David Chase has made an astronomical career for himself off of one show- The Sopranos. The beloved HBO series was one to put its own spin on the tone of Martin Scorsese's mob movies from the 70's-90's and usher in what is now considered the golden age of TV and streaming. May James Gandolfini rest in peace for he created one of the most beloved villain protagonists of this generation. With that in mind, a movie was bound to happen, and rightfully so. The problem though is that it became striken with a moderate case of prequelitis- this affected the likes of Star Wars: The Phantom Menace and Rise of the Planet of the Apes.
Give credit where credit is due- David Chase stuck to his ground and has likely obtained what he wanted; he doesn't owe the fans one singular product. Aiding him is the direction of Sopranos veteran Alan Taylor, who makes the aesthetic of the series translate to cinema and the desaturated color palette all the watchable. The 1970's nostalgia will be easy to digest and is mostly organic. The cast of characters, much like the series, are colorful and stand out in spite of varying screentimes. The Sopranos' evocation of Scorsese's Goodfellas comes full circle here in that its lead Ray Liotta plays not one, but two roles as twin brothers Hollywood and Sally Moltisanti. He excels, as well as our headliner Alessandro Nivola in the role of Tony Soprano's uncle. Leslie Odom Jr, Jon Bernthal and Corey Stoll were also delightful to see on screen; not to mention Vera Farmiga as Tony Soprano's overbearing, toxic mother Livia. Michael Gandolfini had quite the shoes to fill coming into his father's throne as a young Tony, and setting aside the possibility of a sequel he was mesmerizing and you await whenever he'd come back on screen.
The Many Saints of Newark can leave one in a conundrum because it's one of the more engaging films to come out of the gangster movie revival of the 2010's/2020's (especially compared to somnolent fests like Black Mass), yet it also fizzles out in the third act and a lot of the events that transpire beforehand don't have much impact due to a lack of clear direction. Multiple storylines can be a compelling thing in cinema, and they're utilized here to convey the environment that makes Tony who he comes to be in the series. For people who haven't watched the series or were mislead by the marketing to believe this is Tony Soprano's Godfather Part II, disappointment is unavoidable. I'm an advocate for Cinemascore, and the C+ that audiences gave this film isn't out of line despite what disgruntled fans and critics might say.
For the most superfans of Sopranos fans or Sunday HBO viewers, The Many Saints of Newark should compel you and leave you wanting more. For those who weren't pre-initiated like myself or are in need of a more punctuated screenplay, this wasn't worth all the rave.
RATING: 2.5 out of 4 stars.
Give credit where credit is due- David Chase stuck to his ground and has likely obtained what he wanted; he doesn't owe the fans one singular product. Aiding him is the direction of Sopranos veteran Alan Taylor, who makes the aesthetic of the series translate to cinema and the desaturated color palette all the watchable. The 1970's nostalgia will be easy to digest and is mostly organic. The cast of characters, much like the series, are colorful and stand out in spite of varying screentimes. The Sopranos' evocation of Scorsese's Goodfellas comes full circle here in that its lead Ray Liotta plays not one, but two roles as twin brothers Hollywood and Sally Moltisanti. He excels, as well as our headliner Alessandro Nivola in the role of Tony Soprano's uncle. Leslie Odom Jr, Jon Bernthal and Corey Stoll were also delightful to see on screen; not to mention Vera Farmiga as Tony Soprano's overbearing, toxic mother Livia. Michael Gandolfini had quite the shoes to fill coming into his father's throne as a young Tony, and setting aside the possibility of a sequel he was mesmerizing and you await whenever he'd come back on screen.
The Many Saints of Newark can leave one in a conundrum because it's one of the more engaging films to come out of the gangster movie revival of the 2010's/2020's (especially compared to somnolent fests like Black Mass), yet it also fizzles out in the third act and a lot of the events that transpire beforehand don't have much impact due to a lack of clear direction. Multiple storylines can be a compelling thing in cinema, and they're utilized here to convey the environment that makes Tony who he comes to be in the series. For people who haven't watched the series or were mislead by the marketing to believe this is Tony Soprano's Godfather Part II, disappointment is unavoidable. I'm an advocate for Cinemascore, and the C+ that audiences gave this film isn't out of line despite what disgruntled fans and critics might say.
For the most superfans of Sopranos fans or Sunday HBO viewers, The Many Saints of Newark should compel you and leave you wanting more. For those who weren't pre-initiated like myself or are in need of a more punctuated screenplay, this wasn't worth all the rave.
RATING: 2.5 out of 4 stars.