Month: May 2023

Today’s quick review: Con Man. At age 16, Barry Minkow (Justin Baldoni) starts his own cleaning business, borrowing heavily and using his knack for marketing to become an overnight success. As Barry’s lies and fraud propel the business to new heights, he brings in mafioso Jack Saxon (Armand Assante) as an investor. But when Barry’s crimes land him in jail, an older and wiser Barry (Barry Minkow) is forced to reevaluate his life.

Con Man is a crime drama based on a true story. Justin Baldoni stars as Barry Minkow, a precocious teenager with no qualms about bending the truth to get what he wants. Con Man is a credible account of how Barry made his fortune, beginning with an honest business and growing out of control as he tries to keep up with his rampant spending and limitless ambitions. Decent subject matter and a good lead set the movie off to a good start.

However, Con Man stumbles and falls halfway through. The first half of the movie is a modest but engaging story about a criminal’s rise and fall. The second half deals with Barry’s reform in prison and his life after he gets out. Instead of either an uplifting tale of redemption or a tragedy about recidivism, the movie splits the difference between the two, simultaneously playing up Barry’s successes and undercutting his inflated opinion of himself.

Con Man makes for a peculiar watch. The first half of the movie will appeal to fans of real-life crime story and tales of wealth and power. The second half of the movie suffers from an unfocused story and a bipolar stance on its main character. Con Man has the makings of a decent movie, including a veteran supporting cast in the form of Ving Rhames, James Caan, and Mark Hamill. But its virtues ultimately are not enough to outweigh its faults.

For a more amusing and more polished true story about financial fraud, try The Wolf of Wall Street. For a more interesting story about a con man, try Catch Me If You Can. For a quirkier story about a serial liar, try The Informant!. For a similarly ambiguous but more artfully constructed about a real-world criminal, try Molly’s Game.

[4.7 out of 10 on IMDB](https://www.imdb.com/title/tt6675400/). I give it a 5.5 for a good start and a weak ending.

Today’s quick review: Making a Killing. While Lloyd Mickey (Christopher Lloyd) was in jail, Arthur Herring (Mike Starr) and his brother Vincent (Jude Moran) held onto his collection of rare coins to keep them safe. But when Lloyd is released two years early, Arthur tries to sell the coins rather than give them back. When their conflict results in a murder, the state sends Orlando Hudson (Michael Jai White), a canny detective, to investigate.

Making a Killing is a crime drama about a murder in a quiet New Mexico town. Arthur and Vincent’s plan to cash in on Lloyd’s fortune and skip town goes to pieces when Lloyd shows up demanding his coins. Making a Killing tries to carve out a niche for itself as a tale of murder, betrayal, and intrigue. However, its plot hooks are weak and its delivery is flat, leaving it outclassed by a number of other movies.

Making a Killing has a hard time holding the audience’s attention. The slow pacing and indirect storytelling would work well with a more captivating mystery, but Making a Killing does not have the substance to back them up. The drama surrounding Lloyd is half-baked, the coins are not as interesting as the movie thinks, and even the plot twists later on are not worth the wait. The problem is compounded by flat acting and middling characters.

Give Making a Killing a shot only if you are a fan of the budget side of the crime genre. The movie has the ingredients of a tidy small-town mystery, but it does not deliver on that promise. Bits and pieces of an intriguing plot and the charisma of Michael Jai White are enough to make it watchable, but most viewers would be better off with one of the other movies in the genre.

For a more creative movie about a murder in a small town, try Cut Bank or Fargo. For a criminal plot set in a small town with more intriguing twists, try Shimmer Lake. For a more violent movie with a similar premise, try The Hollow Point.

[4.9 out of 10 on IMDB](https://www.imdb.com/title/tt6116568/). I give it a 5.0 for flawed execution of a mediocre premise.

