I don't have all the words right now but this film is a work of art.

hyped garbage

Admirable film.

By the time the dramatic fireworks start popping off, each one feels earned.

A crooked American businessman tries to push the shady influential owner of a nightclub in Newcastle, England to sell him the club. The club's new employee and the American's ex-lover (Melanie Griffith) fall in love and inadvertently stir the pot.The production was initially a low-budget project funded by Channel 4 and British Screen. When the film attracted American financing, it was suggested that the film be recast with American actors. Both Melanie Griffith's and Tommy Lee Jones' careers were in a dip at the time, and they agreed to take parts at a lower fee. Griffith never fully recovered, though Jones still had bright years ahead of him. Interestingly, some people who auditioned but failed to make the cut were Tim Roth and Kyle MacLachlan. Ultimately, the film was financed for less than $2 million by Atlantic Entertainment Group, perhaps best known for "Valley Girl" or "Night of the Comet". This would be one of their final films.The DP is the legendary Roger Deakins, who had worked with Figgis on his prior made-for-TV film "The House" (1984). Aside from the bigger names in the cast, it is Deakins who elevates the film from a low-budget independent to the big-looking film it is. The use of neon lighting and visual references to the classic paintings of Edward Hopper are evident. Allegedly, the Coen Brothers made Deakins their regular DP after seeing his work on "Stormy Monday". (As of 2017, Deakins has been nominated for 13 Oscars but has not yet won.)Figgis is a musician, which explains his inclusion of so many musical situations. A jazz club is central to the plot, but it not just exists in the background... the music is very much an important part of the film, almost a character in itself. The soundtrack is some of the finest jazz and blues, and even the film's title is taken from a T-Bone Walker song, "Call It Stormy Monday (But Tuesday Is Just as Bad)", which plays over the credits.Writer-director Mike Figgis continued to make films, though other than "Leaving Las Vegas" (1995) and possibly "Internal Affairs" (1990) he has never really been seen as an A-list director. Is it time for critics to start looking at his career again? With this release, cinephiles can get a better handle on a less-celebrated director.The Arrow Video Blu-ray is not packed, but is comfortably filled with some bonus material. We have a very informative audio commentary with Mike Figgis, moderated by critic Damon Wise. The commentary humorously mentions how Christopher Walken was in the running for the Jones role, but he was too terrifying. There is a new video appreciation by critic Neil Young, including a "then and now" tour of the film's Newcastle locations (33 minutes). This is a must-see, putting the film in the proper context of the geography, time period (including the 1970 corruption trial of mayor T. Dan Smith) and its relation to the Mike Hodges' film "Get Carter" (1971).

Cosmo (Tommy Lee Jones) is an American businessman with lots of connections, most under the table, who arrives in Newcastle on Tyne to seal deals. The celebration of "America Week" in England announces the malling of Great Britain as American monies of dubious sources invaded while the Thatcher government turned its head. Into this cesspool, Kate (Melanie Griffith) a local waitress and formerly an "escort" for Cosmo is recruited to play nice to business associates he sends her way. Rolling over the small business owners like Finney (Sting) a jazz club owner, Cosmo has no qualms about getting what he wants whether by legit or illegitimate means.A sub-storyline to the economic takeover by Cosmo is the love story between Kate and Brendan (Sean Bean), an Irish laborer who cleans toilets in Finney's club, but over hears the plans of two London seedy types who discuss how to make sure Finney sells the Kit Kat Klub to Cosmo. After informing Finney of their intentions, Brendan's loyalty is rewarded by his elevation to a go-for babysitting a progressive jazz band, the Krakow Jazz Ensemble who need to be picked up at the airport for a weekend gig. While Brendan carts the band around town, he falls in love with Kate. During their time together, Kate and Brendan are jumped and beaten by the roughs who surround Cosmo. The drama is predictable until a surprise twist and unexpected negotiation change the dynamic, and saves the film.The story line entwine to provide worthwhile entertainment for an hour and forty minutes, and the actors all provide solid performances. The soundtrack is a nice mix of 80s Brit sounds and cerebral jazz tunes with Sting doing a solo bass bit mid-film although he does not sing. Tommy Lee Jones is wonderful with an evil yet subtle humor to his business dealings and the sight of a young, buff and naked Sean Bean is delightful.A good afternoon film for a rainy day, if only for the performances by actors not usually cast together, and for director, Mike Figgis, an underrated early film worth checking out.

Sean Bean continually proves he is the best thing in any movie he is in, period. As "Brendan," and the most unknown actor in this flick, he turns in the only "real" performance in the film. You believe ever nuance of his character, a jazz buff, who is just trying to establish himself in Newcastle, England. He is the love interest of Melanie Griffith, and her partner in this story of a corrupt businessman, Tommy Lee Jones, and a tough nightclub owner, Sting. BEAN IS THE ONLY ONE WORTH WATCHING. Oddly enough, he is the newcomer in this film, but when he is on screen you are there, every second. Griffith, had the good sense to request him to play opposite her in the film, but the story is odd at best, but the young and perfectly stunning Sean Bean make this film worth the viewing. If memory serves me correctly, there was an actor's strike in America, and that is why this film has two big name U.S. stars. But they do not shine at all in comparison to the scene stealer in it, Sean Bean. Sean takes the movie completely away from the major stars in it, not by overacting, but merely by acting brilliantly and subtly. The man can break your heart and does, and his stillness on screen speaks volumes louder than all the "characterizations," of the other actors.

Believe it or not, i saw this movie when it first came out on video around a decade ago. While i remember Sting and TL Jones, i had NO idea that Sean Bean was is in it! Since Ive now joined the loyal club devoted to him, i was happy to find it on DVD. Must say first that this movie has held up extremely well to the test of time. Other than we notice how young the actors look, the plot has not aged. TL Jones as usual gives a masterful performance as the "bad" guy, but with a plaintive twist as one who just cant believe he cant get what he wants. Sting gives a restrained but polished performance (why i watched it all those years ago), and Mr. Bean is fantastic as the naive but determinedly loyal employee who has a heart. I would recommend this to all fans of his. The setting is gritty enough for the plot to be believable and is somewhat film noir. Other than a slightly weak start, it holds yr attention and builds to a tense finale successfully. The only thing i didnt like was the "american week" radio schtick... dont know, but somehow found it embarrassing. The DVD features are no great shakes, but then considering the age of the film, i wasnt expecting even a trailer (which you do get).