Burt Young

Burt Young

Burt Young Quick Links

News Pictures Video Film RSS

Rob The Mob Trailer


Tommy and Rosie are a young couple living in New York who are madly in love with one another - mad enough that they begin to pull off the most dangerous heists possible in order to make enough money to start a life together after their stints in prison. While Rosie attempts to make an honest living as a debt collector, Tommy is hell-bent on revenge after watching his father get beaten to a pulp by the Mafia when he was just a child. He follows a court trial of mobster Sammy 'The Bull' Gravano whose information in court about his recent exploits present Tommy with an idea to rob the gang's No-Guns social club with Rosie as the getaway driver. After getting away with it without a hit contract, they continue to rob the mob before discovering an important piece of inside information that could permanently bring down the world's most formidable criminals.

Continue: Rob The Mob Trailer

attends the New York Film Festival Premiere After Party for 'Casting By' at the Empire Hotel

Burt Young Friday 12th October 2012 attends the New York Film Festival Premiere After Party for 'Casting By' at the Empire Hotel

attend the New York Film Festival Premiere After Party for 'Casting By' at the Empire Hotel

Tom Donahue, Glenn Close and Burt Young - Tom Donahue, Glenn Close and Burt Young Friday 12th October 2012 attend the New York Film Festival Premiere After Party for 'Casting By' at the Empire Hotel

Tom Donahue, Glenn Close and Burt Young

attend the New York Film Festival Premiere After Party for 'Casting By' at the Empire Hotel

Glenn Close and Burt Young - Glenn Close and Burt Young Friday 12th October 2012 attend the New York Film Festival Premiere After Party for 'Casting By' at the Empire Hotel

Glenn Close and Burt Young

New York Film Festival 'Casting By' After-party at The Empire Hotel

Glenn Close and Burt Young - Glenn Close, Burt Young Friday 12th October 2012 New York Film Festival 'Casting By' After-party at The Empire Hotel

New York Film Festival 'Casting By' After-party at The Empire Hotel

Tom Donahue, Glenn Close and Burt Young - Tom Donahue, Glenn Close, Burt Young Friday 12th October 2012 New York Film Festival 'Casting By' After-party at The Empire Hotel

Tom Donahue, Glenn Close and Burt Young

Win Win Review


Excellent
As with The Station Agent and The Visitor, McCarthy creates a series of encounters for some astonishingly vivid characters, and the result is an entertaining film that challenges prejudice. It's also both funny and moving.

Mike (Giamatti) is a New Jersey lawyer struggling to make ends meet when he discovers he can earn a bit extra as the guardian of senile client Leo (Young).

But his wife Jackie (Ryan) only finds out when Leo's 16-year-old grandson Kyle (Shaffer) turns up needing a place to stay while his mother (Lynskey) goes through rehab. To keep him busy, Mike invites Kyle along to the wrestling practice he coaches with his friends (Tambor and Cannavale). Surprise: Kyle's a gifted wrestler who may help the team win for a change.

Continue reading: Win Win Review

New York, I Love You Review


Good
There are 11 captivating short films in this anthology, the second in the Cities of Love series by producers Benbihy and Grasic. But this collection isn't quite as varied or engaging as Paris Je T'Aime.

All of these stories take place in Manhattan, with only one or two brief forays into other boroughs, and they all centre around relatively well-off people, mainly white or Asian. They're also quite serious and emotional, with only brief moments of humour dotted here and there, although some make us smile more than others. Each is about a male-female relationship--marriages, brief encounters, possibilities, life-long companionship. Most have a somewhat gimmicky twist, and a few are intriguingly oblique.

Continue reading: New York, I Love You Review

Rocky Review


Excellent
With Rocky, cinematographer Jimmy Crabe worked with director John G. Avildsen to rethink the look of the city of Philadelphia. Consisting of a scant few shots of the familiar monuments and parks, Crabe, who was later diagnosed with and succumbed to AIDS in 1989, turned the city into miles of sleet-swept streets, soiled corner stores and nausea-green gymnasiums where wannabe athletes spend their time until they make their way to any of the dozen cheap basement bars scattered throughout the terrain. If the star of Rocky is Sylvester Stallone, his co-star is the atmosphere of cold and piteous hope that cultivates around the titular amateur boxer.

In hindsight, the first chapter of the rigorous franchise has a healthy leg-up on the rest of the films and feels uniquely homegrown in tone. It's almost basic mythology at this point: Rocky Balboa (Sylvester Stallone at the peak of his durability) works for a two-bit loan shark as freelance muscle while he trains to become a boxer and does amateur bouts for 40 bucks a pop. It's his nickname, The Italian Stallion, which catches the eye of heavyweight champion Apollo Creed (Carl Weathers) when the champ is looking for a gimmick. Creed is more of an entrepreneur than an athlete: When someone calls the gimmick "American," he quips back, "No, it's smart."