“We’ll do better next time.” —Lester

Today’s quick review: Clay Pigeons. Clay’s (Joaquin Phoenix) life turns into a nightmare when his best friend Earl (Gregory Sporleder) kills himself as revenge for Clay sleeping with his wife Amanda (Georgina Cates). Clay covers up the suicide to avoid being charged with murder, only for Amanda to blackmail him into continuing their relationship. Their stalemate is interrupted when Lester Long (Vince Vaughn), a charismatic trucker, rolls into town.

Clay Pigeons is a crime thriller and black comedy that takes an offbeat premise and runs with it. From the moment Earl kills himself, murder follows Clay around, wrapping him in a web of lies as he tries to avoid taking the fall. The story is nicely tangled, putting Clay in a nearly impossible situation, and the movie is anchored by a pair of solid performances from Joaquin Phoenix and Vince Vaughn, two opposites tied together by shared secrets.

Still, Clay Pigeons has a couple of aspects that do not quite work. The plot relies on a couple of key coincidences to hang together, and movie does not give them the extra flourish needed to overcome the audience’s suspension of disbelief. Lester Long grows into an important character, a hedonistic foil to Clay. While Vince Vaughn’s performance nearly hits the mark, he doesn’t have quite the presence he needs to make some of his scenes work.

Clay Pigeons fits in comfortably with other small-town thrillers. Fans of chaotic plotlines, twisted characters, and a dash of the surreal will find that Clay Pigeons makes for an entertaining watch. Its subject matter will be a little too dark for some viewers, but those with a tolerance for death will find that it balances its tone well. Give it a shot if you’re curious.

For a similar type of thriller set in a small rural town, check out Blood Simple or Sweet Virginia. For one with a darkly comedic twist, try Fargo. For a thriller that takes some of the same ideas to darker places, try The Machinist or Nightcrawler.

[6.6 out of 10 on IMDB](https://www.imdb.com/title/tt0118863/). I give it a 6.5 to 7.0 for a fascinating plot with a couple of rough edges.

Today’s quick review: Shades. Dylan Cole (Andrew Howard), a volatile method actor, loses himself in his latest role as Freddy Lebecq (Jan Declier), a notorious serial killer. Drinking and lashing out on set, Dylan clashes with director Paul Sullivan (Mickey Rourke) over whether to portray Lebecq as a victim or a monster. It falls to producer Max Vogel (Gene Bervoets) to rein in Dylan’s antics and keep the production from going under.

Shades is a crime drama about the troubled production of a serial killer’s biopic. Dylan, Paul, and Max must navigate public controversy, creative differences, and doubts from their investors to bring their motion picture to life. Shades aims to be a chaotic drama where one star’s behavior sets off an avalanche of production problems and public backlash. However, flawed presentation and an unfocused story keep the movie from finding its footing.

Shades tinkers with interesting ideas but never uses them to their fullest. Dylan starts out as a cautionary tale about the dangers of method acting, but he settles into a less interesting role as a misguided actor who believes Lebecq is a victim. The public outcry over Dylan’s attempts to humanize Lebecq could have been insightful commentary, but instead it is simply a plot device. Finally, none of the major plot threads go anywhere.

The result is a movie that never takes off. From scene to scene, Shades introduces some promising ideas and plays out some viable conflicts between its characters. But in the end, very little of it amounts to anything. The best ideas peter out, the characters bicker without growing, and a couple of badly mismanaged scenes rob the movie of its momentum. Shades has something to offer the curious, but most viewers should look elsewhere.

For a more emotionally impactful movie with meta elements that’s set in Belgium, try JCVD. For a black comedy about a serial killer movie that goes off the rails, try Seven Psychopaths. For a more offbeat, artistic film about a role’s deleterious effect on a star, try Birdman. For a more comical peek behind the curtain of a troubled movie production, check out Hail, Caesar!.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt0139606/). I give it a 5.0 for promising ideas that don’t find purchase.

Today’s quick review: Deal. Alex Stillman (Bret Harrison), a fresh-faced college graduate, has the brains for poker, but he’s missing the level head and people skills needed for high-level play. That all changes when he catches the attention of Tommy Vinson (Burt Reynolds), a retired poker champion who decides to take Alex under his wing. Alex improves rapidly and begins to win real money until a fight with Tommy threatens to tear them apart.

