Sleight of Film

Today’s quick review: Den of Thieves. When Ray Merrimen (Pablo Schreiber) and his crew steal an armored truck with nothing in it, Los Angeles detective Nick O’Brien (Gerard Butler) wants to know why. His best lead is Donnie Wilson (O’Shea Jackson, Jr.), a small-time criminal associated with Merrimen. But even with Wilson’s help, O’Brien remains in the dark about Merrimen’s true plan: a brazen daylight robbery of the Los Angeles Federal Reserve.

Den of Thieves is a crime drama about a plan to steal $30 million from the Federal Reserve. The movie pits Nick O’Brien, a violent and impulsive cop, against Ray Merrimen, an ex-Marine with a track record of successful bank robberies. With each man aware of the other, the robbery turns into a battle of wits between two cunning men. The result is a fairly typical crime movie that makes a name for itself with an unusually well-crafted plot.

Den of Thieves takes what easily could have been an ordinary bank robbery and builds it up into something more. Merrimen’s plan has several stages, each one a clever extension of the last. The audience has most of the information needed to figure out his plan, but the last few revelations are enough to make the ending a surprise. As such, Den of Thieves has strong material for its plot, with a good sense of progression and a couple of sharp twists.

Still, Den of Thieves misses the chance to go farther with its characters. O’Brien and Merrimen work well in the context of the story, but they are not as vivid or as memorable as those found in similar movies. O’Brien is a hothead who’s only a step behind Merrimen for most of the movie, while Merrimen makes for an unusually calm and disciplined antagonist. Their conflict is structured well but not as emotionally resonant as it could have been.

Den of Thieves makes for a solid pick for any fan of the crime genre. The strength of its plot is enough to hold the viewer’s interest from start to finish, and while the characters are not as memorable as the best the genre has to offer, they do carry their weight. Give it a watch if you’re at all interested in the premise.

For a crime drama with a similar premise and a greater emphasis on its characters, try Heat. For an elaborate bank robbery with an extra twist, check out Inside Man. For an action movie centered around a similarly ambitious robbery, try Die Hard with a Vengeance or The Hurricane Heist. For another cat-and-mouse crime thriller starring Gerard Butler, try Law Abiding Citizen.

7.0 out of 10 on IMDB. I give it the same for a well-constructed plot and solid overall execution.

Today’s quick review: Sicario: Day of the Soldado. To pave the way for an American war against the Mexican drug cartels, Matt Graver (Josh Brolin) and Alejandro (Benicio Del Toro), one of his most dangerous operatives, arrange the kidnapping of Isabel Reyes (Isabela Moner), the daughter of a cartel kingpin. The kidnapping sows the chaos they were hoping for, but their plan goes awry when their attempt to return Isabel to Mexico meets with an ambush.

Sicario: Day of the Soldado is a gritty crime thriller about the US government’s clandestine war with the Mexican drug cartels. Josh Brolin and Benicio del Toro reprise their roles as ruthless government operatives willing to work outside the law to get the job done. Day of the Soldado benefits from two strong performances and the same powerful subject matter as the original Sicario. However, the movie’s storytelling decisions rob it of some impact.

Day of the Soldado retains the bleak tone and moral ambiguity of the original. Matt and Alejandro live in a world where there are no rules, only the bounds of what is politically expedient. Their aggressive approach to handling the drug cartels is the defining feature of the movie, shaping both the mechanics of the plot and the morality of the characters. The result is a tense story where actions can have unpredictable consequences.

Still, Day of the Soldado is missing the deft touch that made the original so effective. Without an idealist to provide another moral perspective, the cold-blooded pragmatism of Matt and Alejandro loses much of its impact. The plot is another weak point. In spite of a strong premise—a US-instigated drug war to justify further intervention in Mexico—the story quickly gets lost in the weeds, eventually culminating in a limp, inconclusive finale.

Sicario: Day of the Soldado will appeal to fans of the violent side of the crime genre. Its brutal depiction of the War on Drugs stands in sharp contrast with the romanticized version seen in some action movies, while its flurries of violence give it a sense of tension that other realistic crime movies lack. But in spite of its strengths, the combination of a weaker setup and a lackluster finish make it a clear step down from the first film.

For a more refined, haunting take on the same characters, try the original Sicario. For an even more expansive portrait of the drug trade, try Traffic. For a bleak superhero drama done in a similar style, try Logan.

