A solid drama, meticulously made with a first rate performance by Depp as Dillinger

Rating: 9/10 (7 April 2013)

Led by a first rate controlled, confident but restrained performance by Depp in the lead role, film-maker Michael Mann has crafted another excellent crime drama, albeit its rather restrained and detached nature means that it doesn't quite reach the heights of involvement that a viewer gets with some of Mann's previous outings such as Heat, The Insider and Miami Vice. However, the film is so well made, the script so well put together, and performances so impressive, that it keeps you engrossed even though the ending, based on real-life history, is known from the outset.
All key performances are universally impressive, most notably Depp as Dillinger, Bale is nascent FBI lawman Purvis, and while virtually other performances are spot on, there also has to be mention of some excellent performances in smaller parts by Billy Crudup as J Edgaar Hoover, Peter Gerrety as the lawyer Louis Piquett, and Stephen Lang as Agent Winstead (he previously worked on Mann's Manhunter). However, Oscar winning actress Marion Cotillard's performance is not as good as those around her. It's not bad, it's just it feels less involving than the other performances in the cast.
As usual technical credits for the film are generally excellent. Regular Mann director of photography Dante Spinotti frames the shots well, certainly the action sequences, which have Mann's trademark slickness and panache, but are also very grounded. However the use of filming this particular story with digital cameras I found an interesting one, as it can occasionally feel unusual to have the video look in what is a period film. Dark Knight production designer Nathan Crowley creates a fine look to the proceeding, and editing is also slick yet subtle.Composer Elliot Goldenthals score is effective if low key, with the focus being on the effective integration of appropriate period music.
Michael Mann orchestrates proceedings with his usual skill. However there is one fault in the film that prevents it from achieving greatness. Despite being very well made, the balance between a realistic portrayal of the characters and getting the audience involved in their personal journey was definitely weighted towards the former. While there was probably as much apathy towards the police as gangsters in that time period, albeit there was something of a folk hero persona around Dillinger, it is interesting that the film takes a neutral stance on this, which rubs off on an equally neutral portrayal of Purvis and his team, and does rob the film of a genuinely interesting personal story to invest in emotionally.
Nevertheless, it's a meticulously well-made and impressive film.