Inimigos Públicos

Outra obra em que Christian Bale surpreendentemente fica em segundo plano. Esta é também uma das razões pelas quais Michael Mann não atingiu a perfeição do seu clássico Heat - Cidade sob Pressão, onde os protagonistas eram iguais. A estrela aqui é Johnny Depp, ou melhor, o seu Dillinger - um ladrão de bancos valente com o coração na palma da mão da sua amada Marion Cotillard. Também vejo os males da câmara digital (imagens home-made baratas, ruído) como uma desvantagem - o que funcionou adequadamente em Nome de Código: Cloverfield, porque refletia os desenvolvimentos tecnológicos contemporâneos e definia um novo subgénero, não pode funcionar num filme de gangsters dos anos 30 do século XX. Positivos: Dirigido e servido com graça, um drama policial retro e viril, com o brilhante Depp como o seu alfa e ómega. Tiroteios intensos, cenários e trajes de qualidade, grandes diálogos entre Depp e Cotillard. Mann retrata a atmosfera da época de forma brilhante, é apropriadamente filmado no estilo noir escuro e não se esquece de prestar homenagem à época dourada de Hollywood. O filme Inimigos Públicos não é tão profundo como Heat - Cidade sob Pressão, mas também não é tão vazio como Miami Vice. Fica algures no meio, e embora estivesse à espera de um pouco mais, estou satisfeito. (01/07/2009)

A "Michael Mann film" with everything there is to love and hate about it. It's probably going to have a hard time getting through the movie theaters, judging by the reaction of the Johnny Depp fans sitting next to me when I was sitting in there, but it's a hot contender for the title of "film of the year." (10/07/2009)

There’s no need to hide it under a mountain of text, when one word is enough to describe Public Enemies to the tee: borefest; maybe extended with the adjective digital. It’s hard to say why this flat gangster flick needed to be so long, when not a single one of the protagonists develops in any noticeable way (Purvis has only goal for the entire film and Dillinger doesn't evolve at all after meeting Billie). The biggest problem is how uninteresting both of the main characters are; what can you do when you don’t have anyone to root for (because both of them can be seen negatively) and you don’t give a toss about their fates? A weaker 6/10. (18/08/2009)

Miami Heat in the thirties where the first half is rather slow (even for Mann) but the second half more than makes up for this in genius. Production design? Pricey. Atmosphere? Such that money can’t buy. P.S.: If you ever read King’s short story “The Death of Jack Hamilton", you’ll have come across similar characters. (02/07/2009)

Mann continues where he left off with Miami Vice – in raw and unadorned filmmaking, in which there is sharp sound and naturalistic image of a digital camera. He once again helps himself wonderfully with music that gives the sequences a gradient and atmosphere. Unfortunately, the intention to make a 1930s version of Heat failed due to the script, and because of Christian Bale. I don't know who is to more blame, but Depp's thug is the main character, and the sleek man of the law is absolutely unable to handle any problems or ambiguities. It’s all about John Dillinger, and Michael Mann, with his foppish and gentleman-like nature, pays tribute to all of the mustachioed gangster melodramas from the past. It works great, including the ending. The motif of Dillinger as the last representative of gallant robbers, which is destroyed by an inconspicuous mafia racketeering, brings a certain depth to the film. For two and a half hours, Public Enemies kept me entertained, because Depp and Cotillard work well together, and Mann is able to dive right into the middle of the events. But there is something magical missing – in this case the poignant tension between law and crime, good and evil. Dillinger and Purvis are both far too unambiguous to form as explosive a pair as Hanna and McAuley. (01/07/2009)