7.1 out of 10 on IMDB. I give it a 6.5 to 7.0 for strong characters, a promising setup, and mixed follow-through.

Today’s quick review: Patriots Day. On April 15, 2013, Boston police officer Tommy Saunders (Mark Wahlberg) is working security at the finish line of the Boston Marathon when a pair of bombs go off, killing three and injuring hundreds. In the chaos that follows, Saunders and the local police work with FBI Special Agent Rick DesLauriers (Kevin Bacon) in the hunt for Tamerlan (Themo Melikidze) and Dzhokhar (Alex Wolff) Tsarnaev, the suspected bombers.

Patriots Day is a crime drama based on the 2013 Boston Marathon bombing. The movie shows the bombing and the ensuing manhunt through the eyes of Boston residents and law enforcement officers. Mark Wahlberg ties the story together as Tommy Saunders, a fictional police officer who is witness to some of the most crucial parts of the investigation. The movie’s respectful treatment of its subject matter makes it a fine watch, but it lacks some depth.

Patriots Day has a reverential tone from start to finish. It emphasizes the resilience of the bombing victims, the diligence of the law enforcement officers conducting the investigation, and the spirit of Boston following the attack. The mechanics of the investigation are interesting, a glimpse at the many details needed to respond to a crisis. Mark Wahlberg also delivers a couple of impassioned monologues that help to give the movie its heart.

However, the movie’s reverential tone comes at the expense of some of the tension found in similar films. There is no larger conspiracy to unfold, and while there is a race against the clock, the diffuse nature of the manhunt makes it more of a waiting game. Even the personal stories of the victims are only touched on briefly. The result is a movie that does justice to its source material but does not add any extra surprises or insight.

Like other dramas based on real life, how much you get out of Patriots Day will depend on your taste in storytelling. The movie’s capable treatment of its subject matter and Mark Wahlberg’s performance make it a fine pick for anyone interested in the story it has to tell. However, its one-note tone and largely factual plot will limit its appeal to viewers who are used to more narrative-based dramas.

For a more thrilling true story about a terror investigation, check out Zero Dark Thirty. For an action thriller about the aftermath of a terror attack, check out Vantage Point.

7.4 out of 10 on IMDB. I give it a 7.0 for solid execution.

“Let’s go fight crime or something.” —Officer Taylor

Today’s quick review: End of Watch. Officers Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pena) of the LAPD are assigned to patrol one of the most dangerous areas of Los Angeles. Their friendship with each other makes them an effective team, while their courage under pressure helps them deal with the messy situations the job throws their way. But the two men end up in the crosshairs when they interfere with the operations of a drug cartel.

End of Watch is a crime drama about the daily lives of two LAPD officers. The movie follows Brian Taylor and Mike Zavala through the highs and lows of their job. Their long days of chatting and joking together are punctuated by bursts of violence as they are called to deal with the worst Los Angeles has to offer. The richness of the characters and the variety of situations they have to handle are enough to make End of Watch a compelling watch.

End of Watch gets a lot of mileage out of its leads. Jake Gyllenhaal and Michael Pena are perfectly matched, playing a pair of affable cops who are hard not to like. The idle conversations between them are always a pleasure to watch, and their friendship is the foundation on which the rest of the movie is built. It also servers as the perfect balance to the film’s darker moments, driving home just what the officers are putting on the line every day.

End of Watch is a movie with a lot to offer. Jake Gyllenhaal and Michael Pena do an excellent job with their roles, while the slice-of-life story is an unusually grounded depiction of police work. End of Watch does have a heavy tone in a few places, and its violence, swearing, and sense of danger may be too much for some viewers. But those willing to give it a shot will find it to be a rich and rewarding pick.

For a more fanciful action movie about a pair of cops, try Bad Boys and its sequels. For an urban fantasy police drama from the same director, try Bright. For a dark comedy starring Michael Pena as a corrupt cop, try War on Everyone.

7.6 out of 10 on IMDB. I give it a 7.5 for a pair of excellent leads.

Today’s quick review: Shot Caller. Jacob “Money” Harlon (Nikolaj Coster-Waldau) was a banker and a family man until a decade in prison changed him into a ruthless gang member. Just released from prison, Harlon helps Shotgun (Jon Bernthal) arrange a weapons deal on behalf of The Beast (Holt McCallany). But as the deal comes together, Ed Kutcher (Omari Hardwick), Harlon’s parole officer, begins to suspect that Harlon has ulterior motives.

