Connianatu How wonderful it is to see this fine actress carry a film and carry it so beautifully.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

ElMaruecan82 "The Funeral" is a mind-blowing experience that demands a particular patience.In fact, you don't need the patience to 'get' it, but to try to put yourself in the shoes of men who're nothing but criminals. But as criminals as they are, they are stuck with this last ounce of humanity giving a meaning to their lives. So let's get this straight, if you're among the kind of cinematic fans with a particular revulsion towards gangsters, this film is not for you, all it will inspire is the kind of demagogic comments such as "good riddance, all these low-life bastards deserve their fate". But if you're interested by the torments invading the souls of these underworld humans, prepare yourself for a disturbing and dark journey into Mafia's hearts of darkness.It's interesting that the central character is played by Christopher Walken, the actor had always an extraordinary combination of mental instability and charismatic aura in his eyes, the kind of man you don't know if it's safe to approach or to avoid him, in both cases, you respect and fear him. But now, we're in this man's soul at a pivotal moment in his life, when he's trying to determine, during the funeral of his brother Johny (Vincent Gallo), not what the meaning of his life is, but how he can live with himself with his personal idea of justice and the satisfaction to do something ethical. Yeah, I see where you're coming from, how can I ever use the word 'ethic' for criminals? Well, ethics refers to a code, to some behavior that doesn't necessarily take the law as a reference, and from that point, anything is debatable. And when the movie says anything, it sure means it, as even God is concerned.Although the movie is set during Catholic funerals, the first thing that strikes is the amount of blasphemous rants during the discussions. These men don't believe in God, but they don't sound atheists, it's just as if they had a proud reaction over a religion that casted them out anyway. So if they haven't been touched by the divine grace, which could have inspired them to be good people, so why do they have to blame themselves? If everything is due to God, why should they feel guilty? And now, if it all is a matter of free will, and decision, then what makes their acts more condemnable? Any idea of justice is no better or no worse than another … the thought-provoking script invites us to feel an existential empathy toward these men, as if it tried to explicit all the dilemmas that fill the heart of criminals. After all, they have hearts, haven't they? To label them as only cold-blooded murders is another trick to avoid questioning our own approach to evil.But whatever rationalization it tried to inspire, the counterpart of this thinking relies on the female characters, the wives, who endure the machismo of their husbands and try to figure what the purpose of all this is. Why and how have criminals, killers, fooled them? Some scenes between Annabella Sciorra and Isabella Rosselini suggest a sort of female bonding, as a reactive defensive process from the kind of fusional relationship between the brothers Christopher Walken, Vincent Gallo and Chris Penn -Rest in Peace, Chris, this was your finest performance as the most mentally instable of the three brothers- Never voyeuristic, these scenes of female intimacy where the discussions are intelligently combined with great metaphysic references, translate the lack of morality and belief innate to that cruel male world, and how it can hardly be expressed except in the confinement of a little bedroom. The whole confinement of "The Funeral", in its setting, is crucial here. There is a cloud of lucidity floating in the air, as if the film trusted our intelligence, by not showing men trying to find excuses, but on the contrary, men extremely lucid about their fate. This is what the whole claustrophobic setting of the film is about, it's an extrapolation of the coffin, symbolizing the whole fate of the family in microcosm. These men are in a dead-end, and they know it damn well. During a heart-breaking scene between Chris Penn and a young prostitute, refusing to deprive her from her innocence, he pays her for not having sex, she asks for the double to have sex with him, provoking an incredible outburst of rage. She'll get paid twice the price then pushed against the wall and assaulted as a punishment for having sold her soul to the devil. This scene brutally reflects these men's understanding of their own conditions : they sold their soul, they know they'll never see the paradise. In other words: their lives are only a suspended sentence to hell. They don't believe in God, but they don't deny His existence either.So, when it can't get any better, the best you can do is to make it better according to your own codes. And this is the constant disturbing feel of the film, men trying to act according to their sense of justice, their morals, trapped between their humanity and their evilness. Again, Abel Ferrara doesn't invite us to feel empathetic toward gangsters, as sometimes, the movie indecently flirts with some stereotypes to better remind us, the world lying beneath that sober and familial atmosphere. "The Funeral" reflects the affection of true funerals : a profound introspection in order to understand the value of goodness and humanity, because once you put your foot in the dark side, you can't go back, and it doesn't try to fool you with a sort of quest of redemption bullshit. They're grown-up men, and their life IS dead-end. To a point you wonder if the title "Funeral" refers to one man or three souls. "The Funeral" is an extraordinary, dark and disturbing journey, that will simply wow you at the end … so you better get ready.

