list http://www.spout.com/ Recent community activity around Public Enemies on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Public_Enemies/358629/default.aspx Title: Public Enemies
Year: 2009
Director: Michael Mann
Plot: Based on author Bryan Burrough's ambitious tome Public Enemies: America's Greatest Crime Wave and the Birth of the FBI, 1933-43, director Michael Mann's sprawling historical crime drama follows the efforts of top FBI agent Melvin Purvis (Christian Bale ) in capturing notorious bank robber John Dillinger. A folk hero to the American public thanks to his penchant for robbing the banks that many people believed responsible for the Great Depression, charming bandit Dillinger (Johnny Depp) was virtually unstoppable at the height of his criminal career; no jail could hold him, and his exploits endeared him to the common people while making headlines across the country. J. Edgar Hoover's (Billy Crudup) FBI was just coming into formation, and what better way for the ambitious lawman to transform his fledgling Bureau of Investigation into a national police force than to capture the gang that always gets away? Determined to bust Dillinger and his crew, which also included sociopathic Baby Face Nelson (Stephen Graham) and Alvin Karpis (Giovanni Ribisi), Hoover christened Dillinger the country's very first Public Enemy Number One, and unleashed Purvis to take them down by whatever means necessary. But Purvis underestimated Dillinger's ingenuity as a master criminal, and after embarking on a frantic series of chases and shoot-outs, the dashing agent humbly surmised that he was in over his head. Outwitted and outgunned, Purvis knew that his only hope for busting Dillinger's gang was to baptize a crew of Western ex-lawmen as official agents, and orchestrate a series of betrayals so cunning that even America's criminal mastermind wouldn't know what hit him. Marion Cotillard, Channing Tatum, and Stephen Dorff co-star. ~ Jason Buchanan, All Movie Guide
Times Tagged: 21
Number of Lists: 10
Number of blog posts: 5
SpoutRating: 3
]]>Sun, 23 Aug 2009 20:50:08 GMTPublic Enemies2009Michael MannBased on author Bryan Burrough's ambitious tome Public Enemies: America's Greatest Crime Wave and the Birth of the FBI, 1933-43, director <a href="http://www.spout.com/players/P___101066/default.aspx" style='text-decoration:underline'>Michael Mann</a>'s sprawling historical crime drama follows the efforts of top FBI agent Melvin Purvis (Christian Bale ) in capturing notorious bank robber John Dillinger. A folk hero to the American public thanks to his penchant for robbing the banks that many people believed responsible for the Great Depression, charming bandit Dillinger (<a href="http://www.spout.com/players/P____18682/default.aspx" style='text-decoration:underline'>Johnny Depp</a>) was virtually unstoppable at the height of his criminal career; no jail could hold him, and his exploits endeared him to the common people while making headlines across the country. J. Edgar Hoover's (<a href="http://www.spout.com/players/P___223041/default.aspx" style='text-decoration:underline'>Billy Crudup</a>) FBI was just coming into formation, and what better way for the ambitious lawman to transform his fledgling Bureau of Investigation into a national police force than to capture the gang that always gets away? Determined to bust Dillinger and his crew, which also included sociopathic Baby Face Nelson (Stephen Graham) and Alvin Karpis (<a href="http://www.spout.com/players/P___216061/default.aspx" style='text-decoration:underline'>Giovanni Ribisi</a>), Hoover christened Dillinger the country's very first Public Enemy Number One, and unleashed Purvis to take them down by whatever means necessary. But Purvis underestimated Dillinger's ingenuity as a master criminal, and after embarking on a frantic series of chases and shoot-outs, the dashing agent humbly surmised that he was in over his head. Outwitted and outgunned, Purvis knew that his only hope for busting Dillinger's gang was to baptize a crew of Western ex-lawmen as official agents, and orchestrate a series of betrayals so cunning that even America's criminal mastermind wouldn't know what hit him. <a href="http://www.spout.com/players/P___195575/default.aspx" style='text-decoration:underline'>Marion Cotillard</a>, <a href="http://www.spout.com/players/P___419915/default.aspx" style='text-decoration:underline'>Channing Tatum</a>, and <a href="http://www.spout.com/players/P____19729/default.aspx" style='text-decoration:underline'>Stephen Dorff</a> co-star. ~ Jason Buchanan, All Movie Guide21Tag Target (>10)1053http://www.spout.com/ProductImages/s358629.jpghttp://www.spout.com/films/Public_Enemies/358629/default.aspxFilm http://www.spout.com/blogs/pippin06/archive/2009/8/9/43458.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 8/9/2009 9:24:58 PM
