Last I Heard

Michael Rappaport finally figures out that Mira Sorvino is Paul's daughter.

Michael Rappaport finally figures out that Mira Sorvino is Paul’s daughter.

(2013) Dramedy (Cine Relevante) Paul Sorvino, Michael Rappaport, Renee Props, Andrea Kelly, Lev Gorn, Steven Bauer, Chazz Palminteri, Paul Ben-Victor, Hassan Johnson, Johnny Williams, Andrea Navedo, Roberta Wallach, D. Kevin Kelly, William de Paolo, Michael Sorvino, Logan Crifasi-Zenie, John Damroth, Andrea Verdura, Mario Ruffo, Olivia Panepinto. Directed by David Rodriguez

Florida Film Festival 2014

There’s no doubt that the Mafia isn’t what it used to be. Once the most powerful criminal organization on earth, it has become a shadow of itself, most of its most feared figures in jail, dead or worse, grown old.

Joseph “Mr. Joe” Scoleri (Sorvino) is in that lamented latter category. Released after a 20 year stint in the pen, he has a bum ticker, no money and is forbidden contact with anyone involved with crime – in short, just about everyone he knows. He lives with his daughter Rita (Props) who scarcely knows her dad, given that he essentially spent nearly her entire life in prison.

The world has changed a great deal since Joe went away and not just in the size of cell phones. The neighborhood has changed as well. There was respect there once but now Joe is just another old man tottering along the sidewalk to wherever it is that old men go.

But for his next door neighbor Bobby DiBianco (Rappaport), Joe is still an object of hero worship. Guys like him kept the neighborhood safe enough so a woman could walk untroubled to the corner store for a carton of milk in the middle of the night. Guys like him kept drugs and gangs out. Guys like him took care of guys like Bobby.

Now, Bobby is going to take care of Joe as best he can – run errands for him, take him to the doctor, that kind of thing. That kind of closeness attracts attention – from Dominic Salerno Jr. (Gorn), the last guy standing with any connection to the Mob and who sees Joe as someone who can legitimize him, and from the FBI who wonder if Joe is using Bobby as some kind of front. Bobby explains to them that in THIS neighborhood in Staten Island, people take care of each other. That’s the way it’s always been and as long as he’s around, that’s the way it will always be.

The truth is that Bobby is just a deli owner who’s never gotten into trouble and when Joe asks him to get in touch with one of Joe’s old mob friends, he balks. Joe sees this as disloyalty and a rift is driven between the two of them. Joe’s old school ways also create an issue with his daughter who is as 21st century as they get. Considering how bad Joe’s heart is, his time is running out – can he square things with those he cares about most before his ticker stops ticking?

Most mob pictures fall into two categories – the heavy dramas a la Scorsese and Coppola, and the lighter comedies like Analyze That and Mickey Blue Eyes.  This one falls somewhere in between. Director Rodriguez has described it as a “post-Mafia picture” – which can be interpreted as what happens when one retires from the Mafia or what happens after the Mafia becomes less relevant. Both apply here.

There are some issues here. The dialogue is really repetitive and points are hammered home over and over again until you want to go medieval on the screenwriters and scream as you beat them into a bloody mess “We get it, we get it!!!!” Just a cursory editing of the script might have lopped a good 20-30 minutes off the running time. That’s time that could have been used in further developing the Rita character who could have used a little more screen time.

Sorvino though gives a powerful enough performance that at least in my case I was willing to overlook the script flaws. Rodriguez wisely allows Sorvino’s craggy features to tell much of the unsaid story and the character’s confusion and frustration come through loud and clear without him having to yell – although he occasionally does that too.

Rappaport excels at playing the nice guy next door so this is right in his wheelhouse. Rappaport’s genuine likability plays off nicely of Sorvino’s curmudgeon. Many of the best scenes in the movie involve the interaction between the two.

The way the movie ends is not entirely unexpected given what comes before, but what comes before is largely fresh and new. This is a viewpoint we haven’ t seen previously; the closest that we’ve come is The Sopranos. While this isn’t the slam dunk it might have been had the writing been a little more precise, it still is worth checking out just for the premise and Sorvino alone.

REASONS TO GO: Terrific performances and chemistry from Sorvino and Rappaport. Different take on the Mafiosi than we normally see in the movies.

REASONS TO STAY: Often repetitive. Dialogue is stilted. The ending is kind of predictable.

FAMILY VALUES: Some foul language and some disturbing violence.

TRIVIAL PURSUIT: Although both are veterans of many Mafia-themed films, this marks the first on-screen appearance together for Sorvino and Palminteri.

CRITICAL MASS: As of 4/13/14: Rotten Tomatoes: no score yet. Metacritic: no score yet.

COMPARISON SHOPPING: Analyze This

FINAL RATING: 7/10

NEXT: Captain America: The Winter Soldier

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