American Night 2021

MOVIE INFORMATION

Movie Name: American Night

Director: Alessio Della Valle

Cast: Jonathan Rhys Meyers, Emile Hirsch, Jeremy Piven, Paz Vega, Michael Madsen, Fortunato Cerlino.

Edited By: Zach Staenberg

Music By: Marco Beltrami

Distributed By: Saban Films, Lionsgate.

Release Date: 2021-10-01

Release Year: 2021

Country: Italy

Available Language: English

Budget: Not Expose

IMDB: 4.2

Box Office: Not Expose

Genre Main: Action

Genre Full: Action, Crime, Drama, Thriller.

Filming Company: Martha Production, QMI, RAI Cinema.

Official Site: https://www.sabanfilms.com/films/american-night/

Picture Color: color

Sound Mix: N/A

Picture Quality: 720p

File Size: 1GB

Story Line: A neo-noir set in New York City’s corrupt contemporary art world where the art dealer John Kaplan and the ruthless head of New York’s mafia, Michael Rubino, fight for money, art, power and love. Art and life collide in this stylish and wildly entertaining neo-noir thriller. When a highly coveted Andy Warhol painting suddenly surfaces, it triggers a chain reaction of danger-filled events for a colorful group of characters including: a forger turned art dealer (Jonathan Rhys Meyers); a mobster and painter (Emile Hirsch) with a penchant for scorpions; a seductive museum conservator (Paz Vega); and a stuntman and wannabe ninja (Jeremy Piven). Filled with daring double-crosses and surprising twists and turns, the race for the painting comes to an explosive conclusion... One American Night. There are (at least) two ways to read Alessio Della Valle’s “American Night,” an unfortunate post-modern crime drama set in and around a private art gallery owned by indecisive critic John Kaplan (Jonathan Rhys Meyers) and financed by brutally untalented artist-cum-mobster Michael Rubino (Emile Hirsch). You could interpret this movie as a weak parody of all the other decades-late “Pulp Fiction” clones that copy the most superficial qualities of Quentin Tarantino’s now-iconic 1994 movie, particularly its breezy cynicism and winking allusive-ness, but not its actual style. One could also read “American Night” as more of a reflection than a commentary on American pop art after Andy Warhol and now Tarantino. This second take probably seems harsh, but there’s not much room for generosity in a movie where Hirsch’s kitschy villain takes his time in relating the old scorpion and frog parable, which movie buffs might remember from Orson Welles’ “Mr. Arkadin” (1955). You don’t have to already know that story to be let down with its re-presentation in “American Night,” especially since this is the kind of movie where Michael eventually shaves off his hair to reveal a scorpion tattoo on the side of his head. Is that overheated gesture supposed to be funny or dramatic? Either way, Hirsch’s fuming villain still looks sad and tacky.