265 reviews
This is a movie I often don't recommend to any of my friends because I truly feel it takes someone with a certain level of appreciation for film and the patience to watch this plot unfold. Now I don't mean for that to come off as snobbish, but this is a movie that could easily be cast off as boring by people who are just looking for an entertaining film. However, if you are a person who possess some level of appreciation for film and would like to see a good, albeit slow tale, I would highly recommend this movie.
The first thing of note in this movie is Oscar Issac's performance. He plays Abel Morales, an entrepreneur who runs a fuel company. He is one of Hollywood's best rising stars, and he shows what he's got in this film. He gives a very subtle, even performance that is reflective of his character, and it works very well. Jessica Chastain is also very good as his wife, and her character's primary motivation is her children and their safety. I felt that she really cared about her kids.
I don'y want to go too much into the story because it is a good one. But the fine details of the story is not what matters. It is the intricacy of the characters that is the important aspect of this film. To see how hard Abel will work for his family and his legacy shows the drive of man, and a sort of twisted sense of the American dream.
The first thing of note in this movie is Oscar Issac's performance. He plays Abel Morales, an entrepreneur who runs a fuel company. He is one of Hollywood's best rising stars, and he shows what he's got in this film. He gives a very subtle, even performance that is reflective of his character, and it works very well. Jessica Chastain is also very good as his wife, and her character's primary motivation is her children and their safety. I felt that she really cared about her kids.
I don'y want to go too much into the story because it is a good one. But the fine details of the story is not what matters. It is the intricacy of the characters that is the important aspect of this film. To see how hard Abel will work for his family and his legacy shows the drive of man, and a sort of twisted sense of the American dream.
It's 1981 NYC. Abel Morales (Oscar Isaac) owns a fuel delivery company that was purchased from his wife Anna (Jessica Chastain)'s father. He's trying to close a deal to buy a fuel terminal. He tries to do things the most right way but it's struggle in a corrupt industry. Somebody keeps hijacking his fuel trucks and driver Julian (Elyes Gabel) is severely injured. D.A. Lawrence (David Oyelowo) doesn't care. He's tasked with cleaning up the industry and has set his sights on Abel. He is charging Abel mostly due to Anna's corrupt father. Abel has to scramble to get the money for the terminal before he loses his deposit.
I love the fact that this is a gangster except Abel is desperately trying not to be a gangster. Also fuel oil delivery is not the usual backdrop but it works. Oscar Isaac does an amazing job. Some may find the lack of action problematic although there is one great car chase scene. I find the concentration on business really fascinating. His need to raise capital is quite intense. It's a different kind of action. It all works.
I love the fact that this is a gangster except Abel is desperately trying not to be a gangster. Also fuel oil delivery is not the usual backdrop but it works. Oscar Isaac does an amazing job. Some may find the lack of action problematic although there is one great car chase scene. I find the concentration on business really fascinating. His need to raise capital is quite intense. It's a different kind of action. It all works.
- SnoopyStyle
- Nov 13, 2015
- Permalink
Having seen it a few days ago, the more I think of "A Most Violent Year", the more I like it.
This is not a spoiler, but a friendly tip: don't expect a lot of what the title implies, because the movie does not focus on violence.
While there are tense and violent moments, the movie's strenght lies in the performances and the interactions between characters.
Oscar Isaac plays Abel, a businessman who is trying to make a clean living while being more and more pressured by an unknown threat. The competition plays dirty while he wants to stay an honest man.
Abel's moral struggle is what the narrative revolves around. Jessica Chastain play Anna, Abel's wife and business partner. She is equally as powerful, assertive and dominant as he is, if not more so.
The director did a wonderful job at creating a tense, sad and dramatic mood throughout. The cinematography is wonderful, the subtle moody soundtrack plays a big part in creating a feeling of impending doom throughout the entire movie, and I am very impressed by the recreation of a 1981 New York. It's very immersive.
While nothing mainstream audiences will drool over, I find "A Most Violent Year" an excellent drama. If you like this movie, you should give "The Two Faces Of January" a chance as well. Not only you would notice what a chameleon Oscar Isaac is, but you might enjoy the classic mood and character-driven vibe of that film as well.
This is not a spoiler, but a friendly tip: don't expect a lot of what the title implies, because the movie does not focus on violence.
While there are tense and violent moments, the movie's strenght lies in the performances and the interactions between characters.
Oscar Isaac plays Abel, a businessman who is trying to make a clean living while being more and more pressured by an unknown threat. The competition plays dirty while he wants to stay an honest man.
Abel's moral struggle is what the narrative revolves around. Jessica Chastain play Anna, Abel's wife and business partner. She is equally as powerful, assertive and dominant as he is, if not more so.
The director did a wonderful job at creating a tense, sad and dramatic mood throughout. The cinematography is wonderful, the subtle moody soundtrack plays a big part in creating a feeling of impending doom throughout the entire movie, and I am very impressed by the recreation of a 1981 New York. It's very immersive.
While nothing mainstream audiences will drool over, I find "A Most Violent Year" an excellent drama. If you like this movie, you should give "The Two Faces Of January" a chance as well. Not only you would notice what a chameleon Oscar Isaac is, but you might enjoy the classic mood and character-driven vibe of that film as well.
- spaceman88
- Feb 16, 2015
- Permalink
I've been amazed at some of the slams this movie has taken. No story? Boring? Slow? You've got to be kidding. This was a fascinating character study of an "honorable man" trying to retain his honor in a corrupt business and political environment. From the title, I was expecting more of a traditional Martin Scorcese gangster flick, so I was surprised (pleasantly) that "violence" of the film was primarily about two codes of life clashing against one another. I can certainly understand a viewer attracted to the film because of the word "violence" ibeing disappointed at seeing so little on the screen. But I found the film riveting: excellent plotting, great writing and superb performances.
