What happens in the casino, stays in the casino. Las Vegas officer Vincent Downs (Jamie Foxx) spends a little too much time in the muck of Sin City, seemingly more interested in self-serving than serving and protecting others.

Internal Affairs officer Jennifer Bryant (Michelle Monaghan) is dedicated to ridding Vegas of its corruption, and she believes that starts with Downs. One of Vincent’s selfish actions while on the job backfires, and his teenage son, Thomas (Octavius J. Johnson) is taken from him in broad daylight from the people he ripped off. With Thomas held up in a casino with people who won’t think twice about killing him, it is truly a race against time for Vincent to get his son back, and evade punishment.


I don’t believe it when people say that Hollywood is out of ideas. But, my belief in that isn’t exactly supported when Hollywood opts to make remakes of good international films that don’t warrant them. Few, if any, are clamoring for U.S. updates of District B13 (Brick Mansions), or Secret in Their Eyes, to name a few. The latest movie to follow this trend is Sleepless, remade from the French film Sleepless Night. The remake is as generic as its title would indicate.

Sleepless seems to exist for one main reason: To serve as an igniter for a potential mid-career redesign for Jamie Foxx as an elder action star. Much like a Liam Neeson in Taken, the entire movie revolves around the main character’s efforts to find his child from bad people. To that extent to positioning Foxx as an action star, Sleepless does do its job, though it isn’t as action-packed as one may think, at least for a the first half to two-thirds. Still, director Baran bo Odar showcases Foxx in two pretty good fighting sequences. Don’t expect any super-long takes, but the choreography is less haphazard than many big-budget actioners, and Jamie shows he’s game and able to do his own stuff. There may be something here in the next few years for him in the B-ish movie genre.

And he does carry the movie in a way that a lesser star probably couldn’t. His character receives a little bit of backstory, also, and though technically enough is there as to what side of the morality scale he falls on, it’s not entirely so, and it does give Sleepless a level of plot intrigue.


For the movie taking place in Las Vegas (though some of it shot in Atlanta), however, Odar doesn’t take much advantage of the scenery, or at least The Strip. 75% of it takes place at the casino, which is where the “Die Hard in a casino” comparisons are coming from. A casino should be rife for awesome shootouts, but instead, much of the runtime consists of characters posturing against other characters, making real or thinly veiled threats, or running stakeouts to locate their targets. Some of these scenes carry tension, but others do not. Oftentimes, the score (not a bad one) pops in and swells to crazy volume levels, and it becomes a little distracting to the events on screen.

Foxx is good, but everyone else generally falls into cliched roles. Michelle Monaghan’s Jennifer plays the resistance to Foxx’s Downs on the law side. Her character has a reason for being so hardened, but she’s overly so, and in the process, becomes kind of unlikable. Gabrielle Union and Octavius J. Johnson are simply the estranged wife and the child-in-distress, and their actions are dictated by whatever the script needs at a particular moment. Rapper T.I., Scott McNairy, Dermot Mulroney, and David Harbour all encompass stock characters seen in many crime films, leaning towards caricature. However, they aren’t always afforded with the strongest dialogue either, which plays a role in that.


There are better movies to cure insomnia; Sleepless is too competent and entertaining enough to doze off on. But then again, it’s not going to be a movie where people are going to say it was slept on, either.


Photo credits go to, and

Follow the Movie Man @MovieManJackson