Sleight of Film

“If you’re picking the wrong fight, at least pick the right weapon.” —Tom Brant

Today’s quick review: Blitz. Tom Brant (Jason Statham) has made a name for himself as one of London’s most violent police officers. When a serial killer (Aidan Gillen) begins targeting officers in his area, Brant teams up with Sergeant Porter Nash (Paddy Considine) to track him down. As the killings escalate with no usable evidence for an arrest, Brant and Nash face the question of whether to seek justice outside the law.

Blitz is an action thriller starring Jason Statham. Blitz follows two detectives as they investigate a serial killer with a grudge against the police. The movie benefits from a trio of talented leads, a nicely scoped conflict, and a dash of violent action. It also hits a sweet spot between hardcore action thriller and contemplative crime drama. However, Blitz misplays its hand in subtle ways, making it a mixed bag overall.

The backbone of Blitz is its character work. Jason Statham fits the role of Tom Brant perfectly: a tough police officer with a fierce loyal streak who is willing to use force whenever it is necessary. The movie throws Brant into a situation where his persistence is an asset but crossing the line could spell disaster for the investigation. Helping keep him in line is his partner Nash, an unassuming officer with plenty of resolve.

Aidan Gillen holds up his end of the movie as Barry Weiss, the serial killer who calls himself Blitz. His performance is unhinged in all the right ways, conveying the mania of the character without being distracting or unbelievable. Weiss is a man who is just clever enough to stay one step ahead of the police. The story gets a lot of mileage out of just turning him loose and letting Brant and Nash try to catch up.

Blitz’s flaws lie in the details. The main conflict works well, but a lot of the scaffolding never clicks. The movie toys with several subplots that never really go anywhere: Brant’s reputation in the press, the hostility Nash faces for being gay, and the personal problems of some of Brant’s friends on the force. There are plenty of good ideas in here, but the conflit with Weiss is the only one that actually pays off.

Blitz is a fine pick for viewers who are interested in what it has to offer. Fans of the serial killer angle may find it a little blunt, while fans of action flicks may find it too introspective. But for anyone willing to overlook the parts of the movie that don’t quite fit their preferences, Blitz is a solid thriller with a fair amount to offer.

For another Jason Statham crime movie that deals with some similar elements, try Chaos or Redemption. For a more contemplative serial killer investigation that explores some of the same moral questions, try The Little Things or Zodiac. For a darker thriller about a serial killer, try Se7en, The Bone Collector, Kiss the Girls, or Taking Lives.

[6.2 out of 10 on IMDB](https://www.imdb.com/title/tt1297919/). I give it a 6.5 for a well-constructed plot that’s a little lacking in the details.

Today’s quick review: Homefront. After a drug bust ends in violence, DEA agent Phil Broker (Jason Statham) moves to the country to raise his daughter Maddy (Izabela Vidovic). But trouble finds him again when he runs afoul of Gator Bodine (James Franco), a local drug dealer. When Gator fails to run Broker out of town, he raises the ante by revealing Broker’s whereabouts to Danny T (Chuck Zito), the drug kingpin Broker put in prison.

Homefront is an action movie starring Jason Statham. What begins as a fresh start for an ex-DEA agent and his daughter escalates into violence as his new enemies and his old ones join forces. Homefront takes a more grounded approach than some action movies, showing Broker’s attempts to defuse the situation before it gets any worse. As such, the bursts of sharp action as Broker defends his daughter feel more than justified.

Homefront picks a workable premise and executes it with skill. The fight choreography is quick and impactful. The conflict ratchets up steadily and in a believable manner. The supporting cast includes Kate Bosworth, Winona Ryder, and Frank Grillo, populating the town with a variety of people for Broker to interact with. And unlike more fantastic action movies, the villains of Homefront have human weaknesses and make clear mistakes.

Still, Homefront is not as gripping as it could be. The movie spends a lot of time in between conflicts, waiting for one side or the other to take things to the next level. The efforts Homefront makes to establish Phil and Maddy’s home are only partially successful. Finally, while Broker’s clumsy and haphazard enemies are a breath of fresh air, some viewers will prefer villains who are a little more grandiose.

Homefront is a fine pick for anyone looking for escalating action in a small-town setting. Although Homefront is not Statham’s most memorable movie, it makes use of his talents nicely and has a good bit of tension to it. Skip it if you are looking for something with a faster pace, larger stakes, or more explosive action.

For another action movie about a grudge match between a DEA agent and a criminal he arrested, check out A Man Apart. For a darker thriller about an outsider who receives a hostile reception from the residents of a country town, try Straw Dogs. For another action movie about a low-level conflict that escalates out of control, try First Blood, Road House, or Walking Tall.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt2312718/). I give it the same for intense action and a decent plot.