Chandor (All is Lost) is one of the more prolific young directors working. With AMVY, an adult mystery-drama-thriller, he screams of the classics: tension of French Connection, quiet of Chinatown, and menace of Mean Streets. It's a fantastic period piece that creates an authentic, distinct look at 1980s New York, while tonally replicating films from that era. Is it a bit TOO quiet and a bit TOO slow at times? Yep
but the taut skill on display is too good to ignore. Abel Morales, a successful, hardworking oil company owner, tries to thrive and survive during 1981 NYC, the most violent year in history. Despite this premise, the crime-action is more a successfully imminent background thought than a constant in-your- face presence. As the movie progresses and ultimately gets better, the subtle suspense builds, and each individual incident pushes Morales closer to his breaking point. Isaac shines in the protagonist role, playing one of the coolest characters around: broken yet proud, strong yet vulnerable, decent yet pressed, and shrewdly bad-to-the-bone. I wish Chastain was a bit more up to the task as his ominous, hardly-doting wife, but luckily she's not a huge distraction to the otherwise stellar acting by some of Hollywood's great new talents. Throughout the solid work being done, we are presented with some great things to ponder: wanting the American dream without knowing why; struggling to be successful without becoming corrupt; juggling humility and pride in a world that drains you. Unfortunately the character's relationships with these different questions bring the movie to a bore at times. Mostly though, it manages to be a solid little award-season drama.
- matthewssilverhammer
- Feb 13, 2015
- Permalink
- jimbo-53-186511
- May 21, 2015
- Permalink
- sickofenjoyingmyself
- Sep 10, 2016
- Permalink
J.C. Chandor's A Most Violent Year takes place in 1981 New York City – the year New York suffered more murders than in any other. Without knowing a thing about A Most Violent Year, I looked forward to a police procedural or a mafia thriller, dealing with the homicidal apex to the desperation of the recession of 1980. But I was wrong. Very wrong.
Oscar Isaac plays Abel Morales, owner of a New York fuel oil company, in the midst of purchasing property along the East River which would position his company as a major player in the regional fuel oil market. Simultaneously, a rival firm is attacking Morales' truck drivers and stealing their fuel. Morales' wife, Anna, is descended from a mafia family, and she offers their assistance. But Abel Morales is a good and decent businessman, and he resists. At first. As the driver attacks amplify, Morales' salesmen and even his family are soon targeted by the rival businessmen. Meanwhile, an assistant district attorney, played by David Oyelowo of "Selma," is investigating corruption in the local fuel oil industry, including Morales' firm. And the deal to purchase the East River property becomes dubious when his bank backs out of financing it. All this is set against the backdrop of the 1981 New York murders. The murders themselves are not the story, but we hear about them anytime one of the characters turns on a radio.
Now this set-up may sound like a glorified TV movie, but A Most Violent Year is so much more. As the tension in Morales' life builds, director Chandor draws us into the story the way Martin Scorsese does. We find ourselves pulling for an honest businessman in an increasingly dishonest world. We wonder how long it will take until he involves his wife's mafia family – or worse, takes matters into his own hands. This could be a story about one man's downward spiral, but with a resolution that will surprise and delight you. And you'll love the thrill ride along the way – culminating in a chase scene through the bowels of New York's subway and rail systems. It's as riveting as Gene Hackman's chase scene in The French Connection.
The performances are top-notch, beginning with relative newcomer Oscar Isaac in the lead role. A year ago, he played a folk singer in the Coen Brothers' Inside Llewyn Davis, a small, above-average picture which got buried in the onslaught of excellent films released at the end of 2013. Isaac really shines here. He should have received a Best Actor nod, but I'm sure his day is coming. Coincidentally, Isaac is slated to appear in the new Star Wars picture, which hits theatres next fall.
Jessica Chastain is also excellent as Morales' wife – a decent-hearted lady who wishes her husband were a little more daring in his business dealings. Her character is more than the standard "wife" character we've seen many times before. She's intimately involved in the business, and she's not afraid to stand up to adversaries. An almost unidentifiable Albert Brooks plays Morales' lawyer Andrew, again intimately involved in the business, but more than just the "straight man" character we've seen before. And I love how Chandor's script allows us to become acquainted with various characters in Morales' life and in his business – a truck driver and his wife, a salesman, the teamster boss who pushes for Morales to arm his drivers, a couple of Morales' business competitors, and so forth. Each character is well-drawn, and serves an important role in this supremely interesting story.
I also like the look of this picture. It's a bit of a modern-day film noir, cast in dimly-lit interiors, with characters who speak in hushed tones about important matters, occasionally bursting into the sunny yet unpredictable and unnerving outside world.
The only thing I didn't like about A Most Violent Year is its title. Much as the 1987 film Dirty Dancing had nothing to do with pole dancers at strip clubs, A Most Violent Year has nothing to do with violence, per se. In fact, I don't really understand what necessitated placing the story in 1981. The fact that New York's murder rate peaked that year is immaterial to the story.
A Most Violent Year is going to be a sleeper amongst Oscar contenders like Birdman, Selma, The Theory Of Everything, and others. But it's well worth a look. They don't make movies like this much anymore, and I'm glad J.C. Chandor has. It's one of this year's best films.