Lucien Lessard Giovanni "Johnny" Tempio (Vincent Gallo) is murder in front of a movie theater, since he is the youngest of the three brothers. His older brother Raimundo "Ray" Tempio (Oscar-Winner:Christopher Walken) and his second brother Cesarino "Chez" Tempio (The late Chris Penn) are powerful gangsters. While the funeral is done at Ray's home. Both Ray and Chez are having flashbacks of their late brother and their troubled past. While Ray is trying to find Johnny's killer and finding an reason, why he was murder. While Chez is going through his own personal hell.Directed by Abel Ferrara (Bad Lieutenant, Body Snatchers "1994", King of New York) made an fascinating, moody, gangster drama with fascinating performances by Walken, Gallo, Annabella Sciorra as Ray's Wife, Isabella Rossellini as Chez's wife, Oscar-Winner:Bencino Del Toro as Gaspare Spoglia and especially Penn as a deeply troubled and ill-tempered Chez. Although "The Funeral" is flawed in places. I hate to admit this but Gallo certainly has an tough time playing the corpse at the funeral. Especially when Ferrara uses close-up of the actor... his eye-lids moves! Also towards the ending, there's another actor, who has an tough time playing an corpse as well! DVD has an decent Pan & Scan (1.33:1) transfer but the DVD has some digital images problems. DVD has an good Dolby Stereo 2.0 Surround Sound. The DVD is from "Three Films Gangster Collector's Set". "Abel Farrara's The Funeral" is with two another movies on the DVD. Which they are "The Last Days of Frankie the Fly" with the late Dennis Hopper, Daryl Hannah, Kiefer Sutherland and Michael Madson. The other film is "The Immortals" with Eric Roberts, Tia Carrere and the late Tony Curtis."Abel Farrara's The Funeral" is close to being an great movie but i will admit it, it's a very good movie, despite some flaws keeping this picture from being an masterpiece. The late Penn gives the strongest impression on the film with his impressive performance, it is certainly the best i seen from him. Other cast members like Walken, Sciorra, Rossellini, Gallo and Del Toro have their moments. If you haven't seen "Abel Farrara's The Funeral", don't miss it. Written by Nicolas St. John (The Addiction, China Girl, Ms. 45). Which St. John has written some of Farrara's best work as a filmmaker. Sciorra is one of the associate producers of the feature. (****/*****).

buchass Great, and a unusual mafia/gangster movie. Full of excellent actors, like Christopher Walken, Vicent Gallo, Anabella Sciorra, Isabella Rossellini and the phenomenal Chris Penn, with a monstrous performance which make him win "Best Actor" Venice great prize. Once again this film is about limits and the madness of the human mind, the character Chez (Chris Penn), it an ambiguous, and unbalanced persona, that it explode in fury and anger, crying all the time, in total despair. Once more, Abel Ferrara shows us an unexpected and brutal film climax. A must see, for all Ferrara's fans. If you like this one, i recommend: "Godfather part- 1 and 2".

jszaniaw I remember going to see 'The Funeral' when it first came out. It stirred me as a film featuring extremely compelling -- and extremely non-compelling elements alike. The acting is fabulous, and each scene in that sense and taken from that perspective is a gem. It's filmed theater, though, not really traditional film acting per se. Every actor does their spiel at one point or the other. Chris Penn might be the most memorable in his boisterous impersonation of a psychotic mobster, but really it's probably Annabella Sciorra and Chris Walken who deliver the most impressive performances. Apart from that, the film truly feels half baked (not always without charm, though): Ferrara is notorious for not being always on top of his storyboard, and one can tell here, definitely, especially since the cinematography is rather ugly and uninspired. The script feels more like a play, really (and save for a few outdoor scenes, the film could have been a play, perhaps with greater success), with long, overwrought dialogue which linger in mind nevertheless. So, all in all, 'The Funeral' might not be a very good film (it actually features a few very weak scenes), but at its best, it is truly memorable, and I guess that's why we like Abel Ferrara: regardless of how bad his films can be, they always have something to deliver.