Today’s quick review: Small Crimes. After six years in prison, ex-cop Joe Denton (Nikolaj Coster-Waldau) returns home to pick up the pieces of his life. But his past misdeeds come back to haunt him when Lt. Dan Pleasant (Gary Cole), his old partner in crime, pressures Joe to kill Manny Vassey (Shawn Lawrence), the criminal they worked for, before he can testify against them to district attorney Phil Coakley (Michael Kinney).

Small Crimes is a crime drama about an ex-convict who must choose between turning over a new leaf and returning to his old ways. Nikolaj Coster-Waldau stars as Joe Denton, a dirty cop whose violent crimes have burned almost all of his bridges. The movie puts Joe to the test by forcing him into a situation where he must kill to avoid going back to prison or worse. This premise is enough to make Small Crimes a fine pick for fans of the genre.

The best part of Small Crimes is Joe himself. Joe lacks the pathos or the charisma of other criminal protagonists, but he captures a certain flavor of self-destructive behavior very well. At some level, Joe has good intentions, but they are drowned under deliberate lies, quick fixes, and substance abuse. Every decision Joe makes is a coin flip between landing him in worse trouble and giving him a chance to make amends.

Small Crimes aims for the kind of chaotic plot seen in some other crime dramas, but it is only partially successful. The movie does a reasonable job of spreading out its backstory and letting the audience piece together the mistakes that landed Joe in prison. The many plot threads make the situation perilous for Joe and nicely unpredictable for the audience. But the ending is mediocre, relying too much on chance to wrap things up.

Anyone who likes the personal side of the crime genre may want to give Small Crimes a shot. It is missing the sharp writing and polished delivery of the best crime dramas, but decent plot work and some solid acting from Nikolaj Coster-Waldau make it worthwhile for viewers who are a little forgiving. Steer clear if you dislike seamy crime dramas, if you are looking for masterful writing, or if you want something with a little more catharsis.

For a more suspenseful crime drama with a similar main character, try A History of Violence. For another dose of small-town crime, try Blue Ruin, Sweet Virginia, or Shimmer Lake. For a crime drama about the exploits of an ex-convict, also starring Nikolaj Coster-Waldau, check out Shot Caller.

[5.8 out of 10 on IMDB](https://www.imdb.com/title/tt5717492/). I give it a 6.5 for an interesting plot with a couple of missteps.

“Don’t be confused. It’s just gonna make it worse for me.” —Connie

Today’s quick review: Good Time. Hoping to score big, Connie Nikas (Robert Pattinson) takes his mentally handicapped brother Nick (Benny Safdie) to help him rob a bank. But when Nick is arrested trying to escape, Connie is left with a dilemma: bail him out of jail right away, or risk him getting hurt behind bars. Short on bail money, Connie resorts to an increasingly desperate series of ploys to get his brother out of jail.

Good Time is a crime drama about a bank robber trying to free his brother from jail. Robert Pattinson stars as Connie, whose fraternal loyalty and sharp mind cannot make up for his poor judgment. Over the course of one unpredictable day, Connie takes his situation from bad to worse as his attempt to rescue Nick blow up in his face. Solid character work and an unconventional plot structure make Good Time an interesting watch.

Good Time has a knack for leaving its characters on the hook. Instead of the tidy progression seen in other crime movies, where the tension ebbs and flows according to a larger plot structure, Good Time lets its characters make their own choices and live with the consequences. From the moment Connie steps into the bank, he always has a crisis to deal with, whether it is scrounging up bail money for Nick or staying one step ahead of the cops.

One of the major draws of Good Time is seeing how Connie reacts to each new crisis. His plans are usually clever, relying on skillful lies that get him what he wants, but his constant search for an easy out ends up betraying him. Fans of organic stories with a strong focus on character will find that Good Time does something very few movies even attempt.

The catch is that Good Time can be hit-or-miss. The same qualities that set it apart can make it a frustrating watch. Connie spends most of the movie making one wrong choice after another, and he rarely seems to learn from his mistakes. The plot is a jumble of encounters with different people Connie tries to use for his plans. As such, Good Time may be a miss for viewers who are looking for a conventional story structure or catharsis.

For another crime drama about two brothers caught between a rock and a hard place, try American Heist. For a crime drama about a small-time crook who risks everything on a series of bad gambles, try Cardboard Gangster. For a more expansive look at mental disability, try Rain Man. For a darker story with a similarly erratic plot, try Running Scared.

