Sleight of Film

Today’s quick review: The Take. Michael Mason (Richard Madden), an American pickpocket living in Paris, becomes the lead suspect in a terrorist attack when he steals a bag with a bomb in it from Zoe Naville (Charlotte Le Bon). Special Agent Briar (Idris Elba) of the CIA tracks down Michael before the French police can, and together they search for Zoe and the real terrorists. Meanwhile, mounting tensions push the city to the brink of violence.

The Take is an action thriller about a pickpocket falsely accused of terrorism. Left with nowhere else to run, Michael has to put his faith in Briar, a proactive CIA agent, to clear his name. The Take falls into the same rhythm as other action thrillers, a race against time before the real culprits can enact their full plan. The movie features a decently constructed plot with a couple of nice twists, but its characters and action hold it back.

The Take misses a few important opportunities. The action scenes are unreliable, with one or two good shootouts mixed with some lackluster chases. Briar and Michael have no real chemistry together, making their scenes less dynamic than they should be. Michael has very little to contribute to the plot, and his skills as a pickpocket are barely put to use. And while the movie tries to portray a city on the edge, its efforts are cursory at best.

None of these issues stop The Take from being a serviceable action thriller that fans of the genre will enjoy. Although it falls short in a few ways, it does not make any major mistakes, and it implements a tried-and-true formula. Action fans who aren’t feeling too particular may want to give it a chance. Those looking for something more groundbreaking or memorable will want to give it a pass.

For a more dynamic pairing of a CIA agent and a criminal, try Safe House. For an action thriller with similar appeal, try Unlocked, Survivor, or Erased. For a similar thriller about a terrorist attack, try Final Score. For an action movie with a more comprehensive treatment of a city on the brink of disastr, try Siege. For a smarter crime thriller, try Inside Man.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt2368619/). I give it a 6.0 for passable action with some notable weaknesses.

Today’s quick review: Gangster Land. In 1922, Chicago gangster Al Capone (Milo Gibson) recruits Jack McGurn (Sean Faris), an up-and-coming boxer, to join Johnny Torrio’s (Al Sapienza) operation as muscle. What begins as a part-time job turns into a way of life when gang warfare claims the life of Jack’s father. Over the course of over a decade in organized crime, Jack makes a name for himself as one of Capone’s most reliable lieutenants.

Gangster Land is a historical crime drama directed by Timothy Woodward, Jr. The movie follows Jack McGurn as he transforms from an honest young man to a cold-blooded killer. Gangster Land does a fair job of capturing this progression, along with the highlights of the Chicago gang wars of the 1920s and 1930s. But in spite of its best efforts, the movie’s mediocre acting and low production values keep it from matching its competition.

Gangster Land makes an honest attempt to convey its subject matter in a compelling way. In theory, it goes through all the steps it needs to: Jack is a sympathetic figure, even at his most ruthless, and the story builds reasonably well to its climax. But in practice, the movie’s efforts fall flat. It avoids any major mistakes, but the scenes feel cheap, none of the dialogue sparkles, and there’s never a compelling sense of drama.

As a budget crime movie, Gangster Land works well enough. It tells the story it sets out to, and it avoids the pitfalls seen in some of its director’s other work. But there is very little to recommend Gangster Land over the competition. There is very little that’s unique about it, and even its strong points are outclassed by many other Prohibition-era crime movies. Most viewers should give it a pass.

For a more action-packed take on the same era, try Gangster Squad. For a more compelling take on Al Capone’s gang, try The Untouchables, The St. Valentine’s Day Massacre, or Nitti: The Enforcer. For a more impactful story about a young man drawn into the world of organized crime, try The Godfather, Once Upon a Time in America, Gangs of New York, or Chasing the Dragon.

[4.4 out of 10 on IMDB](https://www.imdb.com/title/tt7241654/). I give it a 5.0 for an adequate story told without much polish.

Today’s quick review: Nitti: The Enforcer. As Al Capone (Vincent Guastaferro) rises to the top of Chicago’s underworld, Frank Nitto (Anthony LaPaglia) becomes his right-hand man, handling the administration and enforcement for Capone’s criminal empire. After Capone is arrested for tax evasion, Nitto takes his place at the head of the outfit. But to hold onto his power, Nitto must outwit federal prosecutor Hugh Kelly (Michael Moriarty).

Nitti: The Enforcer is a crime drama based on a true story. The movie follows Frank Nitto from his early days as an immigrant in Chicago to his tenure as one of the most powerful gangsters in the country. Nitti: The Enforcer takes a methodical look at one of the early 20th century’s most successful criminal operations through the eyes of the man keeping it together. Decent storytelling and a wide range of conflicts make the movie a modest success.

Nitti: The Enforcer does a good job of balancing Nitto’s personal and professional lives. As Nitto takes violent action to ensure Capone’s dominance, he also tries to build a family with his eventual wife Anna (Trini Alvarado). Nitto is not as complicated a figure as other crime bosses, but his intelligence on the job makes him fairly interesting to follow, while his guarded compassion at home gives him a touch of depth.

