SLOW BURN MOVIE PROFESSIONAL
As he is beyond dedicated to Roy, Francis tolerates Richie’s shortcomings, but only out of professional necessity. The Envious Co-workerĪ silver-spoon type with a misguided, privileged attitude, Richie isn’t exactly a dim bulb, but he certainly wouldn’t be where he is without Roy’s protection-points not lost on the far more talented, calculating, and jealous Francis. In the meantime, Francis orders Leonard to use his sewing skills to stitch Richie up so he won’t bleed to death. They’ve just had a run-in with a rival gang and the freshly shot, bloodied Richie needs cover until his father Roy (Simon Russell Beale, “The Death of Stalin”)-the boss-can provide rescue. On a bitterly cold December night in the mid 1950s, Leonard’s uneventful day takes an unwanted detour with the arrival of a Richie (Johnny Flynn, “Bumblebee”) and his “co-worker” Francis (Dylan O’Brien, “Stardust”). Simon Russell Beale (L) and Mark Rylance in “The Outfit.” (Focus Features) Why Leonard is now based in Chicago and not London isn’t addressed until late in the third act and provides the story with perhaps its biggest revelation. Referred to a few times by others as a “tailor,” he calls himself a “cutter,” a man who honed his trade while apprenticing at Mayfair, London’s Savile Row, a collective of shops considered by most to be the finest of their kind in the world. Mark Rylance stars as Leonard, an outwardly unassuming craftsman who designs high end men’s clothing.
Zoey Deutch and Mark Rylance in “The Outfit.” (Focus Features) In the best way possible, it teases the audience and is thoroughly lacking in narrative fat. Taking place over the course of a single night in mostly one room, it is a slow burn type of affair with multiple (but not too many) twists and turns and absolutely no red herrings. Dark and brooding in spots, calculating and crackling in others, it is more of a psychological thriller than sweeping epic. Not a Wasted Frame To Be FoundĬertainly smaller in scale, first time director Graham Moore’s chamber piece “The Outfit” owes a great deal to “The Godfather” films. “The Godfather, Part II” is the only sequel to win that particular award (“Lord of the Rings: Return of the King” was part of a planned trilogy and is not considered a sequel). Both films won numerous industry awards including two Oscars for Best Picture.
Violence was still a key component, but it took a second seat to nuance, and the dramatic aspects became heightened to almost operatic levels. This all changed with the arrival of “The Godfather” (1972) and its first sequel (1974). studios beginning in the 1930s with the classics “Little Caesar” and “The Public Enemy.” Mark Rylance stars in “The Outfit.” (Focus Features) While there were some notable exceptions, the first 40 years of Hollywood movies about organized crime rarely strayed from the blueprint established by Warner Bros.
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