Shot Caller is a crime drama about a family man who becomes a gang member to survive his time in prison, alienating him from his wife Kate (Lake Bell) and son Joshua (Jonathon McClendon). The movie splits its time between the present, when a hardened Harlon does whatever it takes to make sure a gun deal does off without a hitch, and the past, as Harlon gradually sacrifices his humanity to the gang that offers him protection.

Shot Caller’s greatest strength is the mystery of what Harlon has planned. On the surface, he makes for an efficient gang member, enforcing discipline among his men and taking steps to keep the police off his trail. But in spite of his outward loyalty, there are hints that he is playing his own game. The mystery is not as cerebral or as compelling as other crime dramas, but the payoff is solid and ties into the question of who Harlon has become.

Still, Shot Caller misses opportunities to take its story farther. The movie takes pains not to tip its hand too early, resulting in a mystery that is too circumspect for its own good. Rather than the strong plot hooks of other crime dramas, Shot Caller relies on personal drama and indirect clues to keep the viewer engaged. The result is a movie with good ideas and a multifaceted main character, but one that’s short on direct impact.

Shot Caller is a fine pick for fans of the crime genre, carving out a place for itself with its capable character work and effective mystery. The movie brings something new to the table with its main character and the changes he undergoes. Even so, Shot Caller has a few issues holding it back. How much you get out of it will depend on your taste in storytelling. Give it a shot if you are interested in an indirect, personal story.

For a more emotionally potent crime drama about a man losing himself to his criminal lifestyle, try Donnie Brasco. For a similar moral struggle with a more grandiose plot, try The Godfather. For a crime drama about an ex-convict trying to go clean, try Carlito’s Way.

7.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for a solid character arc.

Today’s quick review: American History X. After three years in prison, Derek Vinyard (Edward Norton), a young white supremacist, comes home a changed man. Sickened by the ideology he used to espouse, Derek tries to put his violent past behind him, breaking ties with the gang he once led. But his words and deeds have left an impression on his younger brother Danny (Edward Furlong), who is already walking down the same hateful path as Derek.

American History X is a crime drama about an ex-convict trying to pick up the pieces of his life. American History X dissects white supremacy as an ideology, showing the reasons that Derek was attracted to it in the first place as well as the harmful effects it has on his life. The movie is a dark and brutal drama that tackles challenging political issues. However, the combination of its heavy subject matter and blunt story will limit its appeal.

American History X makes for a peculiar watch. In keeping with Derek’s character arc, the movie is packed with racial hatred, ranging from uncomfortable dinner conversations to outright violence. The delivery is anything but subtle; the movie uses camera tricks and a grandiose soundtrack to drive home the worst of Derek’s crimes. The result is a drama that spends most of its time driving home the abhorrent behavior of its main characters.

The upshot is that American History X can be very human when it wants to be. There are a few moments in Derek’s arc that are truly moving, while his post-prison self is much more calm and loving than the touchy, angry man he once was. Edward Furlong does an excellent job of portraying Danny as a sharp but impressionable teen who can still be saved, and his perspective on Derek’s imprisonment ties together the movie’s themes quite nicely.

How much you get out of American History X will depend heavily on your tolerance for gritty drama. The emotional parts of the movie are effective, but they are buried under repetitive acts of hatred and a storytelling style that verges on going too far. Viewers who are interested in social issues and more mundane, realistic tales of redemption should give it a shot. Those looking for a more conventional crime drama should steer clear.

For a more cerebral showcase of Edward Norton’s acting, try Primal Fear. For a less successful movie starring Edward Norton as a penitent prisoner, try Stone.

8.5 out of 10 on IMDB. I give it a 7.0 for strong acting and somewhat blunt storytelling; your score will vary dramatically.

Today’s quick review: Crash. One night in Los Angeles, two young men (Chris “Ludacris” Bridges and Larenz Tate) carjack the District Attorney (Brendan Fraser) and his wife (Sandra Bullock). Elsewhere, a detective (Don Cheadle) wrestles with a sensitive case, while a rookie cop (Ryan Phillippe) tries to conront his racist partner (Matt Dillon). Meanwhile, a hard-working locksmith (Michael Pena) puts up with ungrateful customers to provide for his family.

