I like the storyline of this show,it attract me so much

Purely Joyful Movie!

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Russell Mulcahy(Highlander)directs this bloody gangster opus which follows Thomas Jane as he works his way through the crime syndicate of Gregory Harrison, over a toy elephant(!)found in a steel case. The elephant is known throughout the movie as "the meaning of love." Jane is costumed in 40s Bogie attire as the hard-to-kill Malone, having to stay one step ahead of Harrison and his hired killers, Ving Rhames(as Boulder)and the absolutely insane Doug Hutchison(as Matchstick, notorious for burning his parents alive, narrowly escaping the house, suffering hideous burns on his own face in the process). The eye candy of the movie is Elsa Pataky(striking in blood red lipstick), sliding smoothly into the sultry Film Noir moll role, as Evelyn, whose motivations remain suspect as she asks Malone to help free her kidnapped brother, killed by another assassin, a Japanese girl named Mauler(Chris Yen). French Stewart shows up as a bad lounge comic who also works as a stool pigeon for Harrison and ends up on Malone's bad side for almost getting him(and his alcoholic mom)killed. Rhames only works for Harrison because the crime lord pays to keep Boulder's wife alive on life-support. GIVE 'EM HELL MALONE is a homage to those detective noir films, where the film's hero is a flawed man you only root for because everyone else is so evil. Malone is always having to constantly look over his shoulder for either a knife to his back or bullets aimed in his direction at all times. Even Evelyn can not be trusted. Jane's Malone is the usual tough-guy archetype, good with a gun, takes a licking and keeps on ticking. The film sure as hell opens with a bang as Malone attains the case with the elephant for his boss, Murphy(Leland Orser), annihilating a whole army of Harrison's men with plenty of Hong Kong John Woo balletic gunplay, bodies torn to bloody shreds as bullets damage and destroy in grand style. This would make an ideal double header with the equally ultra-violent, cartoony, gratuitous crime actioner, SHOOT 'EM UP. Easily the most entertaining character in the movie is Matchstick because of how batsh#t crazy he is(funny is how he progressively becomes more worse for wear due to his inability to finish Malone off, his face set on fire on more than one occasion).

It plays like a noir, it looks like a noir and it feels like a film noir ... So it must be a film noir! And it is. A pretty violent and bloody one, but still. There is everything here, that the formula would need. Except it does seem to play in another universe. Because you can't define it what time period in "our" world this is supposed to be. You have old cars and "old" clothing, but you also have cell phones and other newer inventions.But if you get hung up on the time period thing or get bothered by the fact, that this couldn't be played out in the "real" world and therefor is not a "pure" noir movie, than you would miss on the entertaining part of the movie. Thomas Jane, who seems the go to guy, if you need a "B-movie" action Hero (Punisher, Mutant Chronicles), but also has the weight of knowing what he is doing as an actor. A very fine choice for the lead role. "The Damsel in Distress" and other characters fill in quite nicely.After a very powerful beginning (an action scene, that gives you enough entertainment already), the thriller aspect of the movie kicks in. Nicely played (out) and beautifully shot and edited!

The "film noir" from the 40's and 50's is one of the easiest cinematographic (and literary) genres to imitate, but also one of the most difficult ones to capture without falling on the ridiculous or the involuntary humor.And even though I suspect some purists could consider the modest film Give 'Em Hell, Malone as a mediocre parody, I personally think that it fulfilled with the necessary requirements in order to simultaneously consider it as an affectionate tribute and respectful imitation of the genre.But, beyond its intention, I think it is a very competent "noir" film with solid performances, an interesting screenplay and even some substance behind the characters which enriches the story.Naturally, the screenplay is a collection of encounters with murderers, allies and informants, which do not always significantly contribute to the story, but at least they keep it on a constant movement, with various opportunities of suspense, violence and stylish dialogs.And that is were Russell Mulcahy's direction best works.Despite the false moves he had during his career (like, for example, the atrocious Tale of the Mummy or Silent Trigger), Mulcahy shows in Give 'Em Hell, Malone that he has not lost his absolute control on the visual language, rhythm and edition in order to construct a consistent narrative flow yet.The costumes, vehicles and sets from this film show a curious combination of nostalgia and modernity; thanks to that, a good "noir" atmosphere is achieved at the same time the technical problems of creating a set from the 40's are solved.By the way, I think the comparisons between Sin City and Give 'Em Hell, Malone are unfair, because the simple fact that they both use the archetypes from detective literature does not mean one is a copy of the other.As for the actors, with one exception, they all contribute to the tribute with natural performances which are free of any irony, at the same time they do not fall in the temptation of taking the story or their characters as a joke.To start with, Thomas Jane is flawless as the main character.Ving Rhames and Doug Hutchison also bring precise works as the villain's henchmen.The exception I talked about on the beginning of the paragraph is Elsa Pataky as the "femme fatale", because she does not bring enough passion or intensity to her character.Give 'Em Hell, Malone may not be a great movie, but its combination of actors, "noir" atmosphere and a labyrinthine screenplay with a satisfactory ending made it very entertaining to me.Besides, it confirms us that Mulcahy can be a very competent director when he works with the right material.

There is much to like about Give 'em Hell Malone. It is a deliciously gorgeous and entertaining comic book noir, which manages to be both exiting and funny. This is the film that Sam Raimi's Darkman could've been if it was a bit smarter. The plot is a bit convoluted, but you end up not really caring. It is a fun ride, and is also the first time since Deep Blue Sea in which Thomas Jane has actually impressed me. On account of his lack of variety and charisma, Jane is only cut out for soft spoken/slick persona, individualist characters. Mr. Malone qualifies. It should also be noted that Give 'em hell Malone is occasionally played for laughs. The script throws out a lot of one liners and a few quirks, which helps turn the smile on my face into a giggle. It ain't a terribly long movie, and by the end, you may find yourself exited for more. I guess the makers are exited too because Give 'em Hell Malone ends with a 'To Be Continued'Hard to know if and when a second part will get the green light any time soon, but I would certainly embrace it. If you can find Give 'em hell Malone, you should check it out.