Sleight of Film

Today’s quick review: The Contract. Ray Keene (John Cusack) is on a camping trip with his son Chris (Jamie Anderson) when they find Frank Carden (Morgan Freeman), a contract killer trying to escape from federal custody. Obeying the dying instructions of a U.S. Marshal, Ray and Chris take Frank prisoner and head for civilization. But in order to get there, they must cross miles of wilderness while being pursued by Frank’s murderous associates.

The Contract is a thriller about a father and son who are left in charge of an escaped prisoner miles from the nearest help. The movie follows Ray and Chris as they try to escape the forest in one piece and bring Frank to justice. The Contract features a decent setup that includes father-son bonding, a planned assassination, and a government cover-up. But even though the movie has the ingredients of a good thriller, its execution is disappointing.

The Contract’s main failing is that it never figures out what to do with Frank. Frank is shown to be a ruthless killer who can be polite when it suits him, and he never really deviates from that. He never develops a connection with Ray or Chris, he never grows as a character, and he never gives the audience a reason to care about him one way or the other. As such, what should be the defining role of the movie ends up falling flat.

The Contract also has issues with its plot. The heart of the story should be the relationship between Ray and Chris, who grow closer to each other as a result of their ordeal. But instead of digging deeper into their relationship, the movie spends its time weaving a conspiracy around Frank’s latest job, an assassination that the government wants hushed up. This leads to an overly complicated plot where the most important conflicts happen offscreen.

The Contract has the makings of a decent thriller, but it falls well short of its potential. The static nature of Frank’s character keeps the story from ever having a real impact, while what could have been a moving father-son relationship between Ray and Chris gets lost in the weeds. The Contract is a passable choice for viewers who are just looking for a little tension. Those looking for a richer and more satisfying story should look elsewhere.

For a Western that goes a lot farther with a similar premise, check out 3:10 to Yuma. For a minimalistic thriller set in the woods, try Killing Season or Blood Money. For an action thriller about a CIA agent and his prisoner, try Safe House.

5.6 out of 10 on IMDB. I give it a 6.0 for fine craftsmanship let down by an unsatisfying plot.

Today’s quick review: Sweet Virginia. Violence comes to a small town when Lila Mccabe (Imogen Poots) hires Elwood (Christopher Abbott), an odd drifter, to kill her husband. Elwood finishes the job, but he murders two other men in the process, making a widow of Bernadette Barrett (Rosemarie DeWitt). As the search for the killer continues, Sam Rossi (Jon Bernthal), the owner of the local motel and Bernadette’s lover, finds himself at the center of it all.

Sweet Virginia is a crime thriller about a trio of murders in a small country town. The movie follows the intersecting lives of Sam, Elwood, Lila, and Bernadette as they cope with the aftermath of Elwood’s deed. Sweet Virginia has a brooding atmosphere, as well as an intricate story that emphasizes its cast of realistic characters. However, in spite of these strengths, its low stakes and slow pacing make the movie less engrossing than it tries to be.

Sweet Virginia has the right ingredients in the wrong proportions. The emotionally damaged characters, the lingering camerawork, the eerie soundtrack, and the slow-motion collision course between Sam and Elwood all set Sweet Virginia up to be an effective thriller, but the movie never gets them to work well together. Dramatic camera techniques are wasted on inconsequential moments, while the climax of the film is not quite worth the build-up.

Sweet Virginia will appeal to fans of mundane crime thrillers fueled by anticipation. The movie does not have the expert touch that makes the greatest films in the genre so compelling, but it does have enough of the right elements to be a decent pick for the right viewer. Those looking for something slow, personal, and somewhat ominous may want to give it a shot. Those looking for a crime movie with a more active plot should steer clear.

For a minimalistic crime thriller with more to offer, try Blood Simple or Blue Ruin. For a more violent and gripping story about a roving killer, try No Country for Old Men. For a small-town crime drama built from similar parts, check out Cut Bank. For a darker thriller that pits two men against each other in a rural setting, try Mojave.

6.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent characters and atmosphere hurt by a sluggish plot.