Body: In a surprisingly spur-of-the-moment decision to spend a cloudy afternoon in my local Cineplex, a friend of mine and I decided to catch Michael Mann’s latest effort, Public Enemies. Honestly, the appeal of this movie for me centered on two things or, more specifically, people: Christian Bale, otherwise known as Batman, and my secret husband, Johnny Depp, otherwise known as Dreamy Johnny. If you are a regular reader of my blog, you know that I have an undying love for Dreamy Johnny. I think he is not only a beautiful, beautiful man but also an amazing actor, and he’s easily the most riveting part of any film he’s in, even if the film itself is an abysmal failure (Once Upon a Time in Mexico, much?). Well, at least most of the time he is. This time, the most riveting part of the film was not Dreamy Johnny or Batman but Marion Cotillard playing Dreamy Johnny’s paramour. And while the film had an interesting, even intriguing premise, it failed to deliver on its own potential, creating a decidedly ho-hum experience. Public Enemies recreates the exploits of John Dillinger (Dreamy Johnny), notorious bank robber during the Great Depression, who was a mixture of folk hero and acrimonious public influence. Based on a book by Bryan Burroughs, the film follows the ambitious crime hunt undertaken by newly appointed director of the newly created Federal Bureau of Investigation (FBI), J. Edgar Hoover (Billy Crudup), who appoints Melvin Purvis (Batman), to engage in a manhunt of Dillinger and his crew, including Alvin Karvis (Giovanni Ribisi). In the process, Hoover deems Dillinger “Public Enemy Number One,” imbuing Purvis with the power to take Dillinger down by any means necessary, but Purvis clearly underestimates Dillinger’s ingenuity and reach into the criminal community and the public consciousness. After a series of shootouts and failed attempts at capture, Purvis realizes that his only means of catching Dillinger was to orchestrate betrayals unbeknownst to Dillinger and employ mercenaries to chase after the wily criminal. In the meantime, Dillinger tries frantically to hold onto the object of his fancy, a feisty coat check girl of mixed race named Billie Freshette (Cotillard), who is caught in the crossfire, much to her fear and rage. Public Enemies began with a bang but failed to sustain any sort of meaningful engagement. The cinematography was by far the most impressive visual element. There was a hazy gray coloring every frame, almost as if to render the film black and white, even as the bright colors of Cotillard’s impressive period wardrobe popped from the screen. The lighting was subdued and sinister, accentuating the depiction of the Great Depression and the moral ambiguity of Dillinger’s exploits. The art direction was also fairly interesting, transforming modern-day locales, including Chicago, into places of a bygone era. The film was visually interesting, to say the least. Unfortunately, the rest of the film was not. The pacing was consistently erratic. Michael Mann punctuated periods of true malaise and slow-moving action with his over-staged gunfights (that probably would not be as interesting in real life). The script, an adaptation from the source material, was truly poor, with some laughably stunted dialogue. Dreamy Johnny and Batman’s performances felt reduced to cookie-cutter outlines of their real-life inspirations, and since they are accomplished actors with many great performances under their belts, I have to attribute the lack of connection to their characters or the lack of any meaningful dialogue to the screenwriters and to Mr. Mann. The only interesting performance belonged to Cotillard. She infused her Billie with a spunk that was extremely watch-able, and I felt interested in the film only when she was on screen (except for the occasional swooning over Dreamy Johnny). Her performance was truly stunning and was markedly pitch-perfect casting in an otherwise less-than-perfect movie. Further, the supporting performances were as uninteresting as the leads, again in no small part attributable to the oddly basic and staccato dialogue rampant throughout the picture. Ultimately, however, Public Enemies seemed to suffer from an obvious pretension that served to alienate the viewer, or at least me, from the film throughout most of my painful viewing experience. I felt Mr. Mann reaching for an artistic sensibility and an importance that the flaws in the script and his own direction prevented him from attaining. There were times when I felt bored and even frustrated with the boredom; after all, this was at movie theater prices that I saw this film. In many ways, Public Enemies was a disappointment both artistically and in its entertainment value. That’s not to say that the film did not have the few good points that I listed above. Because the film seemed to be its own worst enemy in terms of being an effective historic revue of what should have been an interesting period, I feel the film merits a 6 for being cute but mediocre. The points it earned come from the few bright spots of technical cinematic excellence and, specifically, Cotillard’s fiery portrayal of Freshette. As to the test, I cannot say this film passes, sadly. There are other films in which I can enjoy Dreamy Johnny and Batman, after all, and not every film can be worth the celluloid on which it is published – and this one, arguably, is not.
