Month: June 2024

Today’s quick review: Runner Runner. Richie Furst (Justin Timberlake), a Princeton graduate student, earns the offer of a lifetime when he impresses Ivan Block (Ben Affleck), the owner of an online gambling site. Moving to Costa Rica, Richie rakes in the cash as he helps Ivan run the business. But the job turns out to be too good to be true when Richie learns that Ivan will bribe, blackmail, and threaten to get what he wants.

Runner Runner is a crime thriller about a bright young man who gets pulled into a lucrative, semi-legal online gambling operation. What begins as the job of his dreams soon turns into a nightmare as Ivan shows his true colors. Runner Runner features a promising setup that sees Richie trapped every way he turns. However, weak character work and a couple of casting misses keep the movie from living up to its potential.

One of the key issues with Runner Runner is that Justin Timberlake is a poor fit for his role. Instead of a sympathetic protagonist with bold dreams and a sharp mind, Richie comes across as greedy, arrogant, and short-sighted. In the context of another story, Timberlake’s performance would work just fine, but as it stands, it keeps the audience from sympathizing with him.

Runner Runner fares somewhat better with its plot. The setup takes one or two too many steps, but once Richie settles in under Ivan, the movie gets down to business. The tension mounts are Richie gets boxed in by local authorities, a rough FBI agent (Anthony Mackie), and Ivan’s scheming. To the movie’s credit, it gives Richie the chance to strike back. But loose plot work and a weak supporting cast keep the story from every really shining.

Give Runner Runner a shot when you are in the mood for a thriller about a man who’s in over his head. The basics of the plot are enough to make the movie a decent watch, but the cast never quite clicks, making it hard to engage with the story. As such, Runner Runner is outclassed by a number of similar movies, and more critical viewers will want to steer clear.

For a movie about a college student trying to turn a profit off gambling, try 21. For another crime thriller about a smart young man who gets in over his head, try Paranoia. For a drama about a talented gambler drawn in by a shady mentor, try Two for the Money. For a story about a stock broker lured by the siren call of money, try Wall Street.

[5.6 out of 10 on IMDB](https://www.imdb.com/title/tt2364841/). I give it a 6.0 for a decent plot held back by a weak lead.

Today’s quick review: Paranoia. Adam Cassidy (Liam Hemsworth), a junior employee at a tech company, gets caught between a rock and a hard place when Nicolas Wyatt (Gary Oldman), the head of the company, blackmails him into spying on Jock Goddard (Harrison Ford), his biggest rival. Adam infiltrates Jock’s company and uses his connection to Emma Jennings (Amber Heard) to steal information, only to hit a snag when he tries to deliver it to Wyatt.

Paranoia is a crime thriller about corporate espionage. Liam Hemsworth stars as Adam, an ambitious engineer whose mistake puts him at the mercy of his cutthroat boss. Paranoia aims to be a slick thriller about a bright but misguided young man who gets caught between two of the leaders in his field. The movie’s promising setup and talented cast are undermined by a script that is not as clever as it tries to be.

Paranoia has a hard time making Adam into a character worth following. Liam Hemsworth does a decent job with the role, but Adam shows little of the brilliance that he is supposed to have. He is consistently behind the curve, walks into obvious traps, and rarely takes the initiative. The same goes for the other characters: serviceable acting let down by character decisions that are not as cunning as the movie pretends.

The final product is a light and reasonably enjoyable thriller that suffers from weak characters and a couple of glaring plot holes. Viewers who are just looking for a bit of entertainment will find that Paranoia gets the job done. But the movie never realizes its potential, and what should be a battle of wits between three technological geniuses instead devolves into a linear story that never does anything unexpected.

For a corporate drama about an ambitious executive sparring with an unscrupulous mentor, check out Wall Street. For a crime thriller about a man caught in a similar predicament thanks to his misuse of a mind-altering drug, try Limitless. For a crime comedy about a young man caught between two feuding crime kingpins, try Lucky Number Slevin. For another thriller that peeks inside a tech company, try The Circle.

[5.7 out of 10 on IMDB](https://www.imdb.com/title/tt1413495/). I give it a 6.0 for a decent plot that’s not as clever as its premise requires.