Deal is a drama about a veteran poker player and his talented but inexperienced apprentice. Defying his parents, Alex throws himself into the world of professional poker, risking everything for a shot at the world championships. Deal is a by-the-numbers gambling drama with similarities to a sports movie. Deal tries to build its story around the relationship between Alex and Tommy, but its execution falls short.

Deal suffers from a subtle but pervasive problem: It lacks personality. Alex and Tommy are static characters with weak hooks for the audience. Alex is overconfident at the card table and uncertain of himself everywhere else, and his growth as a person and as a player never comes across clearly. Tommy is meant to be a wise player crippled by his regrets, but his poker advice comes across as trite, and he never develops a rapport with Alex.

The movie’s story and direction also suffer from a lack of personality. The scenes are not as tense as they should be, there are few subplots of any importance, and the conflict does not have personal depth, in spite of the movie’s best attempts to flesh out its characters. Overall, Deal is missing the hook it needs to live up to its full potential, leaving it a rote execution of a story that should have some glamor to it.

Still, even with all of its faults, Deal manages to tell the story it sets out to. Its execution is far from stellar, but it plays out its story with competence and builds to a nice finish. Deal even has the advantage of being lighter and less exaggerated than other gambling movies, keeping it about the characters and the game rather than debts or addiction. Still, most viewers would be better off skipping Deal in favor of its competition.

For a more stylish take on a similar premise, try 21. For a more dramatic story about gambling and addiction, try The Gambler or Rounders. For a gambling story with richer characters, try Mississippi Grind. For a much darker story about a gambler and his mentor, try The Hustler. For a more dynamic story with a similar mentor-protege relationship, try Two for the Money.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt0446676/). I give it a 6.0 for a passable but unexceptional story.

Today’s quick review: Father of Invention. Ten years ago, invention magnate Robert Axle (Kevin Spacey) was the head of a billion-dollar company. Now he’s a penniless ex-convict with a reputation for selling defective products. Trying to get back on his feet, Robert stays with his estranged daughter Claire (Camilla Belle) and tries to patch up his relationship with her. Meanwhile, he gambles what little he has left on one more invention.

Father of Invention is a comedy about an inventor trying to stage a comeback. Kevin Spacey stars as Robert Axle, whose marketable ideas and knack for hype make him a great businessman and a terrible father. The movie follows his increasingly desperate attempts to get back in the game while trying to pick up the pieces of his family life. Decent humor and a functional story make Father of Invention a modest but enjoyable watch.

Father of Invention’s greatest strength is its main character. Robert Axle used to be able to spin any situation to his advantage, but with his reputation in shambles, he’s out of options. The shadow of his old life, the desperate hope of his latest invention, and his tenuous relationship with his daughter give the story enough material to work with. Meanwhile, Robert’s flagrant attempts at manipulation drive the movie’s humor.

However, Father of Invention has a hard time crossing the line from adequate to exceptional. Robert Axle is only so deep a character, and one or two moments of contrition are not enough to make him sympathetic. His relationship with Claire has everything it needs but not a lot more. One the comedy side, Axle’s routine as a desperate salesman wears thin after a while, and none of the jokes are truly outstanding.

Give Father of Invention a shot when you’re in the mood for a light comedy with just a touch of heart. Father of Invention is not as polished as some other comedies, either in terms of its jokes or its emotional arc, but it does deliver what it promises. Accommodating viewers will find it charming. Exacting viewers will find that its vision is not quite strong enough.

For Kevin Spacey in a similar comedic role, try Casino Jack. For a more memorable comedy about the rise and fall of a master manipulator, try The Wolf of Wall Street. For a dramatic comedy about a down-on-his-luck businessman trying to talk his way back to success, check out Solitary Man. For a raunchier comedy about sales, try The Goods: Live Hard, Sell Hard.

