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All Critics (17)
| Top Critics (10)
| Fresh (14)
| Rotten (3)
Corrente's handling of class divisions (one of the heroes starts seeing a Brown University senior he sells cocaine to) and the body language of the performances keep things fresh.
Producer-director-scripter Michael Corrente manages to bring freshness to basically derivative material in Federal Hill, thanks to a number of excellent performances and some evocative black-and-white images of a world he knows intimately.
Federal Hill is lively and likable, a first film with the kind of swift action, clever dialogue and clear-cut characters that suggest an expert director's touch.
Federal Hill has sincerity on its side and a fair degree of authenticity.
There is nothing terribly different or exciting about what he shows us; the film is gripping in a conventional, formulaic way.
With the possible exception of utilizing an atypical location (Providence, Rhode Island's Federal Hill as opposed to New York City or Long Island), there is little in this film that hasn't been done before, and better.
Federal Hill is like Scorsese's Mean Streets of Rhode Island, with the same focus on male camaraderie, its merits and its price.
There are lots of admirable things about Federal Hill, starting with Richard Crudo's sparkling black-and-white cinematography
What sets this film apart is authenticity.
As a first film this low-budget, semi-autobiographical crime film is polished and has some interesting moves that make the familiar aspects seem a little fresher.
The movie has a good ear for the way the characters talk, dress, move and live; it's another Italian-American slice-of-life, well acted and directed.
Though Corrente, who wrote, produced and directed this debut feature, displays a sure, confident hand, his style and sensibility aren't singular enough to make this collection of behavioral details feel original.
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