“Give me the keys or I shoot the kid.” —Joe

Today’s quick review: The Last Boy Scout. Joe Hallenbeck (Bruce Willis), a washed-up private eye, teams up with Jimmy Dix (Damon Wayans), a disgraced football star, to figure out who killed Cory (Halle Berry), the dancer Jimmy was dating. Following the clues the police won’t, Joe and Jimmy uncover a blackmail scheme involving Shelly Marcone (Noble Willingham), the owner of the LA Stallions, and Senator Calvin Baynard (Chelcie Ross).

The Last Boy Scout is a crime drama with comedy elements starring Bruce Willis and Damon Wayans. The murder of a woman brings together two different men: a detective with a checkered past and a fraying marriage, and an ex-football player facing demons of his own. In between bickering with each other, dodging murderers, and evading the suspicion of the cops, Joe and Jimmy begin to unravel a dangerous conspiracy.

The Last Boy Scout benefits from a solid story and a well-matched pair of leads. The plot fits comfortably in with other private investigations, an initial crime that blossoms into something bigger. The movie gets most of its character from Joe and Jimmy. The men are a litle hard to warm up to, but once they hit their stride, their easy banter and unconventional approach to crime fighting make everything click.

The main caveat for The Last Boy Scout is that it does a mediocre job of mixing its darker elements with its comedy. Joe and Jimmy crack jokes like they are in a pure action romp, but the content of the story is serious and the encounters can be fairly violent. The heroes also skew rougher than they need to. Both men have deep personal problems, and their abrasive personalities take a long time to get used to.

The end result is an interesting and fairly rewarding watch, but only for viewers who can take the darker side of the story along with the comedy. The Last Boy Scout is not as calibrated as well as the best movies in its genre, but solid fundamentals when it comes to its plot and good chemistry between Willis and Wayans make it worth trying.

For a snappier crime comedy with a similar setup from the same writer, try The Nice Guys. For another Los Angeles-based investigation with a dash of comedy, try Kiss Kiss Bang Bang. For a more action-oriented buddy cop movie from the same writer, try Lethal Weapon.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt0102266/). I give it a 6.5 to 7.0 for an enjoyable investigation with slight tonal issues.

Today’s quick review: Hardball. Thousands of dollars in debt as a result of his gambling addiction, Conor O’Neill (Keanu Reeves) takes a job coaching an inner city baseball team. In spite of his reluctance, he ends up making a connection with Andre (Bryan C. Hearne), Jefferson (Julian Griffith), and the other boys. But when the chance comes to get back into gambling, Conor much choose between a shot at riches and the team he’s come to love.

Hardball is a sports drama about a selfish, reckless man who inadvertently becomes a mentor to a group of inner city boys. As unreliable as Conor is, he still manages to be one of the most positive influences the kids have, and the baseball team becomes a source of joy in their lives. Hardball is a natural mix of personal growth for Conor, an underdog story for the team, and a snapshot of the violence and uncertainty the boys have to grow up with.

Hardball does the basics right. Conor’s growth is as halting as it is believable. Initially motivated solely by the money, his basic human decency is enough to make him take care of the kids and invest in their future. At the same time, his gambling addiction and his own scars threaten to undermine his progress.

As for the kids, Hardball captures the difficulties of growing up in a poor, crime-ridden neighborhood. Baseball is a lifeline for the team, and the movie does a good job of conveying that they are friendly, talented boys being bent out of shape by the environment they are in. Finally, the baseball itself is a breath of fresh air. The stakes are low but very personal, and the play is much more believable than the typical underdog story.

Still, Hardball comes across as formulaic. Conor works well as the main character, but he does nothing to stand out from a long line of characters with similar flaws. The major beats of the story are predictable, even if some of the details are harder to anticipate. And while Conor’s team stands out a little more due to the boisterous personalities of the kids, they are still defined by their role in the story rather than the other way around.

Give Hardball a shot when you are in the mood for a drama about redemption, teamwork, and personal growth. The serious tone of the story will not suit every viewer, and the story is a little too formulaic to stand out. But solid craftsmanship, likable characters, and a couple of emotional moments make it a worthwhile pick for anyone interested.

For a more comprehensive look into the world of sports gambling, try Two for the Money. For a darker story about a man with a gambling addiction, try Uncut Gems. For a drama about a man who changes his ways to support a child, try Hard Surfaces.

