Skip to main content

You just threw a donut in the hot zone!

Den of Thieves
(2018)

(SPOILERS) I'd heard this was a shameless Heat rip-off, and the presence of Gerard Butler seemed to confirm it would be passable-at-best B-heist hokum, so maybe it was just middling expectations, even having heard how enthused certain pockets of the Internet were, but Den of Thieves is a surprisingly very satisfying entry in the genre. I can't even fault it for attempting to Keyser Soze the whole shebang at the last moment – add a head in a box and you have three 1995 classics in one movie – even if that particular conceit doesn’t quite come together.


Part of that final-hurdle falter is simply that O'Shea Jackson Jr, talented as he is, is no Kevin Spacey. Which I'm sure he’ll be relieved to hear. When it comes to donning a fake beard and approximating an English accent, as he's required to in order to set up his next job, this master planner isn't going to convince anyone who isn't both partially sighted and in desperate need of a hearing aid. Still, The Usual Suspects sleight of narrative performed by writer-director Christian Gudegast (Paul Scheuring also gets a story credit) is an appealing one in basic form, and at least explains why Jackson Jr's Donnie Wilson was being trusted with not only getaway driving but also the key moves within the Federal Reserve building.


That central heist delivers the more impressive narrative fake outs, however, via the magician's trick of misdirecting your audience. In this case, it's robbing a savings and loan, waiting for the cops to arrive, and escaping via the sewers to enact the main affair while demands are being slowly met. Gudegast doesn't have a Michael Mann budget for enormous set pieces – or, let's face it, the elegance – but what he has, he uses incredibly well.


He's also aided immensely by Pablo Schreiber as Ray Merrimen, the leader of the crew and presumed brains behind the operation. Schreiber's a standout – or high point – in whatever he appears, from The Wire to 13 Hours to American Gods, but this is just the kind of magnetic antagonist that could catapult him to proper leads (although, I suspect he’s too much of a character actor to take to standard hero offers). There isn't a lot to Merrimen, but Schreiber inhabits him so fully, there seems like more.


I say antagonist, but that’s only by dint of profession. He's a lot more sympathetic than our hero, scuzzy, bedraggled, wife-beater-sporting scumbag Big Nick O'Brien (Gerard Butler). He's the head of Major Crimes and out to make Al Pacino's Heat character seem like a boy scout. He's an altogether unpleasant guy, and not just because he's prone to picking the one blood-unsplattered donut from a crime scene following a particularly heavy night ("You just threw a donut in the hot zone!" yells the FBI ballbreaker who comes to begrudgingly respect his methods). Nick's an apha bully, a cheating husband, and carries around a general air of seedy repulsiveness (you expect his kids to shrink from his embrace with a "Daddy, you smell bad!"). Butler's a decent actor, but not such a charisma machine that he can make Nick likeable. That's an imbalance that makes the movie more effective, though (one wonders how many rough edges will be worn off for the sequel).


Gudegast builds his plot around incidents that would usually seem like holes or flaws: how easy it is for Nick's team to pick up Merrimen's trail, and to utilise Donnie as an informant. How Merrimen doesn't take it out on Donnie when he learns about this. The use of unreliable narrator and flashbacks within flashbacks provide ample room for inconsistency, but I have a feeling the entirety of the deal would begin to disintegrate on revisit, be it in terms of simple perspective or the number of things that have to go exactly right for Donnie's plan to play out (at the same time, that’s pretty much an inevitability with such twist narratives).


Instead of cat-and-muse (and mutual surveillance) culminating in a coffee, Nick and Merrimen show their cards at a shooting range (Merrimen's got more firepower and surer aim), and there's even an imitation of the Pacino-De Niro climactic goodbye ("Don't do it" says Nick, knowing Merrimen earlier promised "I ain't cuffing up"). If there isn't the mutual respect between the two found in Mann's crime classic, that's okay again; we've come close enough to a copy as it is. 


Execution-wise, the highlight is the Fed heist, delivered by Gudigan for maximum tension, but the shootout in a traffic jam (one might reasonably expect Nick to lose his badge for that kind of behaviour, but one might reasonably expect him to have lost it long before the start of the movie) is pitch perfect also. The accompanying Cliff Martinez score is very much in a "give me something like Heat" mode, steeped in Moby-esque urban ambience but rising to the requirements of tension and firefights when called upon.


There's a supporting ensemble, of course, but these players are less prolific; the best known among them, 50 Cent, is exactly as good as he ever was (to be fair to everyone else, they’re all much better than him). Mainly, this is a first-rate calling card from Gudegast the director (he previously penned the execrable London Has Fallen amongst four others, so I won't lay that wholly at his door), and he'll surely be ushered into the big leagues in no time.


Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

Comments

Popular posts from this blog

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

I am so sick of Scotland!

Outlaw/King (2018)
(SPOILERS) Proof that it isn't enough just to want to make a historical epic, you have to have some level of vision for it as well. Say what you like about Mel's Braveheart – and it isn't a very good film – it's got sensibility in spades. He knew what he was setting out to achieve, and the audience duly responded. What does David Mackenzie want from Outlaw/King (it's shown with a forward slash on the titles, so I'm going with it)? Ostensibly, and unsurprisingly, to restore the stature of Robert the Bruce after it was rather tarnished by Braveheart, but he has singularly failed to do so. More than that, it isn’t an "idea", something you can recognise or get behind even if you don’t care about the guy. You’ll never forget Mel's Wallace, for better or worse, but the most singular aspect of Chris Pine's Bruce hasn’t been his rousing speeches or heroic valour. No, it's been his kingly winky.

