Tag Archives: Gotti (2018)

A Week In Film #543: Crackers and duff corks

Black '47 title screen
Black ‘47
Revenge thriller plays out against the backdrop of the Irish Famine, with James Frecheville as a soldier returning home from years fighting abroad for the Crown to discover his people crushed by British tyranny and Planter greed.

Pleasantly surprised by this – it just appeared on my reccos, so I took it for a spin, had no preconceptions, yet was pulled in to the very end. Not the most original, but absorbing enough with some fine performances, from the likes of Hugo Weaving, Stephen Rea and Freddie Fox. Director Lance Daly would appear to be someone to keep an eye on.

Compares very favourably with 2010’s thematically not-unadjacent Tracker, which ultimately wasted Temuera Morrisson, Ray Winstone and some spectacular Aotearoan landscapes.

The Legend At Cocaine Island title screen
The Legend At Cocaine Island
Documentary somewhat in the Errol Morris vein, with semi-reconstructed inserts, about a botched, half-baked attempt by an opportunist, would-be criminal mastermind to recover a bunch of drugs lost in the Caribbean by rather more professional free market entrepreneurs. Yes, there is something of a (massively-flagged) twist towards the end, no it is not, ultimately, satisfying. But watchable. By Theo Love.

Gotti (2018) title screen]
Gotti (2018)
Unlikable biopic, directed by Kevin Connolly, about the Gambino crime boss, played here by John Travolta as though he were little more than a mild-mannered, put-upon suburban dad. Whilst the 1996 HBO effort with Armand Assante was hardly Bergman, this is tripe. It does, however, make a halfway effort to examine the relationship between Gotti senior and his son John Jnr (Spencer Lofranco).

An Inspector Calls title screen
An Inspector Calls
Absolute cracker, with Guy Hamilton directing a rollicking screen version of JB Priestley’s morality play. Alastair Sim is the mysterious ‘inspector’, examining the values of a middle class family (Arthur Young, Olga Lindo, Brian Worth, Eileen Moore and Bryan Forbes).

This Is The End title screenThis Is The End
Self-indulgent, tedious, self-satisfied stoner tosh with the odd moment.