Résumés(1)

A Chicago, deux gangs rivaux profitent de la Prohibition pour se livrer à de juteux trafics. Au nord, Al Capone fait régner la terreur et empoche les bénéfices, au sud, Bugs Moran fait de même. Mais la ville est trop petite pour deux gangs et chacun des deux chefs tente d'éliminer l'autre... (Canal+)

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Critiques (2)

gudaulin 

Toutes les critiques de l’utilisateur·trice

anglais The St. Valentine's Day Massacre is an artistic reconstruction of the climax of the gang wars over control of the illegal alcohol trade during the Prohibition era in Chicago. Its disadvantage is that this story is notoriously known and has been depicted on the big screen multiple times. Furthermore, this attractive period in American history has been thoroughly explored by top directors, charismatic actors, and generous producers, so despite director Corman's efforts, he couldn't achieve the highest rating from me. On the other hand, even though the screenwriter stuck to generally known facts, the whole story and the characters operating not on the edge but already beyond it are so intriguing that viewers will still enjoy it, even if it's not an Oscar-worthy affair. The film didn't inspire me, but it also didn't disappoint. It's an honest gangster movie, which is only harmed by the attempt at maximum factual accuracy; it's simply tiring to listen to when this person was born on such and such day and was divorced for the second time, etc. While the film doesn't feature the biggest movie stars, it also doesn't give off the feeling of the dull pseudo-acting of docudramas from recent years. Overall impression: 65%. ()

lamps 

Toutes les critiques de l’utilisateur·trice

anglais For insiders, the name Roger Corman is synonymous with easygoing B-movie entertainment, but that's not entirely true. The St. Valentine's Day Massacre may be mired in brevity and overwhelmed by the number of characters, many of whom are dismissed with just a few sentences from the narrator, but on the other hand it maintains a great pace and adds a pleasing and evocative framework with its unconventional "Chronicle of Deaths Announced" style, especially at the end. I really liked the lively camera rides in mostly interior scenes and the performances (among which Jack Nicholson can be seen for a moment), which puts the film ahead of Martin Scorsese's formal magic, but when compared with the first-rate, more tightly constructed gangster films by Martin and co, I can't give this one more than a very strong 3*. ()

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