“DeNiro is good here, in a role that perhaps offered some small inspiration. My impression is that he feels he’s paid his dues, and his attention is now involved in his Tribeca activities. He still has his power when he chooses to use it.”
- Roger Ebert (from his review of Killer Elite)
CTG: Pretty much sums it up. I was blown away when I saw ‘Stone’ and realized DeNiro never lost it. He just chooses when to flash it.
The Unrecognized & Overlooked: Entry #5 – ‘Stone’ (2010)
Most people will read this and feel that it’s a bit too early to label a film “unrecognized” when it was released a few mere months ago. Normally, I would completely agree. Stone is the exception to that rule. This film is so raw in its power, and contains such terrific performances, that its exclusion during last year’s Oscar season befuddles me. Stone is a staggering experience. In order to try and understand the film, the first question that must be asked is this: What is it about? Is Stone a neo-noir about manipulation and inner demons? Is it a parable about spirituality and the uncertainty associated with it? Or is it simply a character study about four deeply flawed people crossing paths? Truthfully, Stone is all of these things, and it works on so many levels that I almost feel the need to re-watch it before I continue this entry.
Stone opens with one of the most powerful prologues I have seen in sometime. Like the opening to Inglorious Basterds, this sequence could stand alone as its own short film. That being said, its significance to the narrative cannot be overstated. The main thrust of Stone takes flight when we are introduced to the title character.