialog, editing, characters, etc.) make the film in my opinion one of THE greatest films period. What makes Godfather better? Brando's tired speeches? This is a flick you can watch over and over and I stand by those who respect the genius of this film. So take ya flunkie and dangle and again- this paragraph is for those who give the high hat to Tom, the most conflicted and realistic personage in any film I've seen. Will you watch Tom with amazement or try to analyze his motivation based on film stereotypes? Let's get stinko.

The Rumpus

[aylwardpaul · 10/10 · 14 June 2022]

My favourite Coen Bros film to date as of 2022, probably more because of the genre its set in rather than any perceived step up in quality over other Coen contenders like Fargo, No Country For Old Men, The Big Lebowski, and True Grit.

This gangster tale looks and feels poetic, and has riveting dialogue.

Its a smaller and less ambitious production than the more renowned serious gangster films such as The Godfather, Goodfellas, and Once Upon A Time In America, however I would certainly rank it in that company.

Its not quite a comedy like the Tarantino and Guy Ritchie gangster flicks, but it is funny in an adsurdist sort of way.

All of the characters are terrific and perfectly played, in particular Gabriel Byrne in the lead role as a mob consigliere, Marcia Gay Harden as a gangster moll, and Jon Polito, as gangster boss Johnny Caspar, who steals every scene.

The cinematography is a thing of beauty (Is that last scene a nod to The Third Man?), and matched by an elegant musical score.

I frequently rewatch this film, and love the dialogue every time. Enjoy.

The best Coens' movie, bar none.

[innocuous · 30 August 2003]

There are many new movies that have been released on DVD this year. Forget them, and pick up a copy of this movie. It has only recently become available on DVD. The unavailability of this movie on DVD for so many years has been a sin. I own this movie on laser disc and it is one of the reasons that I still have a laser disc player.

I cannot do a better job than the other reviewers have in pointing out what make this film so outstanding. Just let me repeat the usual: The casting is flawless; the dialogue is on the mark, with dozens of juicy bon mots; the humor is sublime; the cinematography is absolutely gorgeous; and the plot, while complex, is still comprehensible enough not to detract from the action.

This movie is as close to flawless as a movie can be.

And one more thing, this movie has nothing in common with either "Yojimbo" (which was itself a rip-off of Dashiel Hammett's "Red Harvest") or "Fistful of Dollars". Well, OK, I'll grant that they both take place in towns dominated by two strong gangs of criminals (as if that's never been the case in any other movie,) but the other plot elements and the dialogue are completely original.

**** out of ****

Gangsters run an American City in the early 20's

[Gerry-12 · 7/10 · 11 February 2001]

This early Coen Brothers film is filled with double double crosses. Gabriel Byrne, in one of the leads, makes his character strangely attractive. The ratio of people hit to shots fired is probably pretty close to the truth. A tiny anachronism is the presence of dial telephones in an American city before 1925 ( either that or some other problem with whatever it is that places the plot that early). Another tiny plot hole is that if the outsider's bets on the fixed fight keep the fixer from profiting, the outsiders fail to profit too.

The ethical gangster is pretty funny - heavier handed humor than later Coen, though. I wish we had a rating of 7.5 - I put the film better than 7, but it hasn't enough emotional impact on me for 8.

A Must-See For Any Lover of The Cinema

[clevertwist31 · 10/10 · 26 June 2001]

There are very few films that engulf the viewer and demand them to give their full attention. This is one of those rarities. While viewing this film one finds themselves sharing the same space and breathing the same air that the characters do. It's beautiful. It's the stuff of great story-telling.

I must admit, I am a great fan of Gabriel Byrne in anything, no matter what it is, so maybe I'm jaded. And as I have seen practically everything with him in it, I must say it is refreshing to see him work with an amazing cast and script to back up his talent.

And the music is terrific. How ironic to have "Danny Boy"-a sentimental grandparents' favorite- playing while machine guns are ripping apart mens' flesh. The cinematography is superb also. Not only do the characters speak in a language rich with visuals, they live in a moving painting.

This was one of those films where I watched all the way through the credits slack-jawed and was sad to see the film end. It's that good. I'm not especially a fan of gangster films but I am willing to make exceptions and Miller's Crossing is one of them.

Miller's Crossing

[FKDZ · 6/10 · 17 December 2022]

Miller's Crossing is a strong story, that ties up well and all around feels smartly written, but what it lacks is energy, convincing dialog, and a sense of realism.

My major gripe here are the scenes and elements used as a critique of iconic gangster movies, they stray too far into parody territory. As straight as the other scenes are played it's a strange contrast. A contrast that took me out of the story and immersion the movie had. Which is a shame because as I said it's got a strong story and performances to go with.

Secondly directing, some of it worked well, but in general I found it to be very run of the mill, safe. None of the scenes really stood out to me or stayed with me after the movie. It feels somewhat flat.