Oscar Isaac plays Abel Morales, owner of a New York fuel oil company, in the midst of purchasing property along the East River which would position his company as a major player in the regional fuel oil market. Simultaneously, a rival firm is attacking Morales' truck drivers and stealing their fuel. Morales' wife, Anna, is descended from a mafia family, and she offers their assistance. But Abel Morales is a good and decent businessman, and he resists. At first. As the driver attacks amplify, Morales' salesmen and even his family are soon targeted by the rival businessmen. Meanwhile, an assistant district attorney, played by David Oyelowo of "Selma," is investigating corruption in the local fuel oil industry, including Morales' firm. And the deal to purchase the East River property becomes dubious when his bank backs out of financing it. All this is set against the backdrop of the 1981 New York murders. The murders themselves are not the story, but we hear about them anytime one of the characters turns on a radio.
Now this set-up may sound like a glorified TV movie, but A Most Violent Year is so much more. As the tension in Morales' life builds, director Chandor draws us into the story the way Martin Scorsese does. We find ourselves pulling for an honest businessman in an increasingly dishonest world. We wonder how long it will take until he involves his wife's mafia family – or worse, takes matters into his own hands. This could be a story about one man's downward spiral, but with a resolution that will surprise and delight you. And you'll love the thrill ride along the way – culminating in a chase scene through the bowels of New York's subway and rail systems. It's as riveting as Gene Hackman's chase scene in The French Connection.
The performances are top-notch, beginning with relative newcomer Oscar Isaac in the lead role. A year ago, he played a folk singer in the Coen Brothers' Inside Llewyn Davis, a small, above-average picture which got buried in the onslaught of excellent films released at the end of 2013. Isaac really shines here. He should have received a Best Actor nod, but I'm sure his day is coming. Coincidentally, Isaac is slated to appear in the new Star Wars picture, which hits theatres next fall.
Jessica Chastain is also excellent as Morales' wife – a decent-hearted lady who wishes her husband were a little more daring in his business dealings. Her character is more than the standard "wife" character we've seen many times before. She's intimately involved in the business, and she's not afraid to stand up to adversaries. An almost unidentifiable Albert Brooks plays Morales' lawyer Andrew, again intimately involved in the business, but more than just the "straight man" character we've seen before. And I love how Chandor's script allows us to become acquainted with various characters in Morales' life and in his business – a truck driver and his wife, a salesman, the teamster boss who pushes for Morales to arm his drivers, a couple of Morales' business competitors, and so forth. Each character is well-drawn, and serves an important role in this supremely interesting story.
I also like the look of this picture. It's a bit of a modern-day film noir, cast in dimly-lit interiors, with characters who speak in hushed tones about important matters, occasionally bursting into the sunny yet unpredictable and unnerving outside world.
The only thing I didn't like about A Most Violent Year is its title. Much as the 1987 film Dirty Dancing had nothing to do with pole dancers at strip clubs, A Most Violent Year has nothing to do with violence, per se. In fact, I don't really understand what necessitated placing the story in 1981. The fact that New York's murder rate peaked that year is immaterial to the story.
A Most Violent Year is going to be a sleeper amongst Oscar contenders like Birdman, Selma, The Theory Of Everything, and others. But it's well worth a look. They don't make movies like this much anymore, and I'm glad J.C. Chandor has. It's one of this year's best films.
- andy-66447
- Aug 20, 2015
- Permalink
There was something about the plot that didn't ring true and I can't put my finger on it. The film is well acted, particularly by Issac. It is well directed. The sets are just right. The script though seems formulaic in places and the actors expected to speak stilted dialogue. For most of the film the pace is just too slow. I am not sure why it was given so many plaudits as it becomes a film that is only just a bit above average, hence my score. I would have given 6.5 if it was possible.
- robertasmith
- Apr 23, 2021
- Permalink
So I read a lot of complaints about the movie being slow and missing tension and violence. Why? Because of the title? Do the viewers nowadays pick their movies just on title and trailer?
The title is perfect: This movie is all about violence. Every single moment in this film is a consequence of- or triggered by violence. Even all the news broadcasts on the radio are about violence. Abel's business is, as he says "in a rough patch". There are good years and bad years and this one is a particularly bad one. The fact that the movie doesn't feature a lot of violence makes it an even better one as the threat of it is constantly palpable.
As for the tension: my god, what tension did I feel. I won't describe moments, but one particular chase sequence had me biting my nails, and I haven't done that in a very long time. There is constant tension in almost every scene and almost unbearable tension in some. And of course throughout the whole film you keep asking yourself; is he that honest, will he yield, or will he even snap. Oscar Isaac's role as Abel is written and played out so well I can understand the comparisons to Pacino's Michael Corleone in the Godfather. Hell you could even mention the two films in one breath. It has a great classic feel to it, though this is much smaller and more intimate.
A modern classic like: "We own the night" by James Gray or the recent "The Drop" by Michael R. Roskam. Beautiful slow burning masterpieces. This film will stay with me for quite a while. I'll put it away, wait for a rainy day somewhere in winter and experience it all over again. 8/10
The title is perfect: This movie is all about violence. Every single moment in this film is a consequence of- or triggered by violence. Even all the news broadcasts on the radio are about violence. Abel's business is, as he says "in a rough patch". There are good years and bad years and this one is a particularly bad one. The fact that the movie doesn't feature a lot of violence makes it an even better one as the threat of it is constantly palpable.
