6. Swindle (2002)
Undercover cop Seth George (Tom Sizemore) persuades criminal Sophie Zenn (Sherilynn Fenn) to recruit him for her upcoming heist. However, Seth loses sight of his objective and begins to fall for Sophie.
Like Bandits (2001), Swindle is another prototypical heist movie. Although garnering mixed reviews, it solidly delivers everything an audience desires from the sub-genre. Centrally, late character actor Tom Sizemore (Heat) is finally provided with the opportunity to realise his cool, entertaining, tough-guy persona in a leading role. Like this film, Sizemore is an undervalued, yet brilliant actor, reminiscent of young De Niro’s proficiency and intensity. Sizemore additionally has excellent chemistry with Sherilynn Fenn.
Swindle has a distinctive east coast aesthetic. By this token, stylistically, it exhibits the seedy underground scene, grungy style and black leather fashion of its time. What is more, alongside a mastery of gunfighting caper trappings, there are also satisfying comedic elements. The bank manager (Dave Foley, Fargo) and his employee nervously flirt, discussing him planning a holiday to Greece. When she walks away, he is frustrated he did not ask her out. He accidentally blurts an invite to go to Greece with him, which she is dumbfounded by.
7. Desert Saints (2002)
Arthur Banks (Kiefer Sutherland) is a hitman working for a drug cartel. He picks up women, uses them as cover for his hit, then kills them. The story follows Arthur picking up chatty drifter Bennie Harper (Melora Walters, known for her collaborations with P.T. Anderson). Arthur aims to use Bennie to assassinate a Mexican presidential candidate, but it does not go to plan.
One idiomatic quality of Desert Saints is its flash-forward editing. By switching from the future to the past, the film accumulates mystery and tension. Another praiseworthy element is the screenplay’s well-written character arc. Arthur goes on an inner journey from a cold-blooded, meticulously professional killer, to uncomfortably rediscovering his sentimentality and humanity. Bennie’s influence positively alters the story’s direction and Arthur’s personality entirely. Introspective dialogue scenes, a nonlinear narrative and surprising double crosses makes Desert Saints a fun watch. It is recommendable to fans of political thrillers, hitman stories, romances and road movies.
8. Hollywood Flies (2005)
Luca (Antonio Cupo) travels to the USA to spend time with his sister Martina (Bianca Guaccero). They embark upon a road trip from Las Vegas to Hollywood. However, two convicts (Vinnie Jones and Brad Renfro) kidnap Martina.
Where Hollywood Flies differs from similar neo-westerns, with every character chasing a bag of money, is its European perspective. Directed by Fabio Segatori, it tells an American crime story through the eyes of its two Italian leads, unfamiliar with their surroundings. Vinnie Jones ameliorates the typical plot to the status of a noteworthy horror. His spine-chilling turn as the animalistic, violent Sean is impactful and authentically visceral. Conversely, Jones also supplies some of the film’s premier comedy. Jamie asks his cockney partner what England is like. Sean quips: “it’s alright, if you like tea and rain.”
Meanwhile, Antonio Cupo and Bianca Guaccero bring warmth and sweetness to their characters, achieving noteworthy pathos. Aesthetically, the cinematography makes creatively surreal use of salt flats, as if the characters were wearing Hawaiian shirts in the snow. Historically, Hollywood Flies is ostensibly the last entry in a trend of neo-noir road movies set in the southwestern desert. This arguably began with John Dahl’s Kill Me Again (1989) and was a prominent component of ‘90s cinema. Ultimately, Hollywood Flies is an essentially unmentioned, yet satisfactory addition to a thriller fan’s watch list.
9. Living and Dying (2007)
After a bank robbery, a gang of outlaws barricade themselves inside a diner full of customers. The police surround the diner and a shootout ensues.
Edward Furlong crafts a captivating, emotional, likeable protagonist, grounding the farcical comedy and pulp hyperbole. The growling, renowned presence of cowboy-hatted Michael Madsen seals the evocative, B-movie production design. What is pleasing about Living and Dying is its elegant structural leanness, high-octane action and classic western premise. The tension of its confined location is comparable to the simplicity of Shoot the Living and Pray for the Dead (1971), or Ride in the Whirlwind (1966). This intimacy gives the actors the opportunity to carefully develop their characters, nurturing multifaceted, sympathetic performances.
10. Killshot (2008)
The Blackbird (Mickey Rourke) is a half-Ojibwe, half-French Canadian hitman, operating out of Toronto. In Detroit, he teams up with moronic petty thief Richie Nix (Joseph Gordon-Levitt). They attempt to extort a realtor. Instead, they accidentally accost an ironworker and his wife. Carmen (Diane Lane) and Wayne Colson (Thomas Jane) shoot at them and smash Richie through an upstairs window. When the thugs come back for revenge, the couple are forced to go into the witness protection programme.
Fast-paced, Killshot is a loyal adaptation of a book by America’s preeminent crime writer. Tarantino’s inspiration: Elmore Leonard. Attributable to Leonard’s great writing, what sets the movie apart from other thrillers is its originality. This is elicited through the novel premise, unusually set in the world of real estate, favouring extortion over a typical robbery. Whereas many thrillers have criminals chasing money, the main characters are later motivated by a never-before-seen grey area of vendetta, pride, idiocy and covering their tracks. What is also singular about Killshot is the regional flavour of the Detroit, Canadian and Cape Girardeau locations. Furthermore, it delves into the underrepresented world of Native Canadians and has characters with formerly unseen profiles in fiction.
This is noticeable in Wayne’s professions as an ironworker and river barge crewman. The effect of these thoughtfully devised details is a refreshingly different crime movie, amongst a sea of all-too similar titles. Rourke is customarily artistically accomplished, with his immense presence and balanced interpretation of the Blackbird. He seamlessly juggles moving sensitivity, with explosive violence and action star prowess. His talent is also evidenced by the care he takes with his nuanced Native-meets-French Canadian accent. Rourke’s humorous arguments with Gordon-Levitt capture Leonard’s penchants. Chatty, colourful dialogue, surrogate families hanging out and cool ‘70s style. Sub-textually, the unsung Killshot explores pride, fading romance and guilt.