Continue reading: Rocky Review

Once Upon a Time in America Review


Weak
I'm as big a fan of misogyny as the next guy, but how did this hateful and often tasteless Godfather ripoff become a classic? What, just because it's four hours long? Robert De Niro and James Woods are never hard to watch, but even here their take on Jewish gangsters in New York from 1900 to 1960 or so wears awfully thin as they brutalize one woman after another and get into the kind of mobster scrapes you've seen in upteen other movies. And after the top names, the talent roster is pretty thin. Treat Williams? Elizabeth McGovern?

Continue reading: Once Upon a Time in America Review

Rocky Balboa Review


Good
When last we saw Rocky Balboa, our prized overachieving contender (played to monosyllabic perfection by Sylvester Stallone) had prevailed in a street fight against his protégé, Tommy "Machine" Gunn (Tommy Morrison).

The Italian Stallion may have triumphed that day, but the feel-good franchise long since had thrown in the towel. Rocky V did more damage to the character's legacy than Ivan Drago, Clubber Lang, and Apollo Creed combined. It issued a crushing TKO to a collection of films that celebrated victory in the face of impossible odds, and it left a horrible taste in fans' mouths. By all accounts, the final bell had rung on Rocky.

Continue reading: Rocky Balboa Review

Transamerica Review


Grim
From the moment that Felicity Huffman comes on screen in Transamerica, with her rumbling voice and the cloistered manners of a 1950s housewife, it's apparent you're in for something rarely seen before in American film. Playing the transsexual Bree, who is getting ready for the final gender reassignment surgery that will complete her transition to true womanhood, Huffman creates a character who isn't terribly interested in gender politics but just wants to be allowed to live on her own terms. As such, it's a brave and tough piece of acting - a woman playing a man aching to become a woman - that truly breaks barriers. Unfortunately, there's a lousy movie wrapped around her that one must suffer through to see her.

Conceived by writer/director Duncan Tucker as the kind of wacky road movie being churned out by Sundance-grubbing indie studios about 10 years ago, Transamerica has a strong conception of Bree's character but little idea of what to do with it. Living in a small, rundown house and working two jobs to save money, Bree puts all her hopes and dreams into her long-awaited surgery, doing everything she can to convince her therapist (Elizabeth Peña) that she's ready for the change. All that gets put on hold, though, when she finds out that a relationship she had back when she was still living as a man resulted in a child, Toby (Kevin Zegers, hardly up to the task), now a teen runaway calling from a New York jail looking for his dad. Since her therapist won't consent to the surgery until she deals with her past, Bree hops a plane to New York. That's where the road trip comes in.

Continue reading: Transamerica Review

Transamerica Review


Grim
From the moment that Felicity Huffman comes on screen in Transamerica, with her rumbling voice and the cloistered manners of a 1950s housewife, it's apparent you're in for something rarely seen before in American film. Playing the transsexual Bree, who is getting ready for the final gender reassignment surgery that will complete her transition to true womanhood, Huffman creates a character who isn't terribly interested in gender politics but just wants to be allowed to live on her own terms. As such, it's a brave and tough piece of acting - a woman playing a man aching to become a woman - that truly breaks barriers. Unfortunately, there's a lousy movie wrapped around her that one must suffer through to see her.

Conceived by writer/director Duncan Tucker as the kind of wacky road movie being churned out by Sundance-grubbing indie studios about 10 years ago, Transamerica has a strong conception of Bree's character but little idea of what to do with it. Living in a small, rundown house and working two jobs to save money, Bree puts all her hopes and dreams into her long-awaited surgery, doing everything she can to convince her therapist (Elizabeth Peña) that she's ready for the change. All that gets put on hold, though, when she finds out that a relationship she had back when she was still living as a man resulted in a child, Toby (Kevin Zegers, hardly up to the task), now a teen runaway calling from a New York jail looking for his dad. Since her therapist won't consent to the surgery until she deals with her past, Bree hops a plane to New York. That's where the road trip comes in.

Continue reading: Transamerica Review

Table One Review


Terrible
Bad idea: Make a comedy with nothing but loser guys and no real female parts. Lots of people are gonna line up for that one (Jackass excepted).

The wafer-thin story here, about the misadventures of a group of guys who somewhat foolishly invested in a bar/restaurant and hang out there every night in the hopes of impressing the ladies. Needless to say, they impress no one and end up the same losers 90 minutes later.

Continue reading: Table One Review

Last Exit to Brooklyn Review


OK
A little meandering, a little lost, and a lot grim, Uli Edel's cult classic tells a handful of stories against the backdrop of World War II and massive corruption in New York City. The centerpiece of the story is a hooker/conwoman (Jennifer Jason Leigh in an infamous role) who falls in love with one of her customers, an army guy who's about to ship out. Her personal struggle with detachment and her horrific past (and inevitable future) make the rest of the film -- which features rioting and a somewhat out of place vignette about one character's hidden homosexuality -- fade away.
Burt Young

Burt Young Quick Links

News Pictures Video Film RSS