Today’s quick review: Cardboard Gangsters. Jay Connolly (John Connors) and his friends Dano (Fionn Walton), Glenner (Paul Alwright), and Cobbie (Ryan Lincoln) are low-level drug dealers looking to make it big. Their aspirations pit them against Derra Murphy (Jimmy Smallhorne), a veteran dealer with a stranglehold on their neighborhood. As the turf war escalates, Jay pursues a dangerous fling with Murphy’s girlfriend Kim (Kierston Wareing).

Cardboard Gangsters is an Irish crime drama about a drug dealer who gets in over his head. Jay Connolly has the street smarts and the ambition to make his criminal dreams a reality, but just a few bad decisions threaten to destroy everything he has. Cardboard Gangsters offers an intimate look at street crime, the decisions that lead to it, and its destructive nature. Believable character work leads to a small-scale story that still has dramatic heft.

Unlike other crime dramas, there is no glory in Cardboard Gangsters. Jay and his crew are petty criminals who make foolish mistakes and turn to violence at the drop of a hat. Even at their most successful, they are never awash with cash. This gives the conflict a very grounded quality, with none of the romanticization seen in gangster epics. The characters have to play the hand they’re dealt—which they often do badly—and live with the consequences.

In spite of its competent execution, Cardboard Gangsters does not have much to set it apart. The plot is a turf war that spirals out of control, but the particulars aren’t very memorable. The narrow scope of the story is a good fit for the movie’s themes, its budget, and its characters’ lot in life, but the drama falls short of what could have been done with such a personal setup. And while Jay has a noble streak, he’s not as sympathetic as he could be.

These factors contribute to a workmanlike crime movie with enough craftsmanship to make good on its premises but not enough to stand out from the crowd. Cardboard Gangsters is a fine pick for those in the mood for something more realistic than flashy. It makes good use of the tools at its disposal, and it manages to set up some interesting choices for Jay and his friends. Even so, viewers hoping for something more striking may want to look elsewhere.

For more small-scale criminal enterprise, try The Business or Killing Them Softly. For a more comedic take on a similar setup, try Lock, Stock, and Two Smoking Barrels. For a sci-fi movie about a younger gang of delinquents, try Attack the Block.

6.4 out of 10 on IMDB. I give it a 6.5 for a competently handled story.

Today’s quick review: American Cousins. After a deal with the Ukrainian mob goes wrong, American mafiosos Settimo (Dan Hedaya) and Gino (Danny Nucci) head to Glasgow, Scotland, to stay with their cousin Roberto (Gerald Lepkowski), the owner of a small restaurant. As the cousins get to know each other, Roberto wrestles with his feelings for his friend Alice (Shirely Henderson), while Settimo and Gino help him deal with a group of local thugs.

American Cousins is a crime movie about an ordinary Scottish businessman and his mobster cousins. American Cousins is a soft-spoken comedy that focuses on the rustic charm of Scotland, the gap between Roberto and his American kin, and the budding relationship between him and Alice. The movie also has its share of drama, both at the personal level and in connection to crime. The result is an endearing and surprisingly well-rounded watch.

American Cousins takes a premise that easily could have been a gimmick and evolves it into something heartfelt. Settimo and Gino come off as brash and shady at first, but they are loyal men with some depth to their characters. The same goes for Roberto, a mild-mannered businessman who learns to assert himself. The interactions between the characters and their growth over the course of the movie give American Cousins a solid emotional foundation.

American Cousins builds on this foundation well. The movie uses an assortment of lighter moments, bits of introspection, and personal details to flesh out the characters. The tone is generally light and relaxing, but it dips into heartache and conflict for a few well-chosen stretches of the story. There’s no single idea or line of dialogue that defines the movie, but it’s hard to watch it without growing attached to the characters.

American Cousins is a good pick for anyone in the mood for a thoughtful, character-focused comedy. American Cousins doesn’t aim for the biggest laughs or the most shocking developments. It’s outclassed as a comedy and as a drama by movies that aim higher and focus directly on a single goal. But the movie does an admirable job of making a lot of little moments feel meaningful, making for a modest but satisfying watch with a wide emotional range.

For a small-scale comedy with an even more diffuse plot, try Intermission. For a darker comedy about criminals hiding out in a quiet European town, try In Bruges.

6.2 out of 10 on IMDB. I give it a 7.0 for a charming story with good character work and a surprising amount of heart.

