Fernando Mexia, the pen.

Would not recommend "Public Enemies" to anyone, even a good movie, the first of the year with a taste of Oscar. Has more than enough ingredients to seduce Review: a recognized and respected director (Michael Mann), an all-star cast (Johnny Depp, Christian Bale and Marion Cotillard), refined soundtrack and a script with memorable moments. However, the film about gangster John Dillinger story requires a patient viewer who enjoys role-playing sequences, long shots and silences appropriate. "Public Enemies" is a gangster film but neither has the atmosphere of "The Godfather" or the tune of "The Untouchables". It is a film of a bank robber in the least of which are the robberies, which are limited to a few minutes of action without prior introduction, without preparation. It's a film about the beginnings of the FBI, although the organization is in its infancy so it can not require a film of such investigations to which we are accustomed Hollywood.

"Public Enemies" is a deterministic story, sticking to the reality of events which occurred between 1933 and 1934 in the U.S. that the audience about the character of a Dillinger defiant and confident, not afraid to die, but he respected life. A gangster who took advantage of weaknesses in the system, new weapons of the time and cheaper new cars to rob the banks that caused the financial crisis of 1929 and plunged the U.S. into the Great Depression, one that reminds both the economic situation we live in today.

Mann's fans do not expect a duel of actors as in "Heat" or the thriller "Collateral" and "The Insider". Bridging the gap, the film is more like a pose "Ali" than "Miami Vice". It's a film about Depp and his ability to control their interpretive instincts in a moderately disturbed constrain Dillinger, possibly one of the most "normal" in the actor's career, as he himself admitted in the presentation of the film.

Depp is fine as "robin hood" of the underworld, short of excellence, but gives a couple of memorable moments. His forceful speech to win the girl (Cotillard) and an end without dialogue in which his eyes says it all.

Bale, however, a little disappointed. The followers of the latest productions of this actor is left with the desire to see the interpreter of Batman and Terminator developing a work that lent itself to more nuanced and remains in a police trainee Harry "Dirty" no private life, insensitivity forced and difficult identification by the viewer. Bale may LIMITI script to stick to his character, but it would be desirable greater immersion in Melvin Purvis, especially since their hunt for Dillinger ended up pushing him to suicide (not a spoiler, the data is in the history books) somewhat difficult to justify what you see in the film.

Stresses and appreciated the contribution of Cotillard, arguably the heart and the bitter candor of the film. Theirs were the main emotions, theirs the necessary feminine touch on a tape with too many tough guys and their final scene of those who love the lovers of the classics. I think Cotillard is back to a great height and it is not surprising that his work had the recognition of film industry.

The film was shot in HD and not film the express wish of Mann, who wanted to give a contemporary visual aesthetic to the story for the viewer feel that he was living an experience of 30 years and seeing a film at the time. Purists will miss the touch of film grain throughout life, though that does not harm the story. The more anxious may feel that the story gets longer meaningless, but who pays to see "Public Enemies" can rest assured that will not throw your money away.