[5.8 out of 10 on IMDB](https://www.imdb.com/title/tt1381505/). I give it a 6.0 to 6.5 for good ideas, a well-cast lead, and flawed execution.

“More isn’t always better, Linus. Sometimes it’s just more.” —Sabrina

Today’s quick review: Sabrina. Sabrina Fairchild (Julia Ormond) has always been in love with David Larrabee (Greg Kinnear), the handsome younger son of the wealthy family her father works for. But David only returns her affections when she leaves for Paris and comes back as a brand new woman. To save David’s engagement and the business deal that will come with it, his older brother Linus (Harrison Ford) steps in to sabotage their relationship.

Sabrina is a romantic drama about a chauffeur’s daughter who finds herself during her time living in Paris. Sabrina Fairchild matures from a lovestruck girl to an elegant young woman, in the process winning the affections of David Larrabee and the grudging respect of Linus. Sabrina goes far on the strength of its nuanced character work and charismatic cast. However, its dry romance and slow pacing will not appeal to everyone.

Sabrina’s characters occupy a niche of their own. Sabrina and Linus are mature in complementary ways. Sabrina is gentle and patient, with an honest appreciation for life. Linus is cold and businesslike but not wholly heartless. Their relationship is more subdued and indirect than those found in other romances, bypassing over sentimentality in favor of deeper questions about meaning and happiness.

This style of romance is a double-edged sword. Many fans of the genre will find the lack of grand gestures or overt comedy disappointing, leaving the movie a little too detached for its own good. But for viewers who are willing to get to know the characters, Sabrina is an unusually mature romance that’s full of subtle character development, sweet gestures, and nuanced thoughts about life.

For a richer and more enduring take on the same story, try the original Sabrina with Audrey Hepburn and Humphrey Bogart. For a similarly level-headed romance, try Roman Holiday. For a classic romantic comedy about high society, try The Philadelphia Story. For a classic comedy about the follies of the rich, try My Man Godfrey.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt0114319/). I give it a 7.0 for well-developed characters and a thoughtful script.

“Let’s arm wrestle.” —Miss Scattergoods

Today’s quick review: The Love Letter. Helen (Kate Capshaw), the owner of a bookstore in the town of Loblolly-by-the-Sea, is driven to distraction when she finds an anonymous love letter in her store. Captivated by its writing, Helen convinces herself that it was written for her by Johnny (Tom Everett Scott), her young employee. But as their relationship blooms, it drives a wedge between her and George (Tom Selleck), her childhood friend.

The Love Letter is a romance about an anonymous love letter and the impact it has on the residents of a small seaside town. Everyone who reads the letter is touched by its passion, kindling several relationships as Helen and her friends try to guess who wrote it. The Love Letter aims to be a light look at the unpredictable course of life and the complexities of romance. However, its story and characters leave something to be desired.

The Love Letter has an ambivalent plot that never quite comes together. Helen dithers between Johnny, a handsome man who is much younger than her, and George, a father just going through a divorce. The story is strewn with other relationships, from Helen’s prior marriage to the many romantic pursuits of her best friend Janet (Ellen DeGeneres). But none of the relationships, major or minor, is romantic enough to carry the story.

As a result, The Love Letter ends up bouncing between subplots without properly resolving any of them. Every time the movie starts to run out of steam, it throws in another romantic wrinkle by having a new character find the love letter and draw the wrong conclusions. In principle, The Love Letter shows love in many different forms, some hopeful and some tinged with regret. But it lacks the commitment needed to see these themes through.

The Love Letter holds modest appeal for fans of messy romances without tidy answers. Its light tone and romantic entanglements give it something to offer. But for all the time it spends building up a large cast and their relationships with each other, the movie has disappointingly little payoff. Viewers who are looking for a powerful emotional arc, a witty comedy, or deep insights into the nature of love will want to steer clear.

For a more dramatic romance that touches on similar themes, try Nights in Rodanthe. For a romantic drama with a younger cast that does a better job of capturing heartache and regret, try Dear John.

