[Extra Quality] Download Film Payback

Payback is a 1999 American neo-noir action thriller film[3][4]written and directed by Brian Helgeland in his directorial debut, and starring Mel Gibson, Gregg Henry, Maria Bello, and David Paymer. It is based on the novel The Hunter by Donald E. Westlake using the pseudonym Richard Stark, which had earlier been adapted into the 1967 film noir classic Point Blank, directed by John Boorman and starring Lee Marvin.

The film was shot from September to November 1997, in Chicago and Los Angeles, though neither city is referred to in the film. Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. Helgeland notoriously clashed with producer Gibson over Gibson's ideas for the film. After the end of principal photography, Gibson admitted that he was instrumental in having Helgeland removed as director before the film was released.[5] A script rewrite by Terry Hayes was ordered. There was initially some uncertainty on who directed the reshoots, with some sources claiming it was the production designer John Myhre.[6] However, Paul Abascal has stated on his website that he in fact directed the new scenes.[7] The new director reshot 30% of the film.[8] The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.[9]

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Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.[11]

Payback was well received at the box office. The film made $21,221,526 in its opening weekend in North America. It eventually grossed $81,526,121 in North America and $80,100,000 in other territories, totaling $161,626,121 worldwide.[2]

Roger Ebert gave the film a three out of four stars, writing in his review: "There is much cleverness and ingenuity in Payback, but Mel Gibson is the key. The movie wouldn't work with an actor who was heavy on his feet, or was too sincere about the material."[15]

There are also action gags involving severed gas lines on a car, a trick telephone, blackmail by cell phone, kidnapping, and a scene in which Porter comes closer than anyone since James Bond to being killed crotch-first. The film also contains a hooker with a heart of gold (Maria Bello), a two-timing dame (Deborah Kara Unger), a laconic cop (Bill Duke), a big mobster (Kris Kristofferson) and an even bigger one (James Coburn).

A rookie alderwoman from Evanston, Illinois, led the passage of the first tax-funded reparations for Black Americans. While she and her community struggle with the burden to make restitution for its citizens, a national racial crisis engulfs the country. Will the debt ever be addressed, or is it too late for this reparations movement to finally get the big payback?

Evanston, Illinois rookie Alderwoman Robin Rue Simmons led the passage of the first tax-funded reparations bill in U.S. history for Black Americans. What follows is grief and debate as she and her community struggle with the burden to make repair and restitution for its citizens, while a national racial and social crisis engulfs the country. Meanwhile, Texas Congresswoman Sheila Jackson Lee faces a 30-year battle to pass H.R. 40, a national bill to study reparations and make recommendations. Both women are met with racism and resistance, as well as help from allies and abolitionists within. Together, they pressure the government to deliver monetary justice and appropriate remedies for Black Americans harmed by centuries of chattel slavery, state-sponsored terrorism, systemic injustice, and corporate exploitation. Will the debt ever be addressed, or is it too late for a reparations movement to finally get the big payback?

The film features interviews with political figures including Simmons and scholars on the subject, like Ta-Nehisi Coates, and community members who support reparations and others who remain skeptical.

The next trait refers to the source material and influences for the movies. Payback falls into the category of a crime thriller or crime melodrama[4] (DURGNAT), because many elements of these are present; mainly, that the plot centers on a robbery and its aftermaths, all involving stock characters and objects of the underworld, like gangsters, corrupted cops, prostitutes, dirty money, and murder. It is not surprising that the story depicts such brutal and gritty reality, typical of hard-boiled material, for crime is not something pretty, despite how entertaining or interesting it may be[5] (CHANDLER). And related to this is the fact that, just like many of the major or classic noir films, Payback happens to be an adaptation of a hard-boiled novel, one by Donald Westlake.

Besides sources and influences, both versions of Payback share technical traits that make up the visual and narrative style of film noir[6] (PLACE & PETERSON), but with different approaches for each aspect treated. The only couple of stylistic choices fully shared by the versions are those of varying camera angles (many oblique), and anti-traditional mise-en-scene.

Then lighting and color texture are the first differences that can be noticed between Payback and Straight Up. The former gets its tone set by the abundance of blue hues and other cool colors that match the cold-blooded nature of the characters, while the latter has more vivid colors but under low-key lighting consistent with the darker tone of the film.

Ultimately, analyzing and counterpointing Payback and Straight Up renders them as epitomes of how, despite variations and deviations, these circumstantial, technical, and thematic traits of the film noir style construct the noir film genre in our modern times.

Has anyone else notice how similar payback is to the movie I mean both the player and the main character where set up and where sent to jail while the player in Payback was forced to work for someone and they both include a mustang that has been slightly modified.

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Of course it does, filmmaker Jennifer Baichwal shows in Payback, a documentary that riffs on Atwood's themes. But crime doesn't always pay, and perhaps it will pay less well in the future. At least that's the suggestion made by the on-screen commentators who expand on Atwood's original theme.

Rees, photographed while bobbling in a kayak, says that humanity maintains an unpayable "ecological deficit." Because the number of people has surpassed the planet's carrying capacity, he argues, "capitalism has run its course." Executives at BP and Pacific Tomato Growers probably don't agree. In short, a businessman's "profit" is an ecologist's "debt." Until they agree which term is correct, payback will be impossible.

The film is essentially a one-dimensional revenge flick in the spirit of classics such as Straw Dogs, Cape Fear, and Mad Max. Payback, however, relies on quirky character development and dark, sardonic humor to make it stand out.

With friends like these, who needs enemies? That's the question bad guy Porter is left asking after his wife and partner steal his heist money and leave him for dead -- or so they think. Five months and an endless reservoir of bitterness later, Porter's partners and the crooked cops on his tail learn how bad payback can be.

An action-laden throwback to both film noir and the 1970s, Brian Helgeland's "Payback" offers a bone-rattling, guns-blazing good time. A revenge thriller with a tongue-in-cheek touch of humor and a teeth-jarring punch, the film rides its rock solid cast and pervasive sense of cool to explosively entertaining heights.

the donald e. westlake book is such a sturdy backbone for a bleak loner crime syndicate neo-noir it'd be kind of hard to fuck it up. unfortunately for this film boorman already turned it in with a much more effective, hypnotic style in Point Blank and a lee marvin performance so perfectly matched to it in terms of single-minde, lumbering, violent impulse that this being just a solid, conventional take isn't quite good enough. does however get a decent bump from its supporting cast (including bill duke and william devane!) and the nasty gunfights.

watched both cuts of this back-to-back, they're basically two separate movies that should be each considered on their own terms. theatrical cut is more hardboiled, action-packed and has a playful vibe, with gibson narrating and getting a lot more quips in against these shitheel badguys. director's cut is more emotionally restrained, grittier, more violent, with a brighter and higher contrast visual palette, and overall is closer in thematic presentation to the previous 1967 adaptation of this novel, point blank. one feels like a great pulpy 90s action-thriller, the other feels like an edgy homage to 60s/70s crime films. in my view, the theatrical cut is overall a more interesting package, and still retains the tight pace of the original director's cut while cutting out some needless domestic abuse scenes and a lackluster ending. stick with the theatrical, but the director's is an interesting curio. 006ab0faaa