[6.4 out of 10 on IMDB](https://www.imdb.com/title/tt0180734/). I give it a 6.5 for basic but effective drama.

Today’s quick review: The Guilty. Joe Baylor (Jake Gyllenhaal), a disgraced LAPD officer, has been serving as a 911 operator pending an investigation into his misconduct. But his apathy for the job evaporates when he receives a call from Emily (Riley Keough), a woman who has been kidnapped by her ex-husband Henry (Peter Sarsgaard). Realizing he is Emily’s only hope, Joe moves heaven and earth to help the police find her before it is too late.

The Guilty is a minimalistic crime thriller that takes place at a 911 call center in Los Angeles. Equipped with only a phone and a computer, Joe tries to track a call he received from a kidnapped woman. Along the way, he pieces together the events of the kidnapping, uncovers a history of domestic abuse, and grapples with his own demons. Strong acting from Jake Gyllenhaal and a surprisingly engaging plot make The Guilty a worthwhile pick.

The Guilty uses its premise well. Joe and the audience are stuck at one end of a phone line, with no way to intervene directly or even see what is going on. Joe can only talk, listen, and ask others to act on his behalf. The tension of this setup makes up for the lack of onscreen action, and the limited information Joe receives makes the twists hit all the harder.

Naturally, The Guilty relies on Jake Gyllenhaal to carry it. His acting is up to the task. Joe Baylor starts off as impulsive, rude, and abrasive. His hotheaded personality gives him the drive to make a difference in Emily’s case, going beyond his duties as a 911 operator. But at the same time, it is an impediment to actually getting her the help she needs. Seeing Joe overcome his own worst tendencies is one of the movie’s main rewards.

The Guilty is a strong choice for anyone willing to venture off the beaten path. The lack of onscreen action makes it less accessible than other crime thrillers, but the unique format of the story, Jake Gyllenhaal’s performance, and a couple of sharp twists along the way give it an appeal of its own. Not everyone will want what The Guilty has to offer, but fans of Gyllenhaal and those interested in the setup should give it a shot.

For a minimalistic drama with more personal stakes that takes place over the phone, check out Locke. For a darker and less restricted crime thriller starring Jake Gyllenhaal, try Nightcrawler. For a crime drama starring Gyllenhaal as a more responsible LAPD cop, try End of Watch. For an action-packed thriller about a man on a phone call with a kidnapping victim, try Cellular.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt9421570/). I give it a 7.0 for solid execution of an original premise.

Today’s quick review: Reasonable Doubt. Mitch Brockden (Dominic Cooper), a successful prosecutor, makes the mistake of his life when he strikes and kills a pedestrian while driving drunk. To make matters worse, Clinton Davis (Samuel L. Jackson), a passing motorist, is set up to take the fall. But as Mitch wrestles with his conscience and looks for a way to sabotage the case against Clinton, he learns Clinton may not be as innocent as he seems.

Reasonable Doubt is a crime thriller about a lawyer caught between an admission that could ruin his career and allowing an innocent man to go to prison in his stead. The movie explores both the moral dimension of Mitch’s case as well as the practical one when the investigation turns up skeletons in Clinton’s closet. In spite of a promising premise, Reasonable Doubt fails to capitalize on its strengths.

Unfortunately, Reasonable Doubt does not have enough meat on its bones. The moral dilemma that drives the early portion of the movie quickly falls by the wayside, and the investigation that replaces it is not nearly as compelling. The movie does have a knack for placing Mitch in tough situations, and he never keeps an advantage for long, but none of the later challenges he faces are enough to carry the movie.

The result is a thriller with some interesting scenarios but not a lot to go on overall. Reasonable Doubt succeeds in backing its protagonist into a corner, but it has a hard time figuring out what to do next. Reasonable Doubt is an adequate pick for those interested in its premise and in the crime thriller genre in general, but it finds itself outclassed by movies that can string out their ideas with more skill.

For a much more elaborate legal drama that involves difficult questions of guilt and innocence, check out Primal Fear. For a more horrific movie about some of the same themes, try The Machinist. For another brush with a potential killer, try The Little Things.