]]>Mon, 10 Aug 2009 01:24:58 GMTpippin06Reel Thoughts8/9/2009 9:24:58 PM In a surprisingly spur-of-the-moment decision to spend a cloudy afternoon in my local Cineplex, a friend of mine and I decided to catch Michael Mann&rsquo;s latest effort, Public Enemies. Honestly, the appeal of this movie for me centered on two things or, more specifically, people: Christian Bale, otherwise known as Batman, and my secret husband, Johnny Depp, otherwise known as Dreamy Johnny. If you are a regular reader of my blog, you know that I have an undying love for Dreamy Johnny. I think he is not only a beautiful, beautiful man but also an amazing actor, and he&rsquo;s easily the most riveting part of any film he&rsquo;s in, even if the film itself is an abysmal failure (Once Upon a Time in Mexico, much?). Well, at least most of the time he is. This time, the most riveting part of the film was not Dreamy Johnny or Batman but Marion Cotillard playing Dreamy Johnny&rsquo;s paramour. And while the film had an interesting, even intriguing premise, it failed to deliver on its own potential, creating a decidedly ho-hum experience. Public Enemies recreates the exploits of John Dillinger (Dreamy Johnny), notorious bank robber during the Great Depression, who was a mixture of folk hero and acrimonious public influence. Based on a book by Bryan Burroughs, the film follows the ambitious crime hunt undertaken by newly appointed director of the newly created Federal Bureau of Investigation (FBI), J. Edgar Hoover (Billy Crudup), who appoints Melvin Purvis (Batman), to engage in a manhunt of Dillinger and his crew, including Alvin Karvis (Giovanni Ribisi). In the process, Hoover deems Dillinger &ldquo;Public Enemy Number One,&rdquo; imbuing Purvis with the power to take Dillinger down by any means necessary, but Purvis clearly underestimates Dillinger&rsquo;s ingenuity and reach into the criminal community and the public consciousness. After a series of shootouts and failed attempts at capture, Purvis realizes that his only means of catching Dillinger was to orchestrate betrayals unbeknownst to Dillinger and employ mercenaries to chase after the wily criminal. In the meantime, Dillinger tries frantically to hold onto the object of his fancy, a feisty coat check girl of mixed race named Billie Freshette (Cotillard), who is caught in the crossfire, much to her fear and rage. Public Enemies began with a bang but failed to sustain any sort of meaningful engagement. The cinematography was by far the most impressive visual element. There was a hazy gray coloring every frame, almost as if to render the film black and white, even as the bright colors of Cotillard&rsquo;s impressive period wardrobe popped from the screen. The lighting was subdued and sinister, accentuating the depiction of the Great Depression and the moral ambiguity of Dillinger&rsquo;s exploits. The art direction was also fairly interesting, transforming modern-day locales, including Chicago, into places of a bygone era. The film was visually interesting, to say the least. Unfortunately, the rest of the film was not. The pacing was consistently erratic. Michael Mann punctuated periods of true malaise and slow-moving action with his over-staged gunfights (that probably would not be as interesting in real life). The script, an adaptation from the source material, was truly poor, with some laughably stunted dialogue. Dreamy Johnny and Batman&rsquo;s performances felt reduced to cookie-cutter outlines of their real-life inspirations, and since they are accomplished actors with many great performances under their belts, I have to attribute the lack of connection to their characters or the lack of any meaningful dialogue to the screenwriters and to Mr. Mann. The only interesting performance belonged to Cotillard. She infused her Billie with a spunk that was extremely watch-able, and I felt interested in the film only when she was on screen (except for the occasional swooning over Dreamy Johnny). Her performance was truly stunning and was markedly pitch-perfect casting in an otherwise less-than-perfect movie. Further, the supporting performances were as uninteresting as the leads, again in no small part attributable to the oddly basic and staccato dialogue rampant throughout the picture. Ultimately, however, Public Enemies seemed to suffer from an obvious pretension that served to alienate the viewer, or at least me, from the film throughout most of my painful viewing experience. I felt Mr. Mann reaching for an artistic sensibility and an importance that the flaws in the script and his own direction prevented him from attaining. There