Pacing felt good, the movie moves a long well and the 2 hour runtime is not very noticeable. Music is alright, but used somewhat disruptively and comes across sometimes as ''tacked on''. It either came too late, or didn't elevate the scene enough.

I wished I liked it more, but I'm let down if I'm honest. I have seen much better from the Coen brothers.

Best modern gangster file ever....

[nuv · 10/10 · 25 January 2006]

This has got to be, hands down, one of the best gangster films ever made, certainly in the last 20 years or so. Better even than Reservoir Dogs, I'd say...which is a great film too, but just not nearly the same caliber as this.

In a nutshell, the whole movie is about loyalty, and the affect it has on Tom Reagan, as well as everyone else around him. Tom is the central character in this story, and we basically get to experience this movie in his shoes (or wearing his hat, which would be a more appropriate analogy, and you'll understand why I say this after watching the film). In fact, I can probably count on one hand the number of scenes that Tom Reagan (played masterfully by Gabriel Byrne) does NOT appear in.

I won't go into great detail, because the story is full of subtleties...things that you won't notice even after seeing the movie several times. I think that's why I put it so high in my mind as a work of cinematic art. There has ALWAYS been something new that I discovered upon each viewing that I didn't see before, so the complexities of the story make it vastly more entertaining that, say, Titanic or some other Hollywood schlock that's being peddled in theaters. Which is probably why this film did poorly when it was first released, I didn't even see it until it came out on cable a year later.

The script is truly marvelous, and the snappy dialog hearkens back to the good old days of gangster films from the 30s with great actors such as James Cagney, Edward G. Robinson, and Bogart. In fact, go get the Warner Bros. Gangster Classics Box set before you see this film...it'll give you a better appreciation of this film, in many different ways (the wise-cracks, the over-the-top gun battles, etc.). The only way the Coen Brothers could pay greater homage to the old gangster classics would have been to have filmed Miller's Crossing in black and white...which they didn't need to do anyway, this film just can't be beat in it's set design and imagery.

Oddly enough, there is almost no gratuitous sex in this mildly R-rated film...it's all implied, which is a nice touch given the way most R-rated films just give in to rampant sex and violence, just for the sake of being able to do it. Even the violence (which some posts have alluded to as excessive) just doesn't even compare with what most folks see on screen today...but that just it, the Coen Brothers use sex and violence in a subtle way that enhances (not detracts) from the film. We know more about what people feel about each other rather than just get to see to sweaty bodies going at it in bed. Don't get me wrong, I think sex and violence in adult films is not a bad thing...I just hate it when filmmakers just throw it in as a way of pleasing the crowd, especially when they don't show the consequences of what sex and violence can bring about in our society.

Anyway, I could go on and on...go BUY (not rent) this film, it'll be the best clearance-rack DVD you'll ever own!

Disappointing

[redkiwi · 6/10 · 29 November 2003]

I'm normally a huge fan of the Coen brothers, and it's hard to believe that they could make a bad film. Hence, this isn't a bad film but it's also not particularly great. It's still OK, which is disappointing by their standards.

Gabriel Byrne gives his usual good performance, and a cast with less of the usuals for gangster films appearing at least gave some variety, but I just found it hard to get into the story.

"And today I ain't selling any...so take your flunky and dangle."

[Hey_Sweden · 8/10 · 19 January 2018]

Gabriel Byrne is aces as Tom Reagan, a top adviser to Prohibition-era Irish gangster Leo (Albert Finney). Tom is absolutely cold-blooded, yet does have his own personal code. Tom and Leo end up having a falling-out over a woman named Verna (Marcia Gay Harden, in her first substantial film role). And so Tom ends up associating with Italian mob boss Johnny Caspar (Jon Polito), incurring the suspicion of Caspars' number one henchman Eddie Dane (J.E. Freeman). As the elaborate story unfolds, Tom plays every angle he can think of to come out on top.

Still, he takes a TON of physical punishment as this plays out. Although it may be a little difficult investing time in a character who's so antiheroic, he is a compelling character, and it would be hard not to feel SOME sympathy for him every time he gets a fresh beating.

Overall, "Miller's Crossing" is well worth a look, especially for any fan of filmmaking brothers Joel and Ethan Coen. It's quite an absorbing story, and the impressive cast has such a field day with the Coens' memorable dialogue that it makes a one hour and 55 minute run time almost fly by. The Coens do a respectable job at recreating the period (what city or town in which this takes place is never really specified) while indulging in various amusing bursts of in-your-face violence certain to delight some people and repulse others. It's all enhanced by a haunting and lovely score by frequent Coen brothers collaborator Carter Burwell, still a somewhat under valued composer.