[7.4 out of 10 on IMDB](https://www.imdb.com/title/tt4846232/). I give it a 6.5 to 7.0 for a chaotic plot and intimate storytelling.

Today’s quick review: No Sudden Move. Curt Goynes (Don Cheadle), Ronald Russo (Benicio Del Toro), and Charley Barnes (Kieran Culkin) are hired by Doug Jones (Brendan Fraser) to force Matt Wertz (David Harbour), an accountant for General Motors, to steal a secret document from his boss. But when Matt fails to find the document, Jones betrays Goynes and Russo, leaving them to pick up the pieces of the botched operation themselves.

No Sudden Move is a historical crime drama directed by Steven Soderbergh. Set in Detroit in 1954, No Sudden Move follows a pair of criminals who get caught up in a high-stakes game of corporate espionage. Left with a choice between escaping with their lives and trying to profit from their precarious situation, Goynes and Russo decide to push their luck and steal the missing document for themselves.

No Sudden Move is an intricately constructed crime drama with an ensemble cast. Much of the story involves Goynes and Russo trying to improve their position, either by learning more about who wants the document or negotiating a better price for it. Their scheme eventually ropes in two crime bosses, various corporate interests, and a host of secondary players. Seeing the situation escalate is one of the main draws of the movie.

However, No Sudden Move is too complicated for its own good. Tracking who knows what, who is planning to betray whom, and what questions have yet to be answered is a full-time job for the audience. The movie also wastes time on subplots that ultimately do not matter, increasing the complexity without increasing the payoff. Finally, the movie does not spend much time on character development, instead focusing on the mechanics of the plan.

No Sudden Move has value as a crime drama, but its roundabout storytelling limits what it can do. Viewers with a taste for schemes and betrayals will find that the movie has plenty to offer, including a star-studded cast and a plot that’s hard to predict. But No Sudden Move spreads itself too thin and misses out on the sharp pacing, thematic connections, and nuanced character work seen in some other crime movies.

For another crime drama about low-level criminals who get in over their heads, try Killing Them Softly, Layer Cake, or Lock, Stock, and Two Smoking Barrels. For a darkly gripping crime drama with a similarly intricate web of alliances and betrayals, try Miller’s Crossing. For another complicated crime drama with more carefully laid plot twists, try L.A. Confidential.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt11525644/). I give it the same for an interesting but unfocused story.

Today’s quick review: The Little Things. Joe Deacon (Denzel Washington), a former Los Angeles detective, volunteers to help Jimmy Baxter (Rami Malek), his replacement, solve a series of grisly murders that are connected to Deacon’s last case. As the investigation drags on with no solid leads, the men become fixated on one suspect (Jared Leto) who could either be a fiendishly clever killer or an innocent man with no relation to the case.

The Little Things is a crime thriller starring Denzel Washington, Rami Malek, and Jared Leto. The movie follows a murder investigation that begins to consume the lives of two detectives. The Little Things aims to be a haunting, ambiguous story about the fine line between persistence and obsession. Strong acting and an intriguing mystery give the movie some substance, but its slow pacing and understated thrills leave something to be desired.

The strength of The Little Things lies with its ambiguity. Deacon and Baxter accumulate enough circumstantial evidence to finger Leto’s character as the killer, but concrete proof is elusive. Deacon’s unresolved issues from his last case and Baxter’s horror at the current spree of murders are a powerful motivation. The movie finds compelling ways to explore the question of whether the detectives are on the right track or deluding themselves.

However, The Little Things does not plant its hook as strongly as other thrillers. There is a sense of menace and uncertainty throughout the movie, but not the immediate danger seen with other serial killers. This leads to lower stakes, tied more to the detectives’ investment in the case than actually stopping the killer. The Little Things also builds to a hit-or-miss ending that will shock some viewers and leave others underwhelmed.

The Little Things fits comfortably into the darker side of the crime genre. The beats of the story are not all that different from other serial killer investigations, but between a talented cast and some nicely orchestrated ambiguity, The Little Things makes its own mark. Try it out when you feel like a moody investigation that raises troubling moral questions. Skip it if you are looking for faster-paced thrills or something with clearer answers.

For a haunting crime thriller that toys with similar ideas, try Secrets in Their Eyes. For a sharper and more horrific serial killer investigation, check out Se7en. For one with a greater emphasis on the facts of the case, check out Zodiac. For another well-constructed thriller about a fraying detective, try Insomnia.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt10016180/). I give it a 6.5 to 7.0 for solid acting and an engaging mystery that suffers from a lack of immediacy.