Today’s quick review: Knockaround Guys. Matty Demaret (Barry Pepper) has always wanted to be a respected criminal like his father Benny (Dennis Hopper) and his uncle Teddy (John Malkovich). He finally gets the chance to prove himself when his father asks him to pick up a bag of cash. But when the bag goes missing, Matty must travel to Montana with his friends Chris (Andrew Davoli), Johnny (Seth Green), and Taylor (Vin Diesel) to get it back.

Knockaround Guys is a crime drama about four young criminals trying to make up for a costly mistake. What should be a simple errand turns into a fiasco when Johnny misplaces a bag containing half a million dollars, kicking off a sprawling series of events that forces Matty to take charge of a situation that’s spiraling out of control. The movie features a decent plot, well-drawn characters, and a good balance between heavier and more comedic moments.

Knockaround Guys’ greatest strength ends up being its characters. Matty and his friends are not much to look at, but they have heart. Not as tough or as ruthless as Matty’s father and uncle, they still work hard to get back the money, even as fate deals them one bad turn after another. The differences in their personalities lead to some good banter, while their varying perspectives on the criminal lifestyle let the movie touch on some deeper themes.

Beyond its characters, Knockaround Guys is a conventional but competently executed crime drama. The plot is a chaotic affair involving lost luggage, crooked cops, unruly locals, and the looming threat of Teddy flying in to take over the search. The movie has flashes of comedy that highlight how out of their element Matty and his friends are, while the more dramatic moments help to ground the story and give it meaningful stakes.

Knockaround Guys does not have the creative premise, sharp comedy, or raw pathos needed to stand out in the crowded crime genre, but the combination of a solid plot and likable characters makes it a satisfying watch all the same. Knockaround Guys is a fine pick for anyone in the mood for a movie that splits the difference between heavy acts of crime and light-hearted chaos. Those looking for a tense drama or a pure comedy may want to skip it.

For another crime drama about amateur criminals in over their heads, try Killing Them Softly, Cardboard Gangsters, or The Business. For a dark crime comedy about a scheme that gets out of hand, try Fargo. For a more comedic story about small time criminals, try Lock, Stock, and Two Smoking Barrels or Snatch. For a similar drama about four criminals looking out for one another, try Four Brothers.

6.1 out of 10 on IMDB. I give it a 6.5 to 7.0 for good characters and a decent story.

Today’s quick review: Plastic. Sam (Ed Speleers), Fordy (Will Poulter), Yatesy (Alfie Allen), and Rafa (Sebastian de Souza) are university students who have made tens of thousands of dollars through blackmail, identity theft, and credit card fraud. But the party comes to an end when they accidentally steal from Marcel (Thomas Kretschmann), a hardened criminal who gives them just two weeks to steal another $2 million to pay off their debt.

Plastic is a crime drama that’s based on a true story. The movie follows Sam and his crew as they try to pull off their largest job yet: a $3.5 million spending spree in Miami using high-limit credit cards stolen by Frankie (Emma Rigby), the newest member of the group. Plastic features an interesting setup and decent follow-through, testing its characters’ ability to plan ahead, think big, and react to dangerous changing circumstances.

Plastic hits a sweet spot with its scope. Sam and the others are amateurs who make it big, just on the cusp of the flashy success seen in other crime dramas but without the bitterness or complacency that comes with it. This lets Plastic dip its toes in the glamor and danger of the criminal underworld without having to dive all the way in. The result is a movie with a mixture of levity and drama with just enough spectacle to keep the viewer hooked.

The other major point in Plastic’s favor is the dynamics between its characters. Unlike other crime movies, Sam’s crew is not just there for show. The relationships between the characters have an impact on the plan itself, from the power struggle between Sam and Yatesy to the group’s abuse of Frankie’s trust. The characters themselves are not groundbreaking or especially charming, but they fit the story well and their motivations actually matter.

All in all, Plastic is a modest entry into the heist genre that gets the fundamentals right. The acting, writing, and direction are not as polished as other crime movies, and the premise is not as grand, but Plastic does a good job of using the tools at its disposal to tell an interesting story. Those in the mood for a heist movie with a dash of drama should give it a shot. Keep looking if you’re looking for something truly mind-bending.

