Montana is worth seeing, but flawed. It is indeed in the style of Pulp Fiction, without being so tight or erotic. It's at least as casually violent. But that alone doesn't carry it. There's no Uma Thurman here in a leading role.
The basic plot is fine, but not directed quite tightly enough. Sections in the middle drag considerably. Stanley Tucci does carry this film -- but so in a way does Robbin Tunney as Kitty, the gangster's moll. She does a fabulous job with her role -- and adds all the female sex appeal to the film, which is considerable. Tunney's role though is most unfashionable for the 90's -- a seductively submissive gangster's mistress. It becomes clear that the submissiveness is mostly an act, though her "role in life" cannot but remain 90's unfashionable. She proves herself plenty tough and resourceful when taking control is useful or essential to her (i.e. she blows away, and causes to be blown away, at least her share of bad guys.) One of the movie's big problems though is that there's nothing going on between her and the main male character, played by Tucci -- or anyone else on screen. (Actually, if there was between her and anyone, and it got any face time, she'd probably steal the movie completely away from Kyra Sedgwick. As it is, she actually almost does.)
As others here have noted, Tucci's performance is wonderful, but he isn't on screen enough to carry the whole film. He's tough, cool, intense and utterly competent -- and edgily sexually compelling. Tucci's got a signature magnetism, despite his bald, average at best static looks. There's something about his intensity.
The film's key problem is Kyra Sedgwick. She plays a tough as steel hit woman. But she's all business. But she's also about as emotional as steel. There's no erotic thrill to her. She's a cardboard character, without any real emotional vulnerabilities. But for her long curly hair, she's a thoroughly mannish character. I really haven't seen (or anyway remember) her in much else, but here she's thoroughly wooden. Of course because as-tough-as-any-man women are very much the 90's (and late 80's) fashion, this will tend to be overlooked by many.
Men who are the same, and don't show a convincing vulnerable side to a woman they are attracted to, generally aren't very likeable protagonists either (though they can make good villains). If we didn't see the even colder hitman Jean Reno's intense (though initially guarded) affection for the 12 year old Natalie Portman in The Professional (Leon) for example, we wouldn't much care about him and the movie wouldn't have been nearly as powerful. Sedgwick goes through the motions of affection and caring for Tucci, but it doesn't remotely ring emotionally true. There's zero chemistry coming from her. It's actually rather weird, since chemistry DOES seem to be coming off of Tucci towards her big time, just not the other way around. (Makes me suppose she's strictly gay in addition to not being very good. Or was it the direction?)
Anyway, for whatever reason, she simply doesn't work. I could care less what happens to her in this film, much less feel any sexual attraction whatsoever. Which is a big problem, since she's really the central character of the film, who stitches the various other characters together, and gets the most face time.
I sure would like to see Robbin Tunney as the lead character in a good and intelligently erotic movie. She's sizzling hot here, without any nudity (but a lot of lingere). Unfortunately she was given only a limited screen time supporting role, with no one to really erotically interact with. She nonetheless simply exuded sexual chemistry. Unfortunately, that will be overlooked or dismissed by many because of her unfashionable role.
The basic plot is fine, but not directed quite tightly enough. Sections in the middle drag considerably. Stanley Tucci does carry this film -- but so in a way does Robbin Tunney as Kitty, the gangster's moll. She does a fabulous job with her role -- and adds all the female sex appeal to the film, which is considerable. Tunney's role though is most unfashionable for the 90's -- a seductively submissive gangster's mistress. It becomes clear that the submissiveness is mostly an act, though her "role in life" cannot but remain 90's unfashionable. She proves herself plenty tough and resourceful when taking control is useful or essential to her (i.e. she blows away, and causes to be blown away, at least her share of bad guys.) One of the movie's big problems though is that there's nothing going on between her and the main male character, played by Tucci -- or anyone else on screen. (Actually, if there was between her and anyone, and it got any face time, she'd probably steal the movie completely away from Kyra Sedgwick. As it is, she actually almost does.)
As others here have noted, Tucci's performance is wonderful, but he isn't on screen enough to carry the whole film. He's tough, cool, intense and utterly competent -- and edgily sexually compelling. Tucci's got a signature magnetism, despite his bald, average at best static looks. There's something about his intensity.
The film's key problem is Kyra Sedgwick. She plays a tough as steel hit woman. But she's all business. But she's also about as emotional as steel. There's no erotic thrill to her. She's a cardboard character, without any real emotional vulnerabilities. But for her long curly hair, she's a thoroughly mannish character. I really haven't seen (or anyway remember) her in much else, but here she's thoroughly wooden. Of course because as-tough-as-any-man women are very much the 90's (and late 80's) fashion, this will tend to be overlooked by many.
Men who are the same, and don't show a convincing vulnerable side to a woman they are attracted to, generally aren't very likeable protagonists either (though they can make good villains). If we didn't see the even colder hitman Jean Reno's intense (though initially guarded) affection for the 12 year old Natalie Portman in The Professional (Leon) for example, we wouldn't much care about him and the movie wouldn't have been nearly as powerful. Sedgwick goes through the motions of affection and caring for Tucci, but it doesn't remotely ring emotionally true. There's zero chemistry coming from her. It's actually rather weird, since chemistry DOES seem to be coming off of Tucci towards her big time, just not the other way around. (Makes me suppose she's strictly gay in addition to not being very good. Or was it the direction?)
Anyway, for whatever reason, she simply doesn't work. I could care less what happens to her in this film, much less feel any sexual attraction whatsoever. Which is a big problem, since she's really the central character of the film, who stitches the various other characters together, and gets the most face time.
I sure would like to see Robbin Tunney as the lead character in a good and intelligently erotic movie. She's sizzling hot here, without any nudity (but a lot of lingere). Unfortunately she was given only a limited screen time supporting role, with no one to really erotically interact with. She nonetheless simply exuded sexual chemistry. Unfortunately, that will be overlooked or dismissed by many because of her unfashionable role.