Viewing Thread:
"Crime - Is Mobile Phone Theft On The Rise?"

From private eye to organised crime the obvious underlying factor in all crime films is – the (usually) illegal act that takes place and the resolutions of this matter. Now the possibilities in which the filmmaker can interpret these acts are endless, we are able to witness the entire episode in its entirety (Heat), or be privy to certain parts of the occasion (Reservoir dogs), but what remains is the drama and tension that follows. The audience is constantly baffled and left confused but always…always deceived. While witnessing (The Heist) the film seemed to have all the ingredients of a classic, sharp script, powerful acting, it seemed to me to fail on story alone. The story wasn’t enough to completely hold the film and often the audience was left suspended in mid-air, until the characters were back on track and normality was allowed to be resumed. This is not to say the film was bad, it was indeed exceptional, but lacked that finishing touch that classics have, or maybe that will come with time. From Bonnie and Clyde to LA Confidential the Americans have injected their films with the characters and style British film makers aspire to, and Guy Ritchie had a good go at making the definitive British Crime with Lock Stock, the best since The Long Good Friday in my opinion.

There is an alarming recent trend of superb independent crime films, as it is a genre that can be made on a limited budget, but requires talent. You can look at the likes off The Coens (Fargo), Bryan Singer (The Usual Suspects), Danny Boyle (Shallow Grave), to see how many have succeeded in this genre. For first timers, to me, the choice is between crime, action or horror.

Law and Order is an omni-present factor in the crime caper, arising from the beginning of society as seen through Hawks films (Scarface, The Maltese Falcon) right through to the policeman becoming the protagonist (The French Connection), for this serves as the key to gripping drama and master storytelling and it this conflict that allows he viewer to be drawn into the films web of deceit.

It is a clichéd saying that all filmmakers are illusionists, but when all the right ingredients boil together, who am I to deny the power of magic whatever the genre.

It was intended to be humourOUS. I chose the word carefully, i mean i could have used any other dramatic phrase but in hindsight the 'mugging' was humourOUS.

Moriano wrote:
My friend only got hi-jacked by hoodlums the
> other day :(

Your friend got hi-jacked the other day?

I'm sorry that just sounds feckin funny.

and roll on the nokia5510
rrrrrrrr

hehe. My intention was not to fool the reader but to ease him into debate. These things take time. Plus, mobile phone theft has affected me in a big way...i vented my anger through a post. My friend only got hi-jacked by hoodlums the other day :(

This is in dedication to his Nokia 6110.RIP.

Good article on mobile phone theft there...

From private eye to organised crime the obvious underlying factor in all crime films is – the (usually) illegal act that takes place and the resolutions of this matter. Now the possibilities in which the filmmaker can interpret these acts are endless, we are able to witness the entire episode in its entirety (Heat), or be privy to certain parts of the occasion (Reservoir dogs), but what remains is the drama and tension that follows. The audience is constantly baffled and left confused but always…always deceived. While witnessing (The Heist) the film seemed to have all the ingredients of a classic, sharp script, powerful acting, it seemed to me to fail on story alone. The story wasn’t enough to completely hold the film and often the audience was left suspended in mid-air, until the characters were back on track and normality was allowed to be resumed. This is not to say the film was bad, it was indeed exceptional, but lacked that finishing touch that classics have, or maybe that will come with time. From Bonnie and Clyde to LA Confidential the Americans have injected their films with the characters and style British film makers aspire to, and Guy Ritchie had a good go at making the definitive British Crime with Lock Stock, the best since The Long Good Friday in my opinion.

There is an alarming recent trend of superb independent crime films, as it is a genre that can be made on a limited budget, but requires talent. You can look at the likes off The Coens (Fargo), Bryan Singer (The Usual Suspects), Danny Boyle (Shallow Grave), to see how many have succeeded in this genre. For first timers, to me, the choice is between crime, action or horror.

Law and Order is an omni-present factor in the crime caper, arising from the beginning of society as seen through Hawks films (Scarface, The Maltese Falcon) right through to the policeman becoming the protagonist (The French Connection), for this serves as the key to gripping drama and master storytelling and it this conflict that allows he viewer to be drawn into the films web of deceit.

It is a clichéd saying that all filmmakers are illusionists, but when all the right ingredients boil together, who am I to deny the power of magic whatever the genre.