For a more stylish British crime movie with an elaborate plot, try Layer Cake, Snatch, or The Gentlemen. For a darker crime drama about criminals in over their heads, try Killing Them Softly or Cardboard Gangsters. For a more action-oriented movie about a criminal forced to complete an impossible job, try Gone in Sixty Seconds. For a true story about a con man and forger who lied his way to success, try Catch Me If You Can.

6.0 out of 10 on IMDB. I give it a 6.5 to 7.0 for a clever plot and a few rough edges.

Today’s quick review: Confidence. Con man Jake Vig (Edward Burns) makes a dangerous mistake when he steals from the King (Dustin Hoffman), a powerful crime boss. To pay off his debt, Jake agrees to pull a con on Morgan Price (Robert Forster), a money launderer in charge of millions of dollars. Now Jake and his crew (Rachel Weisz, Paul Giamatti, and Brian Van Holt) must figure out a way to get the money and get away with their lives.

Confidence is a crime movie about a con man working on a risky con. The movie follows Jake and his accomplices as they try to clear their debt with King by doing what they do best. Confidence features a light tone, a solid supporting cast, and an interesting plot. Unlike other con movies, the focus is not on the scam itself, which is fairly basic, but rather the complexities surrounding it, as Jake works to stay one step ahead of his enemies.

Confidence gets the basics of the genre right, but it doesn’t hang together as well as it should. The plot logic is tenuous in a few places, and not all of the threads pay off in the end. The light tone generally works well, but the stakes are too low for the plot twists to have much meaning. Just a little bit more drama, a more personal motivation for Jake, or even just a shade more emotion from him would have tied the movie together nicely.

As it stands, Confidence makes for a decent pick, buoyed by a suitably elaborate plot and a charismatic performance by Dustin Hoffman. The movie makes a few mistakes with its plot and its main character, making it less rewarding than other con movies that work with similar tools, but it still gets enough right to provide some good entertainment for a viewer who’s looking for something light. Skip it if you are looking for a more dramatic con.

For a more stylish con movie starring Rachel Weisz, try The Brothers Bloom. For a con movie with similar scope, try Focus or Duplicity. For a similar setup with a raunchier tone, try Employee of the Month. For a heist movie with more ambition and better craftsmanship, try Ocean’s Eleven.

6.7 out of 10 on IMDB. I give it a 6.5 for a generally well-constructed plot.

Today’s quick review: Heist. Desperate for a way to pay for his daughter’s cancer treatment, casino dealer Luke Vaughn (Jeffrey Dean Morgan) partners with Jason Cox (Dave Bautista), an erratic criminal, to steal $3 million from his casino. However, when the heist goes wrong, the thieves are forced to take a bus full of civilians hostage. Now Vaughn must improvise to stay ahead of both the police and Mr. Pope (Robert De Niro), the owner of the casino.

Heist is a budget action movie about a casino robbery that turns into a hostage standoff on a commuter bus. Jeffrey Dean Morgan stars as Luke Vaughn, a good man forced into a dangerous situation to save his daughter’s life. His clever attempts to negotiate with Officer Bauhaus (Gina Carano), keep Cox from doing anything rash, and avoid Pope’s lackeys are the backbone of the movie. However, otherwise lackluster execution keeps Heist from standing out.

Heist suffers from the same problems as other budget action movies. Most of the acting is stiff and unconvincing. The stunts are nothing special. The dialogue has a few rough spots, and the plot does not hang together as tightly as it should. Still, Jeffrey Dean Morgan makes for a likable, resourceful protagonist as Vaughn, while Robert De Niro lends a touch of thematic depth as Pope, an aging crime boss who begins to regret his life choices.

Heist has flickers of potential that other budget movies usually lack, but its overall execution still falls short of the mark. Forgiving viewers will find it to be a modest but effective story about a criminal trying to think his way out of a tight spot. More critical viewers will find it outclassed by movies that use similar ideas with a defter touch.

For a tense action thriller set on a bus, try Speed. For a more elaborate film about a hostage standoff, try Inside Man. For one with more heart, try Dog Day Afternoon. For a casino robbery with a better plot and more style, try Ocean’s Eleven or Ocean’s Thirteen.

