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Montana [DVD]
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Genre | Crime |
Format | Color, DVD, Closed-captioned, Subtitled, Widescreen, Anamorphic, NTSC |
Contributor | Kyra Sedgwick, Philip Seymour Hoffman, Stanley Tucci, Jennifer Leitzes, Ethan Embry, Mark Boone Junior, Robbie Coltrane, Robin Tunney, John Ritter See more |
Language | English |
Runtime | 1 hour and 36 minutes |
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Product Description
Kyra Sedgwick, Stanley Tucci, Robbie Coltrane, Robin Tunney and John Ritter star in this thriller about a professional hit woman targeted by her own organization. Claire (Sedgwick) is an accomplishedassassin who gives her all to the boss (Coltrane). But when the boss gives Claire the low-level task of retrieving his runaway girlfriend Kitty, Claire knows she's losing her juice. To make matters worse, the girlfriend (Robin Tunney) commits a murder while in Claire's custody. Forced to flee her own syndicate, Claire soon finds that Kitty is a femme fatale to be reckoned with. Bringing the offbeat excitement of Thelma & Louise to the gritty action of Goodfellas, MONTANA delivers high-impact excitement.
Product details
- Aspect Ratio : 1.85:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Package Dimensions : 7.56 x 5.39 x 0.63 inches; 2.88 ounces
- Director : Jennifer Leitzes
- Media Format : Color, DVD, Closed-captioned, Subtitled, Widescreen, Anamorphic, NTSC
- Run time : 1 hour and 36 minutes
- Release date : June 10, 2003
- Actors : Kyra Sedgwick, Stanley Tucci, Robin Tunney, Robbie Coltrane, John Ritter
- Subtitles: : English, French
- Language : English (Dolby Digital 2.0 Mono)
- Studio : Sony Pictures Home Entertainment
- ASIN : B000092T6O
- Number of discs : 1
- Best Sellers Rank: #172,182 in Movies & TV (See Top 100 in Movies & TV)
- #15,598 in Action & Adventure DVDs
- Customer Reviews:
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Is there a little shop somewhere, known to all filmmakers, a store that has for its stock in trade helicopter establishing shots of anonymous large cities? As a shorthand way of demonstrating that we’re in New York or Chicago or, more likely than not, Toronto? Because you see them in every third movie; aerial views of towering skyscrapers at night, towering skyscrapers in the daytime, teeming highways as the bloodstream of the great metropolis. In fact, these sequences could be passed on from movie to movie with no viewer being the wiser. You seen one helicopter ride over the air conditioners of the city, you seen ‘em all. You see those rooftops a lot in "Montana".
I guess that in addition to establishing locale and eating up running time, these vertiginous shots do demonstrate how soulless and ugly the International Style is. Identical slabs, joyless glass walls, a city of Legos. But I digress.
“Montana” is a routine mob picture in the Tarantino-lite style. Crosses, double crosses, aimless shooting, a crime boss with a nice office and a retinue of comically hapless henchmen. And a henchwoman. I kind of like Kyra Sedgwick, although in the long, long run of “The Closer” her brilliant, relentless, emotionally messy shtick got kind of used up. Here, she’s a tough-as-tungsten-steel hit woman, and she handles the shooting stuff as well as required for this sort of picture. But she’s tiny and small-boned, and it’s hard to take her seriously when she’s solo grave-digging or when she slugs a kidnappee or head-butts a henchman. It’d be like being mugged by a sparrow.
Sedgwick does rock a braless wifebeater, though. And when she lets her mobile face loose, she does wry and exasperated as well as any.
Tucci is just fine. Acting on a whole different level, in fact. Of course, he only has to do two expressions, morose and dying, but he sells them well. The super-competent hit man? He’s never going to make the transition to action star. Of course, I’d never have thought Liam Neeson could do it either, so what do I know?
Hoffman, well, he’s hitting his marks and reading his lines. But I expected more of one of the great actors of our time. Sleazy duplicitous double-crosser, he could play this in sleep, and did do in a light doze. Seen it before, and better. Ditto, Robbie Coltrane. He doesn’t go for the stereotypical wise guy bulky mob boss, at least. Perfectly adequate.
The main plot is a routine “suitcase of money gone missing” deal, and it, too, is adequate. It’s been many times before, but at least this time the suitcase is a simple brown one, not the usual shiny silver aluminum sort.
And there’s nothing wrong with suitcases of money, especially when they involve a nicely skeevy John Ritter. Ritter’s attempts to appear dangerous and cold-blooded are kind of undercut by his All-American hangover from the “Three’s Company” days, but he does do insincere con-man pretty nicely. No complaints.
Plot 2, the absconded mistress/hooker with the heart of brass angle, could have been dispensed with entirely. She serves to move some plot points along and gives Sedgwick a reason to soften her frozen soul, but Robin Tunney’s character is mostly annoying. And written as mind-boggling stupid; could any mob mistress have survived this long being this dumb and helpless? What could Robbie Coltrane see in a woman this incompetent at even the simplest aspects of life on the lam?
And then there’s all that shooting.
The shooting, which goes on and on, gets ridiculous towards the end. Like the script was written into a corner and the only way to get out was to have everybody shoot everybody else for ten minutes or so. I’d hate to see the kind of Yelp reviews these hotels get after one of these affairs. Or their cleaning bills. Or the quotes for patching the walls. It gets Tarantino silly pretty quickly, without the quotable dialog Quentin tosses in among the gunplay.
Also silly, the mawkish dying scene with Tucci and Sedgwick, a pas de deux that just goes on and on, long after the rest of us have moved on. Hey, these two are remorseless amoral hired murderers, kidnappers, thieves and serial killers. They’ve just trashed a nice suite and shot like ten, fifteen henchmen. We’re supposed to get teary-eyed when cancer guy gets the exit he wanted? And the icy hit woman suddenly sobs and develops a particle of conscience and ill-focused regret? It does not scan. Nor does the exit to Montana, filmed through a hazy golden filter and leading off into the mountains of forgetfulness. Everybody’s dead except for Sedgwick. Oh, and John Ritter! Sorry, that was a spoiler, but so far as we’re shown, Ritter lives! Yay! The King is dead, long live Jack Tripper!
You’d have to be about as old as this reviewer to get that joke. But if you have to explain a joke, it wasn’t funny to start with.
As ninety minutes of mindless entertainment, “Montana” is OK. Planning to trudge on the treadmill and need distraction? You could do worse. As a showcase for Stanley Tucci and Hoffmann, well, great actors need paychecks, too. You can’t make “The Master” or “Big Night” every time out.