As for the tension: my god, what tension did I feel. I won't describe moments, but one particular chase sequence had me biting my nails, and I haven't done that in a very long time. There is constant tension in almost every scene and almost unbearable tension in some. And of course throughout the whole film you keep asking yourself; is he that honest, will he yield, or will he even snap. Oscar Isaac's role as Abel is written and played out so well I can understand the comparisons to Pacino's Michael Corleone in the Godfather. Hell you could even mention the two films in one breath. It has a great classic feel to it, though this is much smaller and more intimate.
A modern classic like: "We own the night" by James Gray or the recent "The Drop" by Michael R. Roskam. Beautiful slow burning masterpieces. This film will stay with me for quite a while. I'll put it away, wait for a rainy day somewhere in winter and experience it all over again. 8/10
- movies-by-db
- Jun 11, 2015
- Permalink
First of all let me just say, if IMDb allowed 0.5 votes, this would probably get a 6.5 from me. Where to begin with this one ? Well it's shot well, the cast nail the parts, but from start to finish you are waiting for the film to come to life, and unfortunately it just never does.
Some people will appreciate this film much more than others, but for me it was average at best. The main reason we all watch films and television, is to be entertained, and unfortunately with A Most Violent Year, it feels like we have been left wanting.
You never really get to appreciate 1980s New York, a couple of panoramic skylines don't really cut it. With a bit more substance to the story, better visuals & some period music, this film could & should have been much better.
Sausage1
Some people will appreciate this film much more than others, but for me it was average at best. The main reason we all watch films and television, is to be entertained, and unfortunately with A Most Violent Year, it feels like we have been left wanting.
You never really get to appreciate 1980s New York, a couple of panoramic skylines don't really cut it. With a bit more substance to the story, better visuals & some period music, this film could & should have been much better.
Sausage1
Once again, Chandor gives us a well-written, well-acted, beautifully photographed film, on a relatively small budget, that winds up being incredibly watchable. I would say he's done this with all 3 of his films. None of them were action-packed film, but that all had a truth and reality to them, that really pulled me in.
I've read some reviews on here that complain that the film was too slow for them or that it was "boring." Look, despite it's title (which may have mislead a lot of viewers going in), this film is not for the Fast and Furious or Transformers crowd. It's not even for people who loved the blood-soaked Scarface.
It portrays violence and the fear of running a business in NYC in the early 80s, in a very real way. And it captures the early 80s look flawlessly.
This film may, however, be be for people who loved films like The Godfather or DePalma's Dressed to Kill. Not only does Oscar Issac seem to channel bits of Michael Corleone, but the film is lit and photographed in a very similar manner to the way that Gordon Willis shot The Godfather. Also, for those who think there was a ton of action and killing in the Godfather, outside of the final few minutes, there really isn't. Though very different films, what pulls you into the Godfather and Dressed to Kill is similar to what pulls you in here. Tension, honesty, a simple story, well told. No BS. No shooting up a whole town, with dead bodies falling everywhere, and then cutting to the next scene at dinner.
In real life, violence is frightening, finding a gun is frightening, shooting a gun at someone is frightening, having your life savings at stake, and the fear of losing everything you've worked for is frightening. Chandor pulls this all together to build tension, and it results in a very satisfying film.
I've read some reviews on here that complain that the film was too slow for them or that it was "boring." Look, despite it's title (which may have mislead a lot of viewers going in), this film is not for the Fast and Furious or Transformers crowd. It's not even for people who loved the blood-soaked Scarface.
It portrays violence and the fear of running a business in NYC in the early 80s, in a very real way. And it captures the early 80s look flawlessly.
This film may, however, be be for people who loved films like The Godfather or DePalma's Dressed to Kill. Not only does Oscar Issac seem to channel bits of Michael Corleone, but the film is lit and photographed in a very similar manner to the way that Gordon Willis shot The Godfather. Also, for those who think there was a ton of action and killing in the Godfather, outside of the final few minutes, there really isn't. Though very different films, what pulls you into the Godfather and Dressed to Kill is similar to what pulls you in here. Tension, honesty, a simple story, well told. No BS. No shooting up a whole town, with dead bodies falling everywhere, and then cutting to the next scene at dinner.
In real life, violence is frightening, finding a gun is frightening, shooting a gun at someone is frightening, having your life savings at stake, and the fear of losing everything you've worked for is frightening. Chandor pulls this all together to build tension, and it results in a very satisfying film.
This movie is basically The Godfather part II but without the flashbacks and not nearly as good.
It just doesn't feel like it has enough conflict. There is conflict, but it just doesn't feel like it.
However, there are some really good moments in it that make it worth watching. The score is amazing.
It just doesn't feel like it has enough conflict. There is conflict, but it just doesn't feel like it.
However, there are some really good moments in it that make it worth watching. The score is amazing.
- ianclarke340
- Mar 13, 2015
- Permalink
It's 1981 NYC, and it's not American Hustle. A Most Violent Year is set in the most brutal year in the city's history, when Mayor Koch and the DA would not like it to be so. While Hustle sets the scene with humor and style, Violent is happy to understate lawlessness and concentrate on the dialogue, which has undercurrents of corruption in each syllable.
Oscar Isaac plays immigrant, oil delivery company owner, Abel Morales, with an Al-Pacino veneer that goes low key, not Godfather or Scarface operatic. His double-breasted suits and ever-present camel overcoat suggest the smooth, verbal, charismatic, but unassuming business owner who wants to be as straight as his wardrobe. It's a difficult ideal because someone is hijacking his oil trucks and selling the oil on the black market.
What to do? His wife Anna (Jessica Chastain), beautiful but born to a crime family, is at times more ready to deal with the sabotage in a traditional mob way than her husband is. But Morales deals with it in a civilized, diplomatic way that of course makes him and his employees vulnerable to the rude, irrational hoodlums.
