the last third of night moves really distinguishes it. while its been coyly self aware of noirish behaviors throughout, it violently nods at bogart's key largo in its final act though with a more ambiguous resolution for the protagonist. but penn also finds time to comment on an era of voyeuristic gratuitous movie violence which he somewhat initiated perhaps with some regrets in bonnie and clyde. here we see a seen very similar to ones in b&c but stripped of its glamour. very cool, indeed.
- dave 9-07-2011 5:25 am

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