[5.6 out of 10 on IMDB](https://www.imdb.com/title/tt0166252/). I give it a 5.0 for a weak premise and poor follow-through.

“We all make choices in life. The hard thing is to live with them.” —The Old Man

Today’s quick review: The Words. Rory Jansen (Bradley Cooper), a writer struggling to get published, kickstarts his career by passing off a manuscript he found as his own. The book is a hit, giving Rory the success he always dreamed of and letting him make a comfortable home with his wife Dora (Zoe Saldana). But his lie comes back to haunt him when the old man who wrote the manuscript (Jeremy Irons) confronts him about his theft.

The Words is a thriller and romantic drama about an author who plagiarized the story that made him famous. As Rory reaches the pinnacle of his career, the guilt over what he has done threatens to tear him apart, jeopardizing both his work and his marriage with Dora apart. The Words is a story within a story, framed as the latest bestseller by Clay Hammond (Dennis Quaid). Potent writing and a carefully constructed story make it a worthwhile pick.

The Words takes basic building blocks and assembles them into a satisfying whole. Rory’s struggles as a writer, his chance discovery of the manuscript, and the crisis of conscience he faces afterward are not unexpected as far as story devices go, but they play their role well. The gradual escalation of the story, the true origins of the manuscript, and the mystery surrounding Clay Hammond all serve to draw the audience further and further in.

The Words does not have the same bite to it as other thrillers. There is a sense of anticipation, but not much overt suspense. Instead, the conflict plays out at the moral and emotional level. Given the choice between toiling in obscurity and lying his way to success, Rory picks the latter. Seeing him wrestle with the consequences of his choice leads to some interesting tension, while the moment-to-moment writing is polished and effective.

Compared to other movies of its ilk, The Words does not have the same immediate appeal. Its story is slow and indirect, its writing is layered in a way that is only partially effective, and it’s missing some of the emotional payoff that its premise would imply. But for all of that, The Words succeeds at what it tries to do, weaving a morally ambiguous story about the nature of writing, the complexities of romance, and the price of success.

For a sharper thriller with the same style of methodical storytelling, try Gone Girl or The Ghost Writer. For a psychological thriller about an author who plagiarized his work, check out Secret Window. For a crime thriller about a couple torn apart by a moral choice, try Good People.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt1840417/). I give it the same for a quiet but compelling story.

Today’s quick review: Moonstruck. Widowed at a young age, Loretta Castorini (Cher) gets a second shot at marriage when Johnny Cammareri (Danny Aiello), a safe but boring man, proposes to her. Loretta says yes, and they set the date for a month from now, after Johnny gets back from his trip to Sicily. But everything changes when Loretta meets Johnny’s estranged younger brother Ronny (Nicolas Cage), a tormented man she immediately falls in love with.

Moonstruck is a romantic comedy about a woman torn between her fiance and his brother. The movie explores the nature of love and marriage as Loretta, normally a responsible and level-headed woman, finds her resolve put to the test. Moonstruck is not a storybook romance, but it is an engaging story, with realistic characters, themes of family and forgiveness, and a script that captures something important about human nature.

Moonstruck does not aspire to high drama. The story is a personal one, grounded in specific characters and situations. Loretta lives with her mother Rose (Olympia Dukakis) and her father Cosmo (Vincent Gardenia), and her romantic life is a constant give-and-take with them. For his part, Ronny is passionate and bitter, with an attraction to Loretta that neither of them entirely understands.

Moonstruck is a messy but heartfelt story that captures the complications of love. Multifaceted characters, nuanced themes, and a family focus that is rare in the genre all make Moonstruck a worthwhile pick for the right viewer. Those who prefer passionate romances with few complications will find it a little unfocused.

For a similar exploration of love, life, and infidelity, try Hannah and Her Sisters. For a gritty crime drama that touches on love and loyalty in an Italian family, try Mean Streets. For a darker romance starring Nicolas Cage, try Leaving Las Vegas.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0093565/). I give it a 7.0 for an insightful story.