Director J.C. Chandor knows minimalist dialogue, apparent in his All is Lost, where Robert Redford gives out with one line but an Oscar worthy performance anyway. Much more dialogue here, still minimal, but it has the David Mamet attention to the power of each word.
In a world Sidney Lumet depicted quite well, everyone has a brush with lawlessness, from truck drivers to cops to politicians—no one is exempt, except maybe Morales, who tries to do the "best right" thing in the face of pressure to use violence as the tried-and-true technique. That's why this is such a sweet action, crime drama: You can identify with the protagonist and not be bogged down by gratuitous violence.
This is one of the best action-crime dramas in years. Isaac is Pacino without his edginess; Chandor's dialogue is soft Mamet, a welcome substitute for rude bullets. Indeed, while the film is titled A Most Violent Year, it is not the most violent movie. Leave that to Martin Scorsese.
Oscar Isaac plays immigrant, oil delivery company owner, Abel Morales, with an Al-Pacino veneer that goes low key, not Godfather or Scarface operatic. His double-breasted suits and ever-present camel overcoat suggest the smooth, verbal, charismatic, but unassuming business owner who wants to be as straight as his wardrobe. It's a difficult ideal because someone is hijacking his oil trucks and selling the oil on the black market.
What to do? His wife Anna (Jessica Chastain), beautiful but born to a crime family, is at times more ready to deal with the sabotage in a traditional mob way than her husband is. But Morales deals with it in a civilized, diplomatic way that of course makes him and his employees vulnerable to the rude, irrational hoodlums.
Director J.C. Chandor knows minimalist dialogue, apparent in his All is Lost, where Robert Redford gives out with one line but an Oscar worthy performance anyway. Much more dialogue here, still minimal, but it has the David Mamet attention to the power of each word.
In a world Sidney Lumet depicted quite well, everyone has a brush with lawlessness, from truck drivers to cops to politicians—no one is exempt, except maybe Morales, who tries to do the "best right" thing in the face of pressure to use violence as the tried-and-true technique. That's why this is such a sweet action, crime drama: You can identify with the protagonist and not be bogged down by gratuitous violence.
This is one of the best action-crime dramas in years. Isaac is Pacino without his edginess; Chandor's dialogue is soft Mamet, a welcome substitute for rude bullets. Indeed, while the film is titled A Most Violent Year, it is not the most violent movie. Leave that to Martin Scorsese.
- JohnDeSando
- Jan 27, 2015
- Permalink
- writers_reign
- Jan 22, 2015
- Permalink
From the name of it, this film was not what I expected it to be, but I still liked it. The subtlety, the message, the gloom, and the characters is what made me like this film so much. Though this film might not get rave reviews from major critics and the media it was still a good piece of work. Without a lot of action, which I love in a film, this story was written well enough to keep the viewer interested for 2 hours. The main characters, or who I considered to be the main characters, in this film were great in the rolls they played. Jessica Chastain, Oscar Isaac, and David Oyelowo were the perfect actors to play those particular parts in this film. I don't think it would have been the same without them. J.C. Chandor, who hasn't directed a lot and I haven't seen any of his other work, did a nice job in directing this film. He put everything together just right to make it what it is.
- freshclean-66-318608
- Sep 24, 2015
- Permalink
This is a crime drama set in the New York winter of 1981; that was the most violent year recorded in the city's history and gives the film its title. Oscar Isaac plays Abel Morales an Hispanic immigrant who has worked his way up to be a major player in the fuel oil business. Jessica Chastain plays his accountant wife who has aided him in his achievements and is as strong as him in getting what she feels she deserves.
Then he needs to expand his business, borrow a ton of cash whilst at the same time his business empire is under threat from assailants unknown. His lorries are being targeted, his drivers attacked and his fuel stolen all at a time when he least needs the attention. His morals of 'doing everything by the book' are sorely put to the test in a field where there are often no holds barred and the assistant DA wont help him.
This is an exceptionally good film. It has you fully gripped from the start and the story itself has all the momentum of a run away goods train. The acting is superb, from Morales and Chastain down to the part players. The period detail is spot on too and the location shooting is in a class of its own. The only thing that let it down for me was the ending – to say why would be a plot spoiler. That said it is the journey that often matters rather than the destination and if that is the criteria then this was a journey worth taking.
Then he needs to expand his business, borrow a ton of cash whilst at the same time his business empire is under threat from assailants unknown. His lorries are being targeted, his drivers attacked and his fuel stolen all at a time when he least needs the attention. His morals of 'doing everything by the book' are sorely put to the test in a field where there are often no holds barred and the assistant DA wont help him.
This is an exceptionally good film. It has you fully gripped from the start and the story itself has all the momentum of a run away goods train. The acting is superb, from Morales and Chastain down to the part players. The period detail is spot on too and the location shooting is in a class of its own. The only thing that let it down for me was the ending – to say why would be a plot spoiler. That said it is the journey that often matters rather than the destination and if that is the criteria then this was a journey worth taking.
- t-dooley-69-386916
- Jun 8, 2015
- Permalink
J.C. Chandor's A Most Violent Year is almost lyrical in its beauty, exuding a sepia-toned environment that captures essence rather than exploiting nostalgia of the time period. It's 1981, said to be one of New York's most violent years, and, paradoxically, A Most Violent Year doesn't focus on the incredibly violent; it focuses on what happens between all the violence and on the outskirts of all the madness. We follow Abel Morales (Oscar Isaac), who runs Standard Oil, a heating oil company that has been plagued by frequent hijackings of the company's utility trucks, resulting in thousands of dollars in lost materials. Abel is a man who tries to have a firm moral compass, believing in the good of people and resisting the temptation to give into complete and total corruption, despite being heavily influenced to do so by his wife Anna (Jessica Chastain).