Today’s quick review: Thief. Frank (James Caan), a car salesman with a criminal record, makes his real money as a safecracker and a jewel thief. Planning out the rest of his life, Frank proposes to Jessie (Tuesday Weld), buys a house for her, and accepts steadier work stealing for Leo (Robert Prosky), a powerful mobster. But when Leo tries to control Frank, Frank must choose between his independence and the life he’s always dreamed of.

Thief is a crime drama written and directed by Michael Mann. The story follows Frank, a sharp criminal, as he navigates a turning point in his life and his career. Thief is a character study of sorts, fleshing out Frank’s character and then applying pressure to see how he reacts. Strong character work and acting, interesting themes, and thoughtful direction make Thief a fine pick for anyone interested in what it has to offer.

Thief takes a more personal tack than a lot of crime movies. James Caan is a perfect fit for the role of Frank, a thief who learned how to protect himself physically and emotionally during a lengthy prison sentence. Seeing him navigate the perils of his job and gradually soften into a relationship with Jessie is a large part of the movie’s appeal. Tough choices and meaningful setbacks give his story a meaning beyond his latest heist.

Still, Thief has a few aspects that will rub some viewers the wrong way. Frank can be aggressive and controlling, and he is not as sympathetic as some other criminal protagonists. The movie falls squarely into the dramatic side of the genre, meaning that even Frank’s victories are bittersweet. Finally, some of the details, such as an intrusive, synth-heavy soundtrack, can be hit-or-miss.

Thief has a lot to offer fans of mature crime dramas. The film takes full advantage of a talented lead, and the tension between Frank’s desire to settle down and his professional need to avoid commitment makes for some effective drama. Not everyone will like the movie’s protagonist or the themes it explores, but it carves out a place for itself as one of the more thoughtful entries into its genre.

For a more action-packed crime drama from Michael Mann that explores similar themes, try Heat. For a similarly personal crime drama from Martin Scorsese, try Mean Streets. For a crime drama in a similar vein, try The Score, starring Robert De Niro, or Heist, starring Gene Hackman.

[7.4 out of 10 on IMDB](https://www.imdb.com/title/tt0083190/). I give it a 7.0 to 7.5 for solid craftsmanship.

Today’s quick review: The Ice Road. When an explosion traps two dozen miners in a mineshaft in Manitoba, the call goes out for truckers who can haul the equipment needed to rescue them across miles of frozen lake. Mike McCann (Liam Neeson) and his mentally handicapped brother Gurty (Marcus Thomas) join Jim Goldenrod (Laurence Fishburne), Tantoo (Amber Midthunder), and Tom Varnay (Benjamin Walker) on a perilous journey to save the miners.

The Ice Road is an action thriller about a rescue mission down some of the most dangerous roads in Canada. Mike and the other truckers have to deal with harsh weather, fragile ice, and a corporate cover-up to deliver their cargo before the miners asphyxiate. The movie has a promising setup but makes a number of missteps with its execution, leaving a handful of good ideas stranded in a sea of missed potential.

The Ice Road suffers from the mistakes its characters make. Nearly every problem the characters face is self-inflicted, whether due to poor judgment or failure to take even basic precautions. One or two of these mistakes could be forgiven as plot contrivances, but there are enough of them that it is hard to feel sympathy for the characters. The artificial drama also undercuts the threat posed by the ice road.

There are other issues that mar the film. None of the characters except Gurty are especially likable, and Varnay in particular drains the energy out of every scene he is in. The plot has some minor but noticeable holes in it, such as the oddly specific deadline to save the miners. Finally, the pacing of the movie is off, building to a crescendo well before it is over. The result is a long, tacked-on finale that contributes nothing to the plot.

Still, The Ice Road has a few qualities that give it a niche. The setup for the story is solid, and the particular challenges posed by the ice road are interesting. Apart from their mistakes of judgment, the truckers show a remarkable problem-solving ability, using winches, cables, and ingenuity to salvage the mission on more than one occasion. Gurty also stands out as a steadfast character and arguably the film’s true hero.

The Ice Road has the makings of a tense thriller, but it succumbs to poor choices along the way. Artificial drama, poor pacing, and misuse of a hostile environment all make the movie a frustrating watch. Fans of lower-budget action movies will still get something out of seeing the truckers cope with ice and sabotage to reach their destination, but anyone hoping for a well-constructed movie will want to look elsewhere.

For Liam Neeson in a black comedy that makes better use of a frigid setting, try Cold Pursuit. For a science fiction action thriller that follows a similar formula, try Sunshine, The Core, or Armageddon.