were times when I felt bored and even frustrated with the boredom; after all, this was at movie theater prices that I saw this film. In many ways, Public Enemies was a disappointment both artistically and in its entertainment value. That&rsquo;s not to say that the film did not have the few good points that I listed above. Because the film seemed to be its own worst enemy in terms of being an effective historic revue of what should have been an interesting period, I feel the film merits a 6 for being cute but mediocre. The points it earned come from the few bright spots of technical cinematic excellence and, specifically, Cotillard&rsquo;s fiery portrayal of Freshette. As to the test, I cannot say this film passes, sadly. There are other films in which I can enjoy Dreamy Johnny and Batman, after all, and not every film can be worth the celluloid on which it is published &ndash; and this one, arguably, is not. http://www.spout.com/blogs/minjoe/archive/2009/7/31/43356.aspx Post By: minjoe
Post To: minjoe Blog
Post Date: 7/31/2009 6:19:08 PM
Body: I don't think I was alone in waiting, and wanting, to see Public Enemies. With a cast being led by king of the eccentric-loner, Johnny Depp and the always deep and intricate Christian Bale--it wasn't wrong to hope for a lot... Unfortunately, this film failed to live up to even a small portion of its overall potential. Several things struck me in all the wrong ways as the film progressed. First of all, I realize that Michael Mann prefers a hands on, gritty, and 'in-the-action' approach to filmmaking. However, the sheer nature of this film demanded a more assertive and epic approach. When John Dillinger first walks into a bank we see him and his cronies from behind, as though we are one of them--but I found myself wanting to be in front, seeing these titans of crime ascending the stairs into their 'workplace.' Perhaps the most unsettling thing about this movie is that it runs incredibly long, without ever having much to say. The lack of character development is both brutal, and obvious. Christian Bale was criminally under-utilized and Marion Cotillard was given only fleeting moments to shine. After 2 hours of film I would expect to have a great understanding of the various characters, their motives, their passions, the depth of their beings. Instead, I found myself thinking that the only thing I was discovering was that Michael Mann finds John Dillinger to be very cool... In short--for a film featuring some of the best acting talent on the planet, and focusing on one of America's most interesting periods, Public Enemies comes up short. http://movieswithminjoe.blogspot.com
]]>Fri, 31 Jul 2009 22:19:08 GMTminjoeminjoe Blog7/31/2009 6:19:08 PMI don't think I was alone in waiting, and wanting, to see Public Enemies. With a cast being led by king of the eccentric-loner, Johnny Depp and the always deep and intricate Christian Bale--it wasn't wrong to hope for a lot... Unfortunately, this film failed to live up to even a small portion of its overall potential. Several things struck me in all the wrong ways as the film progressed. First of all, I realize that Michael Mann prefers a hands on, gritty, and 'in-the-action' approach to filmmaking. However, the sheer nature of this film demanded a more assertive and epic approach. When John Dillinger first walks into a bank we see him and his cronies from behind, as though we are one of them--but I found myself wanting to be in front, seeing these titans of crime ascending the stairs into their 'workplace.' Perhaps the most unsettling thing about this movie is that it runs incredibly long, without ever having much to say. The lack of character development is both brutal, and obvious. Christian Bale was criminally under-utilized and Marion Cotillard was given only fleeting moments to shine. After 2 hours of film I would expect to have a great understanding of the various characters, their motives, their passions, the depth of their beings. Instead, I found myself thinking that the only thing I was discovering was that Michael Mann finds John Dillinger to be very cool... In short--for a film featuring some of the best acting talent on the planet, and focusing on one of America's most interesting periods, Public Enemies comes up short. http://movieswithminjoe.blogspot.com http://www.spout.com/blogs/shaunhuston/archive/2009/7/27/43279.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 7/27/2009 7:01:02 PM