On top of the company losing money with every hijacking, a District Attorney named Lawrence (David Oyelowo) is in the process of investigating Standard Oil's fraudulent activity, such as price fixing and tax evasion. This brings Abel's company and dreams down even more, leading him to seek the purchase of an oil terminal on a river bank with the leader of Jewish Chassidim (Jerry Adler). This purchase would allow for more storage for Abel's company, which will help for when fuel prices lower in the summertime and eventually rise during the winter. He tries to manage this all while minimizing relations with gangsters and attempting not to turn into the person he promised himself he didn't want to become.
A Most Violent Year's marketing campaign made it seem as if this film was a hardened gangster epic. The film itself, however, finds ways to work against that stereotype, acting as the contrasting force or the "anti" to a great deal of gangster films thanks to the ethics of its character. Abel's character is a fascinating one because never does he fall into the category of being an anti-hero or a traditional hero. He tows the line, and even by the end of the film, we're not totally sure if we're supposed to side with him because we've seen him do equally admirable and contemptible things.
The problem with Abel's methods is that while he's willing to play fair, he has found that his business, and the business world in general, calls for grittier, more devious play, which is why we see him in the mess he's in now. Writer/director Chandor explores how man gets sucked into this world whilst trying to function in the business world, almost suggesting that the system encourages and eventually forces such drastic illegalities to take place over time. The idea that large-scale business operations and closed-door corruption exist in unison is by no means a new idea, but Chandor magnifies the idea through an intriguing lens, giving us a character that is trying to function on this dirty playing field and learning this idea the hard way.
Abel, at times, acts like Job, if we're going to toy a bit with the name of Abel, presuming it has biblical relevance here. Abel's morality is tested on various occasions, and like Job, in some respects, he tries to stay true to what he believes, but once he recognizes he's in a business that demands risk and self-interest, it's difficult for him to stay on this particular path of righteousness.
It only helps that Abel's struggle is humanized and brought to life by a character actor as powerful and talented as Oscar Isaac. Isaac, who completely won me over in the emotionally-affecting Inside Llewyn Davis, through just two acclaimed starring roles, has proved to be an exceptional actor we must keep our eyes on or else he'll slip further under the radar than he has. Isaac's strength comes in the frequent subtleties he infuses in Abel. We often see him trying to bottle all his rage and impulsive emotions up, only allowing his anger to slip in front of people like his wife or his attorney (Albert Brooks) but in a very sporadic manner. Isaac's portrayal of a man grappling with all he can bear is powerful stuff, and it's these ordinary little, true-to-life inclusions that make him explode on screen.
He's so good that it makes me wish Chastain was given more of a character here instead of the instigating wife. Her persistent belittling of what she perceives is her husband's passivity makes her character lose any kind of narrative or emotional relevance as we see her just as another variation on the nagging wife cliché. To be fair, however, Isaac commands so much ground here that it's difficult for veterans like Brooks to keep up with him while in the same frame, but Chastain's character and acting abilities are sorely undermined here.
A Most Violent Year is like an enormous piece of art on a large, spacious canvas with many colors, patterns, and designs. It's hard to take it all in while it's happening right before your eyes, but once you digest it and see it through, it becomes something you can't take your eyes off and, in turn, appreciate on many different levels.
Starring: Oscar Isaac, Jessica Chastain, David Oyelowo, Albert Brooks, and Jerry Adler. Directed by: J.C. Chandor.
On top of the company losing money with every hijacking, a District Attorney named Lawrence (David Oyelowo) is in the process of investigating Standard Oil's fraudulent activity, such as price fixing and tax evasion. This brings Abel's company and dreams down even more, leading him to seek the purchase of an oil terminal on a river bank with the leader of Jewish Chassidim (Jerry Adler). This purchase would allow for more storage for Abel's company, which will help for when fuel prices lower in the summertime and eventually rise during the winter. He tries to manage this all while minimizing relations with gangsters and attempting not to turn into the person he promised himself he didn't want to become.
A Most Violent Year's marketing campaign made it seem as if this film was a hardened gangster epic. The film itself, however, finds ways to work against that stereotype, acting as the contrasting force or the "anti" to a great deal of gangster films thanks to the ethics of its character. Abel's character is a fascinating one because never does he fall into the category of being an anti-hero or a traditional hero. He tows the line, and even by the end of the film, we're not totally sure if we're supposed to side with him because we've seen him do equally admirable and contemptible things.
The problem with Abel's methods is that while he's willing to play fair, he has found that his business, and the business world in general, calls for grittier, more devious play, which is why we see him in the mess he's in now. Writer/director Chandor explores how man gets sucked into this world whilst trying to function in the business world, almost suggesting that the system encourages and eventually forces such drastic illegalities to take place over time. The idea that large-scale business operations and closed-door corruption exist in unison is by no means a new idea, but Chandor magnifies the idea through an intriguing lens, giving us a character that is trying to function on this dirty playing field and learning this idea the hard way.
Abel, at times, acts like Job, if we're going to toy a bit with the name of Abel, presuming it has biblical relevance here. Abel's morality is tested on various occasions, and like Job, in some respects, he tries to stay true to what he believes, but once he recognizes he's in a business that demands risk and self-interest, it's difficult for him to stay on this particular path of righteousness.