Finney is quite likeable, while a young and fiery Harden leaves quite the impression in the only major female role. Polito is a scene stealing live wire, in contrast to the more icy cold Freeman as the brutish Dane. John Turturro is highly effective playing Vernas' brother Bernie, a truly wretched weasel if ever there was one. Familiar faces in smaller roles include Mike Starr, Steve Buscemi, Olek Krupa, Michael Jeter, and Michael Badalucco.

A good, well-told, potent story of friendship, loyalty, and survival instinct, with characters doing whatever they have to do to get by.

Look for Sam Raimi, a longtime friend of Joel and Ethan, and Joels' wife Frances McDormand, in quick cameos.

Eight out of 10.

The Man Who Mistook His Life for a Hat

[rmax304823 · 7/10 · 22 February 2004]

SPOILERS.

Gabriel Byrne's hat plays an important part in this movie. When he is about to be killed, an assassin takes the hat and scales it into the woods. When he's about to kill someone else and is wearing only his underwear, he grabs his gun and his hat and races outside. The last shot of the movie has Byrne pulling hit hat brim down low over his eyes then slowly raising his face to stare at a departing friend. In fact, everybody's hat is kind of important. We see the hat of a dead person half way down the stairs before the camera shows us the body at the top. Jokes are made about people's heads having outgrown their hats. A pudgy gangster keeps complaining about his rivals giving him "the high hat."

Obviously the hat seems to "stand for" something but I'm not sure what. Lives? Maybe. But in fact I couldn't follow the plot either, and I kept getting the names of the characters mixed up except for a few of the most important. The plot is all twists and turns, as stylized as the dialogue -- "twist," "bumped off," "yegg," "roscoe." The whole thing could have been lifted out of, or turned into, an old comic book, perhaps "Crime Does Not Pay," which I remember from childhood.

And, as in a comic book, it's hard to care much about who gets "leaned on" or "bumped off" since they're all cartoons anyway. Not that the story or the film is designed to be realistic. There isn't nearly as much blood as in most gangster movies. And Byrne takes several poundings, any one of them enough to hospitalize a rhinoceros, without any sequelae more than a bit of a wince as he struggles to rise from the floor.

I guess, though, that I didn't want Byrne to get "bumped off." I don't know why. Maybe it's his homely face and tragic demeanor, which made it easy for me to identify with him. With that mournful visage he should run for elective office -- maybe president of the United States. He'd at least have the political cartoonist vote in his pocket. And I suppose too that I was glad to see Albert Finney survive in one piece. He's a decent dramatic actor but he has an outstanding way with comedy. (That droll American accent.) And he must have a good sense of humor too, without any pride to speak of. When Byrne bursts into a lady's room he shouts that the other gals should get out. One of the "gals" in the background is Finney dressed in a maid's costume. He makes a hurried sign of the cross and rushes out along with the other girls. He also has a line, "Dis is da kissoff," which is a repeat of a line he had in "Two for the Road," some 30 years earlier. How can you not want a guy like that to survive? That line isn't the film's only link to the past. One character's name is Judy Barton. And an inconspicuous poster informs us that Lars Thorwald, a prize fighter, will be featured in an upcoming bout.

So anyway I couldn't follow the plot exactly. But looked at as an exercise is stylization this is a pretty good movie. A good deal of imagination has gone into it, the dialogue, the location shooting, and especially the direction. I don't just mean bravura jump cuts or negative shots or simple-minded tactics that are meant to draw attention to themselves. I mean more subtle stuff, of which I will give just one example. While two henchmen wait on the road, Byrne marches Turturro into the woods to kill him. Turturro gets on his knees and begs for his life. Byrne, realizing that NOT killing Turturro is likely to get HIM killed, nevertheless relents. Turturro stumbles off into the woods and there is a long shot of Byrne standing alone among the longleaf pine. There is a slow dissolve and Byrne's figure is replaced exactly on screen by the figures of the two henchmen back on the road, standing next to their car, and choking with laughter.

This is by no means a perfect movie, but it is a perfect original. And we give Academy Awards to blockbusting by-the-numbers disasters like "Titanic."

mediocre

[thejimhale · 4/10 · 4 June 2008]

Not sure what others saw in this film. I barely could got through the movie. The character dialog was not realistic and in some cases made you cringe. The Italian and Jewish characters where pure stereotypical rubbish as were most of the Irish. The story made no sense, particularly all the trust everyone had in Tom Reagan. There was no chemistry between the girl and Reagan... the whole relationship made no sense. Oh, and the girl was singularly unattractive. What a waste of great actors too. I'd have expected Turturro and Steve Buscani (who only had a brief appearance, to be way more picky in the character's they played then the pathetic Bernie and Mink. Albert Finney was pretty descent as Leo (Irish Mob boss) and was the one saving grace. In essence to me the story and characters weren't really believable.