Crash is a crime drama that takes place over the course of a day and two nights in Los Angeles. The movie follows its ensemble cast through a series of tense interactions that have profound effects on each of their lives. Crash deals with heavy themes such as racial tensions, the nature of justice, and the question of what defines a person’s character. The movie’s skilled cast and intricate plot make it a memorable watch for the right viewer.

Crash follows half a dozen plot threads involving Los Angeles residents from all walks of life. Its characters’ decisions, often made under pressure and without thinking, have far-reaching consequences. Crash requires the audience to be patient as its threads gradually come together, but the payoff is substantial. Crash’s striking reversals and potent emotional moments justify the audience’s investment, even if not every bit of drama hits the mark.

Still, Crash’s particular flavor of drama will not be for everyone. The setup involves a series of hostile, racially charged interactions that cast many of the characters in a negative light, even if they are given the chance to grow later on. The movie enjoys putting its characters in no-win situations, blurring the line between moral principle and practical reality. And while Crash tells a complete story, the issues it addresses are left open-ended.

Crash’s sprawling plot and potent themes make it a unique watch. Those who are willing to engage with sensitive political issues and risk walking away without clear answers will find Crash to be a rewarding puzzle with a lot of humanity. Viewers who are in the mood for an easier watch, one with a simpler plot and clearer answers, may want to look elsewhere.

For another crime drama that subverts the preconceptions of its characters, try Three Billboards Outside Ebbing, Missouri. For a crime drama that delves deeper into police corruption and the conflicting pressures on officers, try Pride and Glory, Brooklyn’s Finest, or Dark Blue. For a lighter movie with the same intersecting storytelling style, try Love Actually or Intermission.

7.7 out of 10 on IMDB. I give it a 7.5 for an intricate story with moments of heart.

Today’s quick review: Nightcrawler. Louis Bloom (Jake Gyllenhaal), a thief looking for a change of profession, finds his calling as a stringer, selling footage of crime scenes and accidents to a Los Angeles news station. Thanks to his talented eye and loose sense of ethics, Louis is able to command top-dollar prices from Nina Romina (Rene Russo), the station’s director. But his activities soon cross the line from reporting the news to making it.

Nightcrawler is a crime thriler about the nocturnal world of freelance TV journalism. Jake Gyllenhaal stars as Louis Bloom, an ambitious man willing to do whatever it takes to get ahead in a cutthroat business. Nightcrawler explores journalistic ethics, sensationalism, and the psychology of an outsider with a sharp mind and no boundaries. Nightcrawler’s odd protagonist and unique subject matter make a fascinating and unsettling watch.

The core of Nightcrawler is the character of Louis Bloom. Outwardly, Louis is a sociable and eager young man, a quick study who strives for the top. But this thin veneer just barely disguises who he is on the inside: a man without empathy who will do anything to get what he wants. Jake Gyllenhaal does an excellent job of capturing both sides of the character, and seeing Louis step further and further over the line is the main appeal of the movie.

Still, Nightcrawler does not take its story as far as other movies in the same vein. It lacks the raw suspense of other thrillers, while its peek into Louis’ psychology is not as harrowing or surreal as a full-blown psychogical drama. Nightcrawler chooses to tell a grounded and disturbingly plausible story, focusing on the moral conflict rather than a flashy plot or narrative tricks. It is effective, but it may not be what some viewers are expecting.

How much you get out of Nightcrawler will depend on your taste in drama. The macabre subject matter of the movie will put off some viewers, while the relatively low-key conflict may make it seem tame to viewers who are used to outright horror. But for the right viewer, one with a taste for dark subject matter handled with a subtle touch, Nightcrawler will make for a compelling watch.

For a less gruesome indictment of the media, try Mad City. For a crime drama with a similar sense of detachment, try Drive or Only God Forgives. For a more spirited, satirical, and violent crime movie, try American Psycho. For a psychological drama that goes farther over the line, try The Machinist or Joker.

7.9 out of 10 on IMDB. I give it a 7.0 to 7.5 for a unique story and a skillful lead.

Today’s quick review: A Clockwork Orange. Alex DeLarge (Malcolm McDowell), a teenage hoodlum with a taste for violence, spends his evenings cruising for trouble with his crew (Michael Tarn, James Marcus, and Warren Clarke). Their criminal antics take an even darker turn when Alex accidentally beats a woman to death and is arrested for it. Alex’s only way out of prison is an experimental therapy that could cure him of his violent tendencies.

A Clockwork Orange is a crime drama directed by Stanley Kubrick and based on the novel by Anthony Burgess. A Clockwork Orange is set in a near-future Britain where young criminals roam the streets unchecked. The story follows Alex DeLarge through the heyday of his criminal career, his incarceration, and the state’s attempts to reform him. The movie’s unique vision and sharp social commentary come at the cost of being a highly unpleasant experience.

A Clockwork Orange makes for a bizarre watch from start to finish. The movie is set in a distorted version of Britain that features garish fashions, colorful slang, rampant sexuality, dangerous streets, and a dysfunctional justice system. The soundtrack is a jaunty mockery of classical music, in keeping with Alex’s tastes, while Alex himself serves as the story’s unrepentant narrator, a guide to the violence that the movie puts on full display.

As a result, A Clockwork Orange will be a grueling watch for sensitive viewers. The movie does not flinch away from any of Alex’s crimes, and it often accentuates them with psychedelic imagery. Few if any of the characters are sympathetic; Alex and his friends are simply the worst of the lot. All of this is a deliberate choice to drive home the cruel nature of Alex’s character, but it will take its toll on the viewer nonetheless.

A Clockwork Orange does have interesting thoughts on criminal justice and reform, but there is a steep price to pay for them. Although the film succeeds in being a memorable watch with vivid visuals and a distinct style of writing, its gratuitous violence and sexuality mean that only steadfast viewers will want to see it through to the end. Steer clear unless you have literary tastes and can appreciate films that push the envelope.

For a similar dose of extreme violence and social commentary, try Natural Born Killers. For another tale of a dystopian future, try Fahrenheit 451. For a more action-oriented movie about a violent future, try Escape from New York or Dredd.

8.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for a memorable and unpleasant story; your score will vary drastically.

Today’s quick review: One Flew Over the Cuckoo’s Nest. R.P. McMurphy (Jack Nicholson), a convict looking for a way out of prison work, feigns insanity to get himself transferred to a mental hospital. There he immediately butts heads with Nurse Ratched (Louise Fletcher), the unyielding nurse in charge of the ward. But when Nurse Ratched cracks down on McMurphy’s antics, he realizes that there is only one way out of the hospital for him: escape.

One Flew Over the Cuckoo’s Nest is a classic drama based on the novel by Ken Kesey. Jack Nicholson stars as R.P. McMurphy, a rebellious convict who turns a by-the-book psychiatric ward on its head by challenging the authority of the nurse in charge. One Flew Over the Cuckoo’s Nest earns its place as a classic thanks to two iconic performances from Jack Nicholson and Louise Fletcher, as well as a layered story and a talented supporting cast.

One Flew Over the Cuckoo’s Nest revolves around the conflict between R.P. McMurphy and Nurse Ratcehd. The two have personalities that are diametrically opposed. McMurphy is a freewheeling troublemaker who takes every opportunity he can to liven up the ward, while Nurse Ratched is an emotionless woman who uses her power to keep the patients firmly in place. The clash between the two escalates into a battle for the future of the ward.

One Flew Over the Cuckoo’s Nest supplements this central conflict with supporting details that make it a rich film, if not a comfortable one to watch. The patients in the ward all have distinct personalities and problems, and their interactions range from amusing to tragic. McMurphy takes an already unstable group and spurs them to assert themselves, pushing them to regain their independence from Nurse Ratched with little regard for the consequences.

One Flew Over the Cuckoo’s Nest makes for a fascinating watch for anyone interested in literary drama or characters with abnormal psychology. The raw nature of the film, the worse traits of some of its characters, and its unconventional story arc will make it a miss for some viewers. But anyone willing to follow the story through to its conclusion will find One Flew Over the Cuckoo’s Nest to be an impressively human drama with a lot to say.

For a psychological thriller set at a mental hospital, try Shutter Island. For a science fiction movie with the same sense of chaos, try Twelve Monkeys. For a war satire with a main character who is just as trapped, try Catch-22.

8.7 out of 10 on IMDB. I give it a 7.5 to 8.0 for a rich story and iconic performances.