It only helps that Abel's struggle is humanized and brought to life by a character actor as powerful and talented as Oscar Isaac. Isaac, who completely won me over in the emotionally-affecting Inside Llewyn Davis, through just two acclaimed starring roles, has proved to be an exceptional actor we must keep our eyes on or else he'll slip further under the radar than he has. Isaac's strength comes in the frequent subtleties he infuses in Abel. We often see him trying to bottle all his rage and impulsive emotions up, only allowing his anger to slip in front of people like his wife or his attorney (Albert Brooks) but in a very sporadic manner. Isaac's portrayal of a man grappling with all he can bear is powerful stuff, and it's these ordinary little, true-to-life inclusions that make him explode on screen.
He's so good that it makes me wish Chastain was given more of a character here instead of the instigating wife. Her persistent belittling of what she perceives is her husband's passivity makes her character lose any kind of narrative or emotional relevance as we see her just as another variation on the nagging wife cliché. To be fair, however, Isaac commands so much ground here that it's difficult for veterans like Brooks to keep up with him while in the same frame, but Chastain's character and acting abilities are sorely undermined here.
A Most Violent Year is like an enormous piece of art on a large, spacious canvas with many colors, patterns, and designs. It's hard to take it all in while it's happening right before your eyes, but once you digest it and see it through, it becomes something you can't take your eyes off and, in turn, appreciate on many different levels.
Starring: Oscar Isaac, Jessica Chastain, David Oyelowo, Albert Brooks, and Jerry Adler. Directed by: J.C. Chandor.
- StevePulaski
- Apr 22, 2015
- Permalink
When a film titles says violent I'm thinking thats what I'm going to get, violence. But this movie pleasantly surprised me that it took itself seriously. A film that makes you happy that some movies have pride and care. Though not as violent as I thought the element of suspense and survival is at hand for a company at the top of it's game. A man derived to protect it and his family, and this film handled this topic well. And I utterly felt bad for one of the characters, about as tragic as it gets for this one particular character, but you'll have to see it to know. All the acting is outstanding from Oscar Isaac and Jessica Chastain, but I will admit I was annoyed by Chastain's character as she acted like such a hardcore individual that she came across as dumb sometimes, but she make up for it later on. It's an enjoyable film to watch and I'd recommend checking it out. Now to grade it: Acting: A- Characters: B+ Music: B- Story/Plot: A Directing: A- Overall Grade: B+
- christophershobris
- Sep 1, 2015
- Permalink
Amid soaring crime rates and with thousands of dollars of fuel stolen from his company, an immigrant oil distributor gradually discovers that it is impossible "not to be a gangster" if he wants to realise his American Dream in this crime drama set in 1980s New York. Very deliberately paced and with precious little violence actually shown on screen, 'A Most Violent Year' is hardly a gangster film in the traditional sense and the film understandably opened to mixed reviews. Patience is rewarded if one sticks with the film though, and while the deliberate pacing is initially off-putting, it coincides in well with the protagonist's very gradual discovery of just how corrupt and crooked the world around him actually is. Oscar Isaac is compelling as the immigrant oil distributor in question, but even better are Albert Brooks as his attorney, who knows more than what he lets on, and Jessica Chastain as his wife, who he slowly discovers has more of her crime boss father in her blood than he ever realised. A pivotal deer scene involving Chastain comes off as a melodramatic though; same can be said for the fate of Elyes Gabel's character and other bits and the pieces. The mystery of who exactly is "ripping" Isaac off works quite well though in that the answer is never as important as what the act itself has on Isaac's perception of the world around him. Never has the American Dream seemed harder to achieve and David Oyelowo offers a strong performance as the city's district attorney, unwilling to help Isaac with his problems since he is also investigating his company.
In 1981, an immigrant oilman struggles to improve his fortune and protect his family during the most dangerous year in New York City's history. A Most Violent Year is a strong, character-driven drama that's lifted infinitely by terrific lead performances by Oscar Isaacs and Jessica Chastain, inflating what could have been a tiresome, trite look at one man versus the world in an unkind city.
Abel Morales (Isaac) runs Standard Oil, and he has his eyes on some prime waterfront real estate. With this land, he'll be able to fill his trucks from directly from the oil barges on the river, rather than have the oil transported from boat to someone else's trucks and then to his warehouses. And by saving money there, he'll be able to buy a little more oil than he normally would, keep it on the premises, and then sell it to customers or competitors when demand rises. He makes a deal for the land with a sizable down payment and the stipulation that the balance be tendered within 30 days - no extensions allowed. This, of course, is before Abel's company comes under investigation by an intrepid detective (David Oyelowo), his trucks get highjacked and the oil stolen, and his backers start to, well, back away.
But Abel is no wilting flower, whether he's dealing with the fuzz or the other oilmen in the city. He has his convictions, and damned if he's going to give them up to appease anyone. Which, as you might suspect, makes things a little more difficult. His wife Anna (Chastain), who can match Abel in sheer willpower, is also fiercely protective of her husband, her business (she's the bookkeeper), and her family. Sort of a two-pronged attack. Abel's charm and style nets him both friends and enemies, but this isn't yet another mobster movie by any means. In fact, the only direct evidence of organized crime in the movie centers around Abel's competition - men who would do anything to maintain and/or increase their share of the lucrative oil business in the city.
