What it’s about?: Based on the eponymous book by Bryan Burrough, Public Enemies chronicles the exploits of legendary Chicago gangster John Dillinger, a dashing figure whose daring bank robberies both captivated and alarmed a Depression-era America devastated by widespread financial ruin. Director Michael Mann (Ali, The Insider) begins his narrative at Dillinger’s career high-point, with the Indiana-born outlaw basking in his celebrity status as a Robin Hood figure.

But with Dillinger’s growing fame comes increased scrutiny from law enforcement agencies – particularly the Bureau of Investigation (the precursor to the FBI) and its ambitious chief, J. Edgar Hoover. Eyeing Dillinger’s capture as an opportunity to boost his agency’s profile, Hoover tasks elite agent Melvin Purvis with bringing the elusive gangster to justice.

Who’s in it?: Toning down the often cartoonish mannerisms he exhibited in Sweeney Todd, Charlie and the Chocolate Factory and the Pirates of the Caribbean trilogy, Johnny Depp exudes low-key charm and self-assuredness as Dillinger, a man clearly amused by his celebrity status but never consumed by it. Dillinger’s audacity and fearlessness extend beyond the criminal realm, too, as evidenced when he pursues a beguiling coat-check girl named Billie Frechette (Marion Cotillard). Initially appalled by Dillinger’s aggressive advances, Frechette ultimately surrenders, becoming his loyal companion during his final days on the run.

As lawman Melvin Purvis, Dillinger’s primary antagonist, Christian Bale provides a nice foil for Depp, though he ultimately isn’t allowed enough screen time to fully develop his character. Bale’s Purvis is straight-laced, intrepid and doggedly persistent, his efforts continually stymied by the sub-par talent and resources at his disposal. His complicated relationship with highly eccentric Bureau boss Hoover (played by a gleefully uptight Billy Crudup) begs for more development, but director Mann opts instead to focus more on the doomed love affair between Dillinger and Frechette. Pity.

What’s good?: Fans of Mann’s action work in films like Miami Vice and Heat will revel in Public Enemies’ elaborately staged shoot-out sequences, each of which is lent added intensity by cinematographer Dante Spinotti’s use of high-definition digital video cameras.

But when the bullets aren’t flying, Public Enemies is only intermittently interesting. Stars Depp and Bale both excel in their respective roles, but neither is allowed much room to venture beyond the tight constraints imposed by Mann, who clings stubbornly — and disappointingly – to type. Much more intriguing would have been for Mann to reverse the casting, with Bale playing the anti-hero and Depp as his straight-arrow pursuer. Alas, the director who convinced squeaky-clean Tom Cruise to play a villain (in 2004’s Collateral) was not so ballsy this time around.

What’s bad?: The same cautious, predictable approach to casting extends to the film’s tone as well. Rather than deconstruct our culture’s romanticized vision of Dillinger as a handsome populist hero, Mann adds to the gangster’s puffed-up Robin Hood image, photographing Depp lovingly at every turn and filling the story with unsubtle nods to the character’s altruistic side. It’s a missed opportunity.

Mann has never been one for brevity, regularly churning out films that extend well beyond two hours in length. Public Enemies is no exception, clocking in at nearly two-and-a-half hours. Despite the ample running time he’s allotted to flesh out his story, Mann fails to create any real attachment to his characters. For a movie with such a gifted cast, appealing subject matter and riveting action sequences, Public Enemies is oddly boring.

Favorite scene?: A chaotic nighttime sequence in which Purvis and his crew ambush Dillinger’s forest hideout, only to become mired in a protracted and bloody gunfight, ranks with the very best of Mann’s action work. If only the rest of Public Enemies were this thrilling.

Netflix or multiplex?: Spinotii’s superb camera work demands to be seen on the big screen, so slam a few Red Bulls and catch this one at the multiplex.

Bottom line: Hollywood.com rated this film 3 stars.

What it’s about?: Writer/director Woody Allen chose to remain behind the camera for Whatever Works, employing Larry David as his muse. The Curb Your Enthusiasm star plays a cranky pessimist who becomes the initially unwilling husband to a much, much younger Southern girl with a father fixation. But when her conservative mother arrives, all hell breaks loose as Mom tries to drive her daughter away from the old guy and toward a younger model. But New York City has a strange effect on everyone, and soon everyone in this very disparate group learns the best things in life are really “whatever works.”

Who’s in it?: Forgoing the umpteenth opportunity to play the May/December romance bit again, Allen turns over the starring role to David in an inspired bit of casting about which it’s simply impossible to curb your enthusiasm. David, given hilarious monologues that riff on life and border on a constant stream of doomsday analysis, is perfect casting in Allen’s peculiar New York world. What’s most surprising is he actually creates a three-dimensional character we grow to care about, even though the flow of one-liners rarely stops. As the super-conservative Southern yokel mother-in-law, Patricia Clarkson is equally at home in Allen’s universe and takes the stereotypical role into unexpected places. As the innocent ex-beauty queen who bounces into David’s life, Evan Rachel Wood practically channels a backwoods Tammy persona, but somehow it works well enough for us to believe she could actually fall for such a cranky old man. Also of note is Ed Begley Jr.’s terrific turn as her pious father and estranged hubby of Clarkson who shows up near the end and defies all convention.

What’s good?: After a sojourn abroad, first to England for his expert thriller Match Point and the less successful Scoop, then to Spain for last year’s delightful Vicky Cristina Barcelona, Allen returns triumphantly to his New York roots for the first time since 2004’s Melinda and Melinda. Despite the absence, he hasn’t lost a beat when it comes to his very singular view of the Big Apple and its inhabitants. Casting David was the masterstroke that makes this one stand out as one of the prolific Allen’s (he turns out a film a year) most consistently amusing works in some time.

What’s bad?: Whatever Works is very slight and feels more like one of the comedian’s New Yorker short stories than a fully fleshed-out motion picture. But when you’ve got this kind of sharp dialogue and these performers, it’s hard to quibble about substance.

Netflix or multiplex?: Whatever works for you, but if you’re a Woody Allen or Larry David fan, it’s a must wherever you see it.

Bottom line: Hollywood.com rated this film 3 1/2 stars.