[5.7 out of 10 on IMDB](https://www.imdb.com/title/tt2304953/). I give it a 6.0 for a decent plot that does not hit as hard as it could have.

Today’s quick review: Cliffhanger. Gabe Walker (Sylvester Stallone), a rescue climber wracked with guilt over a woman he failed to save, answers the call one last time, venturing out with Hal (Michael Rooker) and Jessie (Janine Turner) to save a group of trapped hikers. Instead they find Eric Qualen (John Lithgow), a criminal mastermind who forces the climbers to locate $10 million in stolen cash that he lost in the mountains.

Cliffhanger is an action thriller starring Sylvester Stallone. Three mountain climbers unwillingly help a group of criminals recover three suitcases of Treasury bills that landed in the Rockies after a botched midair robbery. As the criminals and their hostages trek across the Rockies in search of the cases, Gabe looks for a way to escape and get help. Cliffhanger offers plenty of a particular kind of action, making it a fun but basic watch.

Cliffhanger uses its setting to good effect. Nearly all of the action scenes take advantage of the mountains in some way, from deadly avalanches and perilous climbs to sledding downhill and spelunking in caves. A consequence of this is that there’s less gunplay than other action movies, but the villains and the mountains provide enough threats to keep the heroes on their toes.

Cliffhanger has a few notable weaknesses. Qualen makes for a mediocre villain whose unsuccessful track record undermines his status as a mastermind. His decisions almost always come back to bite him, and the plot is too reliant on his mistakes. Furthermore, Cliffhanger only invests the bare minimum in its characters. Promising tensions between Gabe, Hal, and Jessie amount to nothing as the movie pivots to focus on its action.

Give Cliffhanger when you are in the mood for action, plain and simple. The mountain climbing gives Cliffhanger just enough of an angle to set it apart, while some solid stunts and a serviceable plot are enough to make it an entertaining watch. However, the movie is neither as explosive nor as well-rounded as the best entries in the genre. Anyone looking for subtlety or a complex plot should steer clear.

For a combat-oriented action movie about a hero dealing with the wrong end of a hostage situation, try Under Siege. For an action movie with similarly straightforward appeal, try Eraser. For an action thriller with a broadly similar villain, try Hard Rain.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt0106582/). I give it the same for pure, honest action.

Today’s quick review: Stealth. Navy pilots Ben Gannon (Josh Lucas), Kara Wade (Jessica Biel), and Henry Purcell (Jamie Foxx) are part of an elite unit equipped with the latest stealth fighters. Their mission changes when Captain George Cummings (Sam Shepard) assigns them a new wingman: an advanced AI named EDI (Wentworth Miller). But when EDI malfunctions and goes rogue, it is up to the human pilots to stop it before its actions kick off a war.

Stealth is a sci-fi action thriller about a drone AI that begins picking its own targets, forcing its fellow pilots to take desperate measures to bring it down. Stealth uses this setup as an excuse for action. Dogfights in futuristic planes, risky bombing runs, and the question of what to do with EDI all give the movie plenty of cheap thrills. The movie supplements these with some brief speculation on automation and the future of warfare.

However, Stealth’s main failing is that it doesn’t have much tact. The plot is simultaneously far-fetched and predictable, relying on contrived logic that has too much in common with other rogue AI stories. The characters are similarly shallow, with just a smidgen more development than the minimum required by the plot. None of this keeps the movie from being enjoyable for the right viewer, but it does make Stealth much more flash than substance.

Give Stealth a shot when you are in the mood for pure action with a simple plot. Stealth does not bring anything new to the table either in terms of its style or its story, but between its aerial combat and an amusing premise, it will entertain action fans who have their expectations set accordingly. Skip it if you are looking for a cerebral thriller or an in-depth look at the perils of AI.

For a more creative thriller about a rogue military AI, try WarGames. For a far-flung science fiction film about an AI that turns on the humans it is meant to serve, try 2001: A Space Odyssey. For a more colorful movie with a similar flavor of adventure, try G.I. Joe: The Rise of Cobra.

[5.1 out of 10 on IMDB](https://www.imdb.com/title/tt0382992/). I give it a 6.0 to 6.5 for a decent action and a basic but serviceable plot.