Both Isaacs (Inside Llewyn Davis) and Chastain (Interstellar) deliver powerful performances that manage to be both relatable and fascinating. Theirs is not a one-sided relationship. Abel is not some power-mad, bombastic husband who treats the wife and kids as either baggage or items to be used for fun and profit. Anna is not some melodramatic, over-spirited harpy who resents her husband's work obsession. They work together even when they disagree. And I would be remiss if I didn't mention an almost unrecognizable Albert Brooks, the company's astute and slightly amoral lawyer. Brooks, in what appears to be a Karl Malden wig, is a real treat.
A Most Violent Year carries a strong message, and that message is this: don't count the little guy out, particularly when he (and his spouse) is whip-smart, unafraid to take chances, and endlessly resourceful. High praise indeed for director J.C. Chandor (All Is Lost) and his talented cast.
Abel Morales (Isaac) runs Standard Oil, and he has his eyes on some prime waterfront real estate. With this land, he'll be able to fill his trucks from directly from the oil barges on the river, rather than have the oil transported from boat to someone else's trucks and then to his warehouses. And by saving money there, he'll be able to buy a little more oil than he normally would, keep it on the premises, and then sell it to customers or competitors when demand rises. He makes a deal for the land with a sizable down payment and the stipulation that the balance be tendered within 30 days - no extensions allowed. This, of course, is before Abel's company comes under investigation by an intrepid detective (David Oyelowo), his trucks get highjacked and the oil stolen, and his backers start to, well, back away.
But Abel is no wilting flower, whether he's dealing with the fuzz or the other oilmen in the city. He has his convictions, and damned if he's going to give them up to appease anyone. Which, as you might suspect, makes things a little more difficult. His wife Anna (Chastain), who can match Abel in sheer willpower, is also fiercely protective of her husband, her business (she's the bookkeeper), and her family. Sort of a two-pronged attack. Abel's charm and style nets him both friends and enemies, but this isn't yet another mobster movie by any means. In fact, the only direct evidence of organized crime in the movie centers around Abel's competition - men who would do anything to maintain and/or increase their share of the lucrative oil business in the city.
Both Isaacs (Inside Llewyn Davis) and Chastain (Interstellar) deliver powerful performances that manage to be both relatable and fascinating. Theirs is not a one-sided relationship. Abel is not some power-mad, bombastic husband who treats the wife and kids as either baggage or items to be used for fun and profit. Anna is not some melodramatic, over-spirited harpy who resents her husband's work obsession. They work together even when they disagree. And I would be remiss if I didn't mention an almost unrecognizable Albert Brooks, the company's astute and slightly amoral lawyer. Brooks, in what appears to be a Karl Malden wig, is a real treat.
A Most Violent Year carries a strong message, and that message is this: don't count the little guy out, particularly when he (and his spouse) is whip-smart, unafraid to take chances, and endlessly resourceful. High praise indeed for director J.C. Chandor (All Is Lost) and his talented cast.
- dfranzen70
- Feb 1, 2015
- Permalink
There were certainly enough things that I liked about the new film, A Most Violent Year, but unfortunately I did not find it to be a masterpiece, or even a great film. I find it hard in a lot of ways to exactly pinpoint my exact problem with the film. The film's lighting and cinematography was both excellent and using sparse and uninhabited backgrounds really gave the film a certain empty yet bleak feeling and I think it suited the film perfectly. The lighting was often using fluorescent lights and at times gave the film an almost haunting and depressing type of glow, which I think further added to the great look and feel of the film. I felt that all the film's acting was spot on and very good here, from the main actors to the supporting, everyone was really good here. So why did I have a problem with the film? I think because generally while the film did keep my interest and offered me a lot to admire about it, there was still not quite enough of the film for me to be fully and completely satisfied. Yes, it was an extremely well done film, but I think the area where the film was lacking, was in the screenplay department. I wouldn't say this was a huge problem of mine, but I did not like a single character in this movie and through it I had nobody to root for, or even to empathize with. All these characters are so cold, and self indulgent that I found nothing to relate to with them and just could not connect on any levels with them. I guess in their own way they were interesting enough to watch and it did hold the film, but I always do love some great character study where you can at least feel something for the characters, whether you like them, or not. And even though I did not particularly care for these characters, I still had no strong feelings for them either way, because in a lot of ways they just were not all that interesting. I have heard others say about this film and I will have to use the same line myself, that the film does take what could have been a really interesting premise, but in a lot of ways just does absolutely nothing with it, or live up to it's potential. The film could certainly feel a bit slow at times and by the end of the film, while I was never bored per se, I did feel a bit let down, that there was not more to this film, or to the characters. Often it felt distant and separated from me the viewer and just allowed me no ways in which I could connect, or even care about the characters, or what is going on throughout the film. It is too bad because the film technically is very well made and I think had they put a little extra work into the script, it could have been an entirely different film and overall a much better one, but as it stands it is just an average and mediocre film that I feel could have been great, but unfortunately never quite reached those goals.
- cultfilmfan
- Feb 1, 2015
- Permalink
I'm puzzled and wondering how the IMDb ratings work, the consensus on this one if you go by the rating means it's an excellent movie and worth seeing. In reality, this movie is God awful. Talk about a snooze fest, this one is sooo slow, and sooo boring, and sooo tedious that you'll need a box of toothpicks to keep you eyes open watching this so called or should I say highly rated movie. The story line screams "who cares", there isn't one moment in the entire movie where you will really give a crap. Yeah I guess the acting was good, if you go to movies strictly to see good acting well maybe this one is for you, but if you are like most movie goers who want a story worth paying attention to, well then this sleep producing dog must be avoided. So to recap- it's terrible, boring, slow, no story line, and did I mention a complete waste of time? Avoid this movie, you can thank me later.