Journey to the End of the Night (2006)

i must have seen a different film!!

Admirable film.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The pacing is good, the violence serves the plot, and is not over the top. The camera work isn't flashy, and distracting from the story. The lead female is absolutely beautiful, I've seen her else where, will look it up later.Action and gore folks stay away.....I wish there were movies made along this style these days......PS fellow reviewers, I don't think rehashing the whole story is needed.. That said, I felt very misled by some of the reviews here, I almost didn't watch the movie, glad I did. The Noir analogies made me want to give it a try.....Long live Noir........

Mos Def plays the Bob Cratchit clone, called Wemba here (on his own time, Wemba is studying to follow in Cratchit's footsteps as a bookkeeper, a dead giveaway of director Eric Eason's remake intentions). Wemba works as a dishwasher for brothel owner Sinatra, aka Rosso (Scott Glenn)--the Scrooge-like character. Sinatra gives Wemba a chance at a new life, if he can pull off the sale of a fortune in cocaine left behind at the brothel when the Mr. Fezziwig stand-in (The Russian=Johannes Sioberg) is gunned down in a murder-suicide by Mrs. Fezziwig (Carla Esposito here) in a tragic love triangle involving Sinatra's original drug mule, Baaba (Henry Babatunde Fadayumi). All Wemba need accomplish is to exchange the coke for the money-filled backpack of the Spirit of Christmas Past, aka Bosco Tang (Faroouq Olawale Sadia).Unfortunately, Sinatra's partner (the Jacob Marley character), his son Paul (Brendan Fraser), is still alive, and wants to get his hands on both the coke money and Fanny Scrooge, known here as Angie or the second Mrs. Sinatra (Catalina Sandino Moreno). Paul also believes he's the actual father of his step-brother Tiny Tim, dubbed Lazar (Luke Denis Nolan) in this retelling. In an effort to learn why Wemba is late returning to the brothel, Paul sends his personal thug Rodrigo (Milhem Cortaz, in the Undertaker role) to kidnap the Spirit of Christmas Future, the blind seer (Rui Polanah) to learn which way the cookie will crumble.Meanwhile, Wemba has made the exchange, but he's knocked unconscious by the two Collectors (designated as such in both the 1951 and the 2006 renderings). Fortunately, his cash pack is still at hand when the Spirit of Christmas Present--Monique (Alicia Braga)--comes to Wemba's rescue. Before he can return to the brothel, Rodrigo guns down Monique, as well as the clairvoyant's seeing-eye dog.Back at the brothel, Paul already has sliced open the face of this movie's Mr. Groper, the transsexual prostitute Nazda (Matheus Nachtergale), probably because Nazda had earlier snuffed out Baaba's life. The disfigured Nazda returns to Sinatra's office just after Paul has informed his dad he's confiscating all the drug money if Wemba ever returns. Nazda shoots Paul twice, Paul shoots Nazda once, and then Nazda puts two more bullets into Paul, blasting him to his death in the courtyard way below the broken-out office window. Nazda dies of his own bullet wound a moment before Wemba finally brings home the bacon. Rodrigo is hot on Wemba's heels, but Sinatra and Rodrigo exchange fatal shots, with the brothel owner bestowing his wife and money upon Wemba before expiring. The Seer looks on benignly as Wemba, Angie, and Lazar prepare to depart. Unbelievably, the Spirits have accomplished Wemba's transformation in a single night!While this remake was okay, I still am most partial to the 1951 version of A CHR!STMAS CAROL, aka SCROOGE, starring Alistair Sim in the title role.

This is an interesting work in the film noir/gangster genre. The story has to do with the bad blood between father and son, played out over one night in Sao Paulo. The tone and mood of the movie seem to reference many more famous, high profile films that deal with the same topic matter. This one seems very interested in stylization over telling a completely coherent story. And its this stylization that sets it above regular crime dramas. Bredan Fraser plays the loser, coke addicted son without any fear of looking bad. HIs performance is very emotional and wild. Not easy for any actor to pull off. His character is a villain without any morals. Made that way by his father, Scott Glenn, an initially likable, sympathetic sort, who, as the tale unravels, is not so nice a guy after all.By far, the film's hero, Mos Def (the only hero because everyone else is evil or not big enough to really know) gives a winning, career defining performance as a Nigerian immigrant who, out of loyalty to his employer, agrees to partake in a drug deal. The "raptor" gives a nuanced, thoroughly believable performance as wemba in maybe his best role as a film actor.The other big star of the film are the colors. The nighttime images and camera. It appears to be heavily saturated and grainy and apparently enhanced through the DI process. Cinematographer aficionados will surely want to see this for the interesting lighting.If the film has a flaw, I would cite an overall bleak and hateful tone of the script. Very anti- human being. The violence feels almost gratuitous with some shots of face slashing feeling too long or ultimately unnecessary. The squeamish will look away! But nothing very troublesome compared to the gore in the horror genre.Recommended to those who like dark material.

"Journey to the End of the Night" defies any instant classification. It touches on many genres and plays more like an amalgamation of films. The effect is wonderful and stirring and by the end of the movie you feel like you've been on an emotional roll-coaster. The plot is plain. Brendan Fraser is in love with his father's wife. He wants to run away with her and start over in a new country. Brendan has no respect for the old man because he is essentially a pimp -- (Scot Glen owns a nightclub where girls sell themselves). One night a man is "offed" in the club and leaves behind a bounty of drugs. Scot Glen and Brendan decide to sell the drugs rather than hand it over to the cops -- (Scot Glen has his own designs about starting over and getting out of the business). They enlist the help of one of their lowly employees (Mos Def) whom they know very little about. Only that he is Nigerian and that he can speak the same language of their buyer. Mos Def embarks on his mission which takes on a heroic, almost mythic resonance in one of the most humanistic, gentle roles I have ever observed. He progress is derailed by random violence which leaves him without his cell phone to call Scot Glen and Brendan Fraser (who now believe that Mos Def has absconded with the cash).Scot Glen in an act of desperation visits an old Fortune Teller to try to enlist his powers in finding Mos Def. Brendan Fraser begins to panic because his plan on getting away is beginning to unravel.Mos Def is rescued, as it were, by a beautiful young maiden (Alice Braga) who--because of a fight with her boyfriend--is lost in the world with no where to go.Mos Def and Alice team up for a heartbreaking and tragic passage back to the city. We see that despite some affinities there love is not to be. Meanwhile, back at the club Brendan Fraser stews over the missing drug mule, and begins to melt down. He confronts his father in brilliant "actorly" moment that redeems his character. We find through classic monologue why he is the way he is (And Fraser does some of his greatest work in this scene).The ending of "Journey to the End of the Night" borders on the fantastical and is wildly ambitious. Perhaps overly so and perhaps not entirely convincing. But no less great. The film is chocked filled with energy and passion, bloodshed, car chases, shoot outs, and moments of supreme gentleness. Not for the squeamish. This film is going to become a cult classic.