Today’s quick review: The Net. Security analyst Angela Bennett (Sandra Bullock) becomes the target of cyberterrorists when a coworker sends her a disk containing a backdoor to a popular security program. Angela returns from vacation to find her identity stolen, her house cleared out, and Jack Devlin (Jeremy Northam) gunning for her. With every computer a weapon to be used against her, Angela must find a way to escape Jack and uncover the truth.

The Net is a cyber thriller starring Sandra Bullock. The movie explores the dangers of a world that is increasingly reliant on computer systems when those systems are insecure. Angela, a loner by nature, has no one she can turn to when every official computer system makes her out to be a liar and a criminal. The Net features a solid thriller plot and a good angle for its story, but it suffers from a passive protagonist and unclear rules.

The Net’s main appeal lies in the trap it sets for Angela. With access to nearly any computer system, Jack and his allies are able to turn everything from the medical system to the police against her, with no way for her to prove her innocence. The movie comes up with clever applications of this power, and Angela is left with barely any resources to fight back. Backing up her predicament is a decent plot about a cyber conspiracy.

Where The Net falls short is that it does not give Angela enough agency. Angela is slow to figure out her situation and even slower to fight back. Instead of pitting Angela’s skills against her foes’ on the digital battlefield, the movie opts for a conflict that is almost entirely one-sided. To make matters worse, parts of the story are unclear, including the rules of the computer systems and who, beyond Jack, Angela is fighting.

How much you get out of The Net will depend on how willing you are to put up with its weaknesses. Viewers who are willing to watch Angela flounder for a while will enjoy The Net for its decent plot and the ways it comes up with to abuse computer systems. But viewers who are hoping for a full-blown battle of wits will be at least somewhat disappointed.

For an even more exaggerated take on computer hacking, try Hackers. For a cyber thriller with a more thoughtful plot, try Sneakers. For a sci-fi thriller with more action and a similar setup, try Paycheck. For a more conventional thriller that lays a similar trap for its protagonist, try Enemy of the State or Double Jeopardy.

[6.0 out of 10 on IMDB](https://www.imdb.com/title/tt0113957/). I give it a 6.5 for a promising setup held back by an ineffectual protagonist.

Today’s quick review: The Pelican Brief. Following the assassination of two Supreme Court justices, law student Darby Shaw (Julia Roberts) pieces together a theory about who is to blame. But when her report gets into the wrong hands, Shaw ends up running for her life from someone trying to silence her. Unsure of who to trust, Shaw turns to Washington Herald reporter Gray Grantham (Denzel Washington) to help her prove her theory.

The Pelican Brief is a thriller based on the novel by John Grisham. A young law student lands in the middle of a cover-up when her idle speculation on a pair of political assassinations hits the mark. The Pelican Brief follows Darby through several attempts on her life as she tries to deliver her story to Gray, a dogged and resourceful report. Solid plot work and an interesting hook give the movie legs, but it suffers from slow pacing.

The Pelican Brief’s best feature is its plot. The movie takes a fairly standard setup for a thriller—an innocent woman being targeted by unknown assailants—and grounds it in the specifics of the assassinations that kick off the plot. Lies, killers, political scandal, and a bombshell report all come together for a satisfying story. The Pelican Brief also features believable characters and a couple of clever twists.

But the complexity of its story is also a double-edged sword. Much of the tension comes from leaving the audience in the dark, so the movie does not even touch on the identity of the culprit, something known to most of the cast from the beginning, until its last third. The case also drags on too long. Well after the initial thrill wears off, The Pelican Brief is still throwing needless obstacles in Darby and Gray’s way.

The Pelican Brief is a fine pick for those interested in the weightier side of the thriller genre. The detailed setup of its story gives it a clearer identity than similar thrillers, but it also bogs the story down with extra tangents and little mysteries that do not contribute to the main plot. Give it a shot if you are willing to invest the effort to follow it until the end. Skip it if you are looking for more straightforward thrills.

For a legal drama adapted from a John Grisham novel, try The Rainmaker. For an action thriller about a conspiracy at the highest levels of government, try Shooter, Enemy of the State, or The Bourne Identity. For a classic thriller that gets at something similar, try Three Days of the Condor.

[6.6 out of 10 on IMDB](https://www.imdb.com/title/tt0107798/). I give it a 7.0 for solid characters and an interesting plot that drags on a little too long.