[5.6 out of 10 on IMDB](https://www.imdb.com/title/tt3758814/). I give it a 5.5 for modest strengths and pervasive flaws.

“Let’s put it this way: Either way this works out, it’s gonna be on the wrong side of history.” —General James Ford

Today’s quick review: Cosmic Sin. In the year 2524, humanity makes first contact with an alien race. General James Ford (Bruce Willis), the man who destroyed an entire planet to put down a rebellion, is called out of retirement by General Ryle (Frank Grillo) to help handle the situation. As contact with the aliens rapidly turns hostile, the generals lead a strike force to deliver a bomb capable of wiping out the aliens in one fell swoop.

Cosmic Sin is a budget sci-fi movie about a hostile encounter with alien life. Humanity faces a battle for survival against a parasitic alien species that can infect anyone they come in contact with. What follows is a haphazard attempt to launch a decisive first strike against the aliens before they can gain the upper hand. Cosmic Sin has a workable premise but executes it poorly, with weak action, a muddled plot, and few redeeming qualities.

Cosmic Sin suffers from a lot of the usual problems that plague budget science fiction films. The setting is generic, fleshed out just enough to tell the story but no more. The script does a poor job of conveying the points it needs to, such as introducing characters or properly establishing the parameters of the conflict. And, unlike bigger-budget offerings, Cosmic Sin does not have flashy special effects or powerful acting to fall back on.

More specifically, Cosmic Sin wastes a fairly distinctive premise. The war with aliens is not new, but the early parts of the movie set up a moral conflict where two bloodthirsty generals are poised to wipe out an entire civilization without any attempt at diplomacy. The setup is clumsy, however, and the movie explicitly avoids making any sort of real moral commentary by making the aliens a hostile, unavoidable threat.

Cosmic Sin is a mishmash of generic science fiction and underdeveloped ideas. Fans of the budget side of the genre may get something out of it just for going through the motions with basic competence, but the vast majority of viewers will find it unsatisfying. Try it out only if you want some action and are not too particular about the quality. Steer clear if you are looking for an impressive spectacle or a robust plot.

For a similar flavor of budget science fiction, try Alien Arrival, Dune Drifter, Survivor, or Incoming. For more entertaining science fiction in the same vein, try Pitch Black and its sequels, Edge of Tomorrow, or Aliens.

[2.5 out of 10 on IMDB](https://www.imdb.com/title/tt11762434/). I give it a 3.5 for lackluster action and a poorly motivated plot.

Today’s quick review: Stowaway. Just hours into a two-year voyage to Mars, Marina Barnett (Toni Collette), Zoe Levenson (Anna Kendrick), and David Kim (Daniel Dae Kim) discover they have a fourth passenger: Michael Adams (Shamier Anderson), a launch engineer who was on board the ship when it took off. As the crew takes stock of their new situation, they come to the unsettling conclusion that there is not enough oxygen to support them all.

Stowaway is a science fiction thriller about an extra passenger who jeopardizes a mission to Mars. Stowaway deals with the moral dilemma of a situation where one person must die so three others can live. Unlike other movies about disasters in space, Stowaway lets the scenario drive the plot. Instead of injecting artificial drama or unnecessary action sequences, the movie focuses on its characters and the simple problem of what they should do.

Stowaway is a streamlined film. The story takes place entirely aboard the ship, with a four-person cast and no extraneous plot elements. The crew of the ship are calm, professional, and humane, bypassing the usual cruelty seen in other life-or-death situations. Stowaway also cuts short the chain of partial solutions and close calls found in similar films. The characters do have a few options, but they are tightly constrained.

Still, Stowaway does not squeeze as much out of its premise as it could, and different viewers will want it to go in different directions. For action fans, it can be a slow watch with only one or two sequences of consequence. Fans of dark moral thrillers may be disappointed in the altruistic nature of the characters and the slack they are given. Finally, the characters are likable but not strong enough to leave a lasting impression.

Stowaway is an unusually clean take on the kind of situation addressed in passing by other sci-fi films. While it misses out on both the tense action and the powerful emotional moments the genre has to offer, it avoids a number of key pitfalls and manages to tell a tense and engaging story. Fans of minimalistic sci-fi who don’t mind moderately slow pacing will get the most out of the movie. Others will have mixed results.

For another minimalistic thriller about survival in space, try Gravity. For one with an even greater emphasis on engineering and problem-solving, check out The Martian. For a desperate space mission with more science fiction elements, try Interstellar, Sunshine, or Armageddon.

[5.6 out of 10 on IMDB](https://www.imdb.com/title/tt9203694/). I give it a 6.5 to 7.0 for a simple but effective story.