6.1 out of 10 on IMDB. I give it a 6.0 for a decent plot and a pair of good performances held back by otherwise mediocre execution.

Today’s quick review: Sleepless. When Las Vegas detective Vincent Downs (Jamie Foxx) and his partner Sean Cass (Tip “T.I.” Harris) steal 25 kilos of cocaine from casino manager Stanley Rubino (Dermot Mulroney), Rubino retaliates by kidnapping Vincent’s son Thomas (Octavius J. Johnson). Vincent tries to return the stolen drugs, but he runs into more trouble when Internal Affairs officer Jennifer Bryant (Michelle Monaghan) follows him to the casino.

Sleepless is an action movie about a police officer trying to save his son from a dangerous criminal. The bulk of the action takes place at the Luxus Casino, where Downs runs into Bryant, her partner Doug Dennison (David Harbour), and Rubino’s buyer Rob Novak (Scoot McNairy) while trying to swap the drugs for his son. The movie’s elaborate setup and decent action scenes are hampered by a script that does a clumsy job of moving its pieces into place.

Sleepless makes for decent action fodder. There are only a couple of big-ticket stunts, but Vincent’s one-on-one fights throughout the casino do a good job of keeping the adrenaline up. The plot also has potential: a tangled web of unlucky breaks, police corruption, and Internal Affairs investigations that keeps all the major characters on their toes. Sleepless does not bring anything too special to the table, but it gets the basics right.

Where Sleepless runs into problems is with its plot progression. The components of the story—a drug deal gone wrong, a kidnapping, an Internal Affairs investigation—all work well on paper, but the way they play out leaves something to be desired. The developments the movie uses to raise the stakes are blunt, many of the twists are predictable, and key moments of the plot depend on either contrived coincidences or major mistakes by the characters.

The result is a passable action movie with a few good ideas, some notable flaws, and nothing truly special to offer. Fans of the action genre looking for something chaotic and reasonably entertaining should give Sleepless a shot. Viewers looking for a movie with stronger stunts or a more cerebral plot will want to look elsewhere.

For a crime drama with an elaborate plot and better execution, try The Departed, The Way of the Gun, or Insomnia. For a more compelling action thriller about a kidnapped teenager, try Taken.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for a promising setup with mixed execution.

Today’s quick review: Triple Frontier. After three years of hunting, Santiago (Oscar Isaac) has finally tracked an elusive South American drug lord to his house in the jungle. With the help of four close friends (Ben Affleck, Charlie Hunnam, Garrett Hedlund, and Pedro Pascal), Santiago plans a mission to kill the drug lord and escape with millions in cash. But when the team finds more money than they expected, they are left with a difficult choice.

Triple Frontier is an action thriller about a group of retired soldiers on an illegal mission to steal millions of dollars from a drug kingpin. Santiago and his friends must not only pull off thier raid but get away with their ill-gotten fortune. Triple Frontier has an interesting story that poses some tough challenges for its main characters. It can’t match the best the genre has to offer, but solid craftsmanship and novel ideas make it a wothy pick.

The highlight of Triple Frontier is seeing its characters adapt to changing circumstances. Santiago and his crew are skilled soldiers with a great group dynamic and a professional attitude toward their work. But the discovery of millions of dollars of extra cash throws off their timetable and forces them to choose between risking death and leaving behind a fortune. The consequence of their choice has repercussions that drive the second half of the film.

Beyond this setup, Triple Frontier is a conventional but capably handled action movie. The action scenes tend towards tight tactics and stealth over raw spectacle. The characters are not moral paragons, but they do have more integrity than the thieves seen in similar films. In general, Triple Frontier opts for safe choices that are not groundbreaking. There are no major weaknesses, but it lacks the vision and impact of some other action flicks.

Give Triple Frontier a shot when you’re in the mood for a more serious action movie. Although it is not as daring as it could be, its craftsmanship is solid, and the plot forces its characters to make some interesting choices. Steer clear if you’re looking for something flashy or carefree.

For another action movie about a team of elite soldiers who strike off on their own, try The Expendables or The A-Team. For a more mundane drama about the corrupting influence of money, check out The Treasure of the Sierra Madre.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for an interesting plot and decent action.