Body: Picking up more pieces from this summer of non-blogging. Now, summer films. Star Trek. Like, well, pretty much everybody, I found the new Trek film to be well-cast and thoroughly entertaining. Structurally, I think that the intro for Kirk could have been tighter – the joyride scene in no way needs to be as drawn out as it is, especially not when followed by the bar fight. For me, the movie really gets started when Spock shows up. And yet, I do agree with Chris Wisniewski at Reverse Shot about the lack of philosophical ambition in JJ Abrams' reboot. Trek's creators have always strived to make the franchise about something, and while this hasn't always led to good film or TV, it does, I think, help explain the durability of the storyworld. The new movie is not only the first installment that seems to have been made purely for thrill and spectacle, but allows horrific genocide to go by with hardly more than a nod in the direction of the profundity of such an event. I still enjoyed the movie, but after the fact, I felt myself missing the typical moral and intellectual earnestness of the series. Sugar. An interesting and sometimes beautiful film, particularly in its handling of cultural juxtapositions and the deftness with which it wraps an immigration story in a sports movie. I need to watch it again though to fully develop my thoughts; my expectations were pretty high going in and sometimes it helps to see a movie like that once, with those burdens, and then again later, without them to gain some perspective. The Brothers Bloom. Another film I was looking forward to, and enjoyed, but need to see again. I mentally composed, but never wrote, a post on the movie's production design, which I think works well to shift the core cast into their own version of reality, one where Stephen's elaborate and literary cons might actually work. Motivated quirkiness of this kind, which is probably most often associated today with Wes Anderson's movies, works better for me than unmotivated oddness, as in Juno (2007), where the quirks are pretty much their own arguments, and not in the service of anything of consequence. The Girlfriend Experience. Not sure what to write here; a film I'm glad I saw, but can't say that it left much of a lasting impression. Public Enemies. This is a movie I like and appreciate more now than when I first saw it. I am compelled by the use of HD for a period piece like this, a device that clearly announces itself as a product of now, a movie about the 1930s, not of or from the period, which is the more conventional way of approaching historical material. Harry Potter & the Half-Blood Prince. As the film franchise has progressed, I am less enthused about seeing these movies. In part, this is because the films are becoming more what they should have been to begin with, which is directed at fans and readers of the books, which I am not. Moon. The best film I've seen this summer, easily. Beautiful, cool, provocative, anchored by a surprisingly understated lead, almost one-person show, performance from Sam Rockwell. Love the way the film quietly and cleverly plays with the memory of 2001: A Space Odyssey (1968). Originally posted on:Short-Circuit Signs
]]>Mon, 27 Jul 2009 23:01:02 GMTShaunHustonShaunHuston filmblog7/27/2009 7:01:02 PMPicking up more pieces from this summer of non-blogging. Now, summer films. Star Trek. Like, well, pretty much everybody, I found the new Trek film to be well-cast and thoroughly entertaining. Structurally, I think that the intro for Kirk could have been tighter – the joyride scene in no way needs to be as drawn out as it is, especially not when followed by the bar fight. For me, the movie really gets started when Spock shows up. And yet, I do agree with Chris Wisniewski at Reverse Shot about the lack of philosophical ambition in JJ Abrams' reboot. Trek's creators have always strived to make the franchise about something, and while this hasn't always led to good film or TV, it does, I think, help explain the durability of the storyworld. The new movie is not only the first installment that seems to have been made purely for thrill and spectacle, but allows horrific genocide to go by with hardly more than a nod in the direction of the profundity of such an event. I still enjoyed the movie, but after the fact, I felt myself missing the typical moral and intellectual earnestness of the series. Sugar. An interesting and sometimes beautiful film, particularly in its handling of cultural juxtapositions and the deftness with which it wraps an immigration story in a sports movie. I need to watch it again though to fully develop my thoughts; my expectations were pretty high going in and sometimes it helps to see a movie like that once, with those burdens, and then again later, without