Unfortunately, Nitti: The Enforcer does not tread any new ground. Nitto does not have the larger-than-life stature of other crime bosses, including Capone, and the movie constantly has to justify its focus on him. Nitti: The Enforcer does a fine job of setting up the conflicts of Nitto’s reign and how they play out, but none of them are especially gripping. The result is a biographical drama the covers the facts but adds no particular flourish.

Give Nitti: The Enforcer a shot if you’re a fan of Prohibition-era crime movies. Although it is outclassed by a number of other movies in the same vein, its grounded story and focus on Frank Nitto give it a small niche to call its own. Fans of the genre will mostly enjoy it for its subject matter. Broader audiences will find it a little too generic to be worth the effort.

For a more impassioned biographical crime drama, check out Bugsy. For a more iconic take on the arrest of Capone, try The Untouchables. For a similar portrait of Capone’s operation, try The St. Valentine’s Day Massacre. For a more artistic and nuanced portrait of a crime boss, try The Godfather or The Godfather: Part II.

[6.0 out of 10 on IMDB](https://www.imdb.com/title/tt0095746/). I give it a 6.0 to 6.5 for good basics without much to set it apart.

Today’s quick review: Chicago Overcoat. Once a hitman for the Chicago mob, Lou Marazano (Frank Vincent) comes out of retirement to eliminate three informants threatening to testify against mob boss Stefano D’Agnostino (Armand Assante). But as Lou settles back into his old groove, the murders draw the attention of Ralph Maloney (Danny Goldring), a jaded detective who investigated Lou’s original killings back in the 80s.

Chicago Overcoat is a crime drama about a retired hitman and the detective hunting him. Frank Vincent stars as Lou Marazano, an old-school gangster with the fortitude to handle dirty work and the discipline not to get caught. The movie follows Lou on one last job to get the money he needs to make a fresh start. Chicago Overcoat holds few surprises for fans of the crime genre, but its solid lead and well-constructed plot make it a worthwhile watch.

Chicago Overcoat depends heavily on its main character, and Lou Marazano does not disappoint. Lou is calm and disciplined in his work, principled in his dealings with others, and loving to his daughter Angela (Gina D’Ercoli). He is not as sympathetic or charismatic as the protagonists in other crime dramas, but Chicago Overcoat know s how to use him well. In spite of his age, Lou’s iron will and cunning make him more than a match for his enemies.

Chicago Overcoat does not push the envelope of the crime genre, but it has all the ingredients it needs to tell a satisfying story. Its protagonist walks the line between honorable and ruthless, its story has a splash of tension, and its action kicks off at opportune moments. Fans of the genre will enjoy Chicago Overcoat for what it is. Skip it if you are looking for richer drama, more overt action, or a more memorable take on the genre.

For a darker story about a mob hitman, try The Iceman. For a more elaborate story about an aging hitman, try The Irishman. For a mob drama with more heart, try Donnie Brasco or Goodfellas. For a more iconic cat-and-mouse game between a detective and a criminal, check out Heat.

[6.0 out of 10 on IMDB](https://www.imdb.com/title/tt1085382/). I give it a 6.5 for a solid lead and a tidy story.

Today’s quick review: The Heavy. Seven years ago, Mitchell “Boots” Mason (Gary Stretch) went to prison because of his brother Christian’s (Adrian Paul) testimony. Now Mitchell works as muscle for Anawalt (Stephen Rea), a powerful criminal, and tries to stay clear of Inspector Dunn (Vinnie Jones), the crooked cop who put him away. His life gets even more complicated when he becomes part of a plot to assassinate Christian, now a prominent politician.

The Heavy is a budget action movie about an ex-con walking down a dark path. The Heavy follows Mitchell Mason as he deals with loose ends from his past, including his rocky relationship with his brother and the consequences of his time in prison. The movie features interesting conflicts and solid individual scenes. Its story is not groundbreaking, but it does have enough going on to hook fans of the budget action genre.

However, The Heavy has structural problems that hold it back. The individual conflicts are promising, but the connective tissue holding them together is flimsy. The plot is a jumble of unrelated ideas that the viewer has to piece together, and the movie’s attempts at nonlinear storytelling muddy the waters even more. The handful of action scenes are also lackluster, with minimal fight choreography and no real sense of purpose.

The Heavy has the same type of setup as other budget action movies, but its execution leaves something to be desired. Fans of the genre will appreciate what it does with the resources at its disposal, at least in terms of character work and tension. But the combination of confusing storytelling and a weak payoff is enough to undermine The Heavy’s best efforts and make it an easy movie to skip.

For a more nuanced crime drama about a criminal trying to get his life together, try Redemption. For a more interesting budget action movie about a debt collector, try The Debt Collector. For a more stylish slice of British crime, try Snatch or The Gentlemen. For a budget action movie that puts a similar premise to better use, try Avengement.

[4.9 out of 10 on IMDB](https://www.imdb.com/title/tt0473364/). I give it a 5.5 for a jumbled story and underwhelming action.

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.