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Answer: I will never forget the night I saw this movie. We were on a submarine on patrol in the North Atlantic and this was the scheduled movie of the evening. We ALL gave up after the second reel. They did not even try to show it at the mid-night showing. Opting for a rerun instead...... This is all I really have to say but they have this stupid rule that my comment must contain ten lines. I'm not supposed to pad the comment with random words so I will just continue to ramble until I get my ten lines of BS. I could not find George Goble listed in the credits but I remember him in the movie. The sining was terrible and the songs even worse.

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Answer: Why Panic never got a good theatrical release is easily seen: it's much too smart, and audiences would have probably had a difficult time with it, comparing it to American Beauty in its probing of a midlife crisis, and Sopranos and Analyze This in it's study of illegal goings-on amidst family life. Though Panic may seem to derive from unoriginal material, Brommel's lifelike characters coupled with deft dialogue and observant direction make the film a realistic look at the undoing of a middle aged man.

William H. Macy stars as Alex, a hitman who works for his father's (Sutherland) contract-killing business. He leads a double life, with his wife (Ullman) and son unaware of his real trade. In his middle-age, he becomes increasingly disgusted with what he has done all his life. Under his calm, collected facade stirs repressed resentment for his father's controlling grasp on his life. When he meets a young woman(Campbell) he feels invigored and decides it's time to quit the family business.

The fact that writer/director Henry Brommel decided to make the profession his main character was trying to break away from contract-killing is disposable. He could have easily substituted it with any undesirable profession; his characters are so well-developed and believable, scenes handled so smoothly and realisticly and dialogue written so insightfully and naturally that the focus falls on Macy's conflicted character rather than his job as a hitman. Brommel's script feels like a Shakespearean tragedy, with a definite theme of destiny running throughout.

In Alex, Macy creates a tragic, easily sympathetic character, and turns in yet another brooding, great performance, as can always be expected. Donald Sutherland is also effectively abrasive and abusive as his overbearing father, and Ullman's dramatic turn as Macy's wife is a welcome change for the comedian. Consider a scene in a bicycle shop, where her mood subtly darkens and peaks in an affecting scene of emotional confusion.

Henry Brommel's first feature, Panic is a film that is well-crafted in its sincerity. With a first-rate cast, a plausible script, terse dialogue, and nice direction, this character-study is hopefully just a taste of Brommel's aptness for creating characters that seem real.

8 out of 10

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The Sopranos stands out as an airtight, dynamic exploration of American life, and how the American experience is shaped and defined by money. By setting the story in the milieu of the underworld, David Chase eliminates all barriers to a grunt, low to the ground and outright mean deconstruction of the post-modern era.

Every character represents a facet of American industry. Tony Soprano exemplifies the beleaguered working stiff, torn between familial duty and a need to keep his "business" on an even keel. The convergence of these two things is the imperative that keeps the story moving forward. The characters of Christopher, Paulie, and Bobby reflect the loyal - but self-serving underlings present in every enterprise, who are trusted out of necessity rather than merit. With the character of Ralph, Joe Pantoliano essays a brilliant interpretation of the charismatic psychopath, a twisted businessman who's flourishes of violence are tragically outweighed by his stunning earning power. And Dominic Chianese is the ultimate symbol of the antiquated old-guard, which maintains power through established relationships and the need of the up- and-comers to deflect blame.

Though abrasive and occasionally disturbing, The Sopranos has earned its place as the ultimate TV drama.

PS A good companion piece to Chase's series would be The Shield, another violent drama that manages to make the ugliest of characters interesting.