Den of Thieves: Movie Man Jackson

This is Grand Theft Auto V played out on the silver screen. Los Angeles is the home of many things, including (apparently) the most bank robberies. Heading a crew of career criminals and military men is Merriman (Pablo Schreiber), who’s got the right-hand man in Enson (Curtis “50 Cent” Jackson) and talented driver Donnie (O’Shea Jackson, Jr) among other squad mates. Their goal? To pull off the job of all jobs: Rob the LA branch of the Federal Reserve, which houses untraceable money if taken at the right time.

In their way is Sheriff Nick Flanagan (Gerard Butler), a brash, take-no-prisoners officer lawman who may be just as bad as those who his crew is trying to stop. This can only end one way. The heat is on.

Quick, what do Proud Mary and Den of Thieves, two movies released in back-to-back weeks, have in common? Both employ people behind the camera who had major responsibilities in 2016’s London Has Fallen, the movie that keeps on coming back! Instead of Babak Najafi, Den of Thieves is put together by Christian Gudegast, the writer of that Mike Banning sequel who carries directing duties in addition to screenplay responsibilities this time around. While this is far from the best of the best in the cops versus robbers genre, it is surprisingly competent and even a little entertaining.

Hard not to compare every recent cops and robbers movie against Michael Mann’s legendary Heat, and Gudegast certainly doesn’t seem to shy away from the similes. Our good guys (read: bad guys) and bad-der guys intersect quite early and often, somewhat laughably with the frequency this occurs. Anyone who has seen this movie before knows what the climax will consist of. There’s some superfluous additions and scenes to the overall story; 140 minutes could probably be cut down to 120, max. However, a level of unpredictability does keep things engaging, and while somewhat implausible, there is a massive twist that doesn’t completely collapse when thought about.

Den of Thieves isn’t the all-out, fully-automatic heist-action the trailers set it up to be. This mad city (get it?), while not exactly slow paced, is slightly more methodical than anticipated. Think of it like GTA V, in that there are many set-up missions to get to the massive heist. Honestly, the film could use one more set piece—preferably in the middle—but at least Gudegast does bookend with a tense beginning and end action sequence that are shot and captured much, much better than anything in London Has Fallen or Proud Mary, aided by a steady score by composer Cliff Martinez. Good stuff for a directorial debut.

Despite Gudegast’s efforts to flesh out his main characters, they are of the one and slightly two-dimensional than three-dimensional ones. Machismo is the name of game in Den of Thieves; sadly, there’s not a prominent female to be found. 50 Cent is a name who’s not required to do much except look tough and be convincing with a rifle. That he can do. Easily, this is certainly Gerard Butler’s best role in years. Looking at his filmography, that’s not saying much, but there is a gruffness, gung-ho, and even intentionally comedic aspect he finds, playing off the stereotypical asshole officer in charge without being corny or groan-inducing.

But, the standouts are the underrated Pablo Schreiber, physically convincing and cerebral as the gangleader, and O’Shea Jackson, Jr, once again showing star power and thespian versatility in spades as the link that tethers the opposing forces. Even when the movie is too methodical in its pacing without adding a ton in the substance department, there’s enough collective charisma to keep from checking out.

Any movie that’s designated for January release that actually isn