them to gain some perspective. The Brothers Bloom. Another film I was looking forward to, and enjoyed, but need to see again. I mentally composed, but never wrote, a post on the movie's production design, which I think works well to shift the core cast into their own version of reality, one where Stephen's elaborate and literary cons might actually work. Motivated quirkiness of this kind, which is probably most often associated today with Wes Anderson's movies, works better for me than unmotivated oddness, as in Juno (2007), where the quirks are pretty much their own arguments, and not in the service of anything of consequence. The Girlfriend Experience. Not sure what to write here; a film I'm glad I saw, but can't say that it left much of a lasting impression. Public Enemies. This is a movie I like and appreciate more now than when I first saw it. I am compelled by the use of HD for a period piece like this, a device that clearly announces itself as a product of now, a movie about the 1930s, not of or from the period, which is the more conventional way of approaching historical material. Harry Potter & the Half-Blood Prince. As the film franchise has progressed, I am less enthused about seeing these movies. In part, this is because the films are becoming more what they should have been to begin with, which is directed at fans and readers of the books, which I am not. Moon. The best film I've seen this summer, easily. Beautiful, cool, provocative, anchored by a surprisingly understated lead, almost one-person show, performance from Sam Rockwell. Love the way the film quietly and cleverly plays with the memory of 2001: A Space Odyssey (1968). Originally posted on:Short-Circuit Signs http://www.spout.com/blogs/lopezdash/archive/2008/7/9/32321.aspx Post By: lopezdash
Post To: The Movie Blog
Post Date: 7/9/2008 11:00:48 AM
Body: Smoking has been banned in the Chicago production of Jersey Boys in order to comply with the city's strict new anti-smoking law, raising the possibility that scenes showing smoking in movies and television shows shot in Chicago will also be barred. Writing in today's Chicago Tribune, theater critic Chris Jones writes that Michael Mann's Public Enemies, which was filmed in Chicago, is bound to show smoking. He then remarks facetiously, "Seize the print! Consider this an official complaint." Finally, Jones urges the city's aldermen to write "an exception for artistic purposes. A waiver. An understanding. Whatever. Heck, it doesn't even have to be for tobacco. It just has to allow Chicago's great artists to tell the truth."source
]]>Wed, 09 Jul 2008 15:00:48 GMTlopezdashThe Movie Blog7/9/2008 11:00:48 AMSmoking has been banned in the Chicago production of Jersey Boys in order to comply with the city's strict new anti-smoking law, raising the possibility that scenes showing smoking in movies and television shows shot in Chicago will also be barred. Writing in today's Chicago Tribune, theater critic Chris Jones writes that Michael Mann's Public Enemies, which was filmed in Chicago, is bound to show smoking. He then remarks facetiously, "Seize the print! Consider this an official complaint." Finally, Jones urges the city's aldermen to write "an exception for artistic purposes. A waiver. An understanding. Whatever. Heck, it doesn't even have to be for tobacco. It just has to allow Chicago's great artists to tell the truth."source http://www.spout.com/blogs/lopezdash/archive/2008/6/23/31556.aspx Post By: lopezdash
Post To: The Movie Blog
Post Date: 6/23/2008 12:37:45 PM
Body: In a case of life imitating art, the Chicago police arrested a young man accused of shooting his gun outside of a car near the filming of Public Enemies, a film starring Johnny Depp. The incident took place at approximately 12:30 a.m. on Friday in the 1600 bloock of South Blue Island Ave, on the South Side. Johnny Depp was scheduled to arrive on set at around 1:00 a.m. Luckily, no one was injured. Source: The Chicago Tribune
]]>Mon, 23 Jun 2008 16:37:45 GMTlopezdashThe Movie Blog6/23/2008 12:37:45 PM In a case of life imitating art, the Chicago police arrested a young man accused of shooting his gun outside of a car near the filming of Public Enemies, a film starring Johnny Depp. The incident took place at approximately 12:30 a.m. on Friday in the 1600 bloock of South Blue Island Ave, on the South Side. Johnny Depp was scheduled to arrive on set at around 1:00 a.m. Luckily, no one was injured. Source: The Chicago Tribune http://www.spout.com/members/0/tags/war/MemberTagFilms.aspxwar
Number of films tagged: 6177

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