It was one of the most desolate looking places in the world.

They Shall Not Grow Old (2018)
Peter Jackson's They Shall Not Grow Old, broadcast by the BBC on the centenary of Armistice Day, is "sold" on the attraction and curiosity value of restored, colourised and frame rate-enhanced footage. On that level, this World War I documentary, utilising a misquote from Laurence Binyon's poem for its title, is frequently an eye-opener, transforming the stuttering, blurry visuals that have hitherto informed subsequent generations' relationship with the War. However, that's only half the story; the other is the use of archive interviews with veterans to provide a narrative, exerting an effect often more impacting for what isn't said than for what is.

There's something wrong with the sky.

Hold the Dark (2018)
(SPOILERS) Hold the Dark, an adaptation of William Giraldi's 2014 novel, is big on atmosphere, as you'd expect from director Jeremy Saulnier (Blue Ruin, Green Room) and actor-now-director (I Don’t Want to Live in This World Anymore) pal Macon Blair (furnishing the screenplay and appearing in one scene), but contrastingly low on satisfying resolutions. Being wilfully oblique can be a winner if you’re entirely sure what you're trying to achieve, but the effect here is rather that it’s "for the sake of it" than purposeful.

You look like an angry lizard!

Bohemian Rhapsody (2018)
(SPOILERS) I can quite see a Queen fan begrudging this latest musical biopic for failing to adhere to the facts of their illustrious career – but then, what biopic does steer a straight and true course? – making it ironic that they're the main fuel for Bohemian Rhapsody's box office success. Most other criticisms – and they're legitimate, on the whole – fall away in the face of a hugely charismatic star turn from Rami Malek as the band's frontman. He's the difference between a standard-issue, episodic, join-the-dots narrative and one that occasionally touches greatness, and most importantly, carries emotional heft.

You kind of look like a slutty Ebola virus.

Crazy Rich Asians (2018)
(SPOILERS) The phenomenal success of Crazy Rich Asians – in the US at any rate, thus far – might lead one to think it's some kind of startling original, but the truth is, whatever its core demographic appeal, this adaptation of Kevin Kwan's novel taps into universally accepted romantic comedy DNA and readily recognisable tropes of family and class, regardless of cultural background. It emerges a smoothly professional product, ticking the expected boxes in those areas – the heroine's highs, lows, rejections, proposals, accompanied by whacky scene-stealing best friend – even if the writing is sometimes a little on the clunky side.

It seemed as if I had missed something.

Room 237 (2012)
Stanley Kubrick’s meticulous, obsessive approach towards filmmaking was renowned, so perhaps it should be no surprise to find comparable traits reflected in a section of his worshippers. Legends about the director have taken root (some of them with a factual basis, others bunkum), while the air of secrecy that enshrouded his life and work has duly fostered a range of conspiracy theories. A few of these are aired in Rodney Ascher’s documentary, which indulges five variably coherent advocates of five variably tenuous theories relating to just what The Shining is really all about. Beyond Jack Nicholson turning the crazy up to 11, that is. Ascher has hit on a fascinating subject, one that exposes our capacity to interpret any given information wildly differently according to our disposition. But his execution, which both underlines and undermines the theses of these devotees, leaves something to be desired.

Part of the problem is simply one of production values. The audio tra…

Believe me, Mr Bond, I could shoot you from Stuttgart und still create ze proper effect.

Tomorrow Never Dies (1997)
(SPOILERS) Some of the reactions to Spectre would have you believe it undoes all the “good” work cementing Daniel Craig’s incarnation of Bond in Skyfall. If you didn’t see that picture as the second coming of the franchise (I didn’t) your response to the latest may not be so harsh, despite its less successful choices (Blofeld among them). And it isn’t as if one step, forward two steps back are anything new in perceptions of the series (or indeed hugely divisive views on what even constitutes a decent Bond movie). After the raves greeting Goldeneye, Pierce Brosnan suffered a decidedly tepid response to his second outing, Tomorrow Never Dies, albeit it was less eviscerated than Craig’s sophomore Quantum of Solace. Tomorrow’s reputation disguises many strong points, although it has to be admitted that a Moore-era style finale and a floundering attempt to package in a halcyon villain aren’t among them.

The Bond series’ flirtations with contemporary relevance have a…

He mobilised the English language and sent it into battle.

Darkest Hour (2017)
(SPOILERS) Watching Joe Wright’s return to the rarefied plane of prestige – and heritage to boot – filmmaking following the execrable folly of the panned Pan, I was struck by the difference an engaged director, one who cares about his characters, makes to material. Only last week, Ridley Scott’s serviceable All the Money in the World made for a pointed illustration of strong material in the hands of someone with no such investment, unless they’re androids. Wright’s dedication to a relatable Winston Churchill ensures that, for the first hour-plus, Darkest Hour is a first-rate affair, a piece of myth-making that barely puts a foot wrong. It has that much in common with Wright’s earlier Word War II tale, Atonement. But then, like Atonement, it comes unstuck.