When Attila Korosi gets ahold of the film noir tradition, it comes alive in Live and Die in East LA. Beginning with a caterpillar animation, he lets his aud know there is more to the thrills and violence than usual. He adds the figurative value of showing that drug-dealing and murderous dreams can lead to a moth rather than a butterfly.
As his self-named character, Attila, he leads a band of sometimes dense, and in the case of his sister, Anita, just rebellious, relatives and friends into a labyrinth of drug-dealing to rescue her and learn enough to stay out of trouble for a lifetime.
Despite the gritty hell they descend into as they violently try to survive in a deal that will free Anita, Attila amazingly keeps his crew in a more-or-less benign state because next to the skin-headed, tattoo'd bad boys, they do look like angels. In their misguided sense of righteousness, they are nonetheless canny enough to avoid being murdered, in most cases.
One of the blessings of Live and Die is that unlike in other noirs, Korosi has dialogue that can be heard and shots that can be seen. He has not given into the figurative dark shots and mumblecore speech that often robs the aud of seeing and hearing each frame.
As Korosi marches toward success in the independent, thriller mode, he may very well branch off into the more romantic thriller motif, carrying his caterpillar into the butterfly stage, of say, Affleck's The Town or McDonagh's in Bruges. In any case, he has an independent wi8nner in Live and Die in East LA.
As his self-named character, Attila, he leads a band of sometimes dense, and in the case of his sister, Anita, just rebellious, relatives and friends into a labyrinth of drug-dealing to rescue her and learn enough to stay out of trouble for a lifetime.
Despite the gritty hell they descend into as they violently try to survive in a deal that will free Anita, Attila amazingly keeps his crew in a more-or-less benign state because next to the skin-headed, tattoo'd bad boys, they do look like angels. In their misguided sense of righteousness, they are nonetheless canny enough to avoid being murdered, in most cases.
One of the blessings of Live and Die is that unlike in other noirs, Korosi has dialogue that can be heard and shots that can be seen. He has not given into the figurative dark shots and mumblecore speech that often robs the aud of seeing and hearing each frame.
As Korosi marches toward success in the independent, thriller mode, he may very well branch off into the more romantic thriller motif, carrying his caterpillar into the butterfly stage, of say, Affleck's The Town or McDonagh's in Bruges. In any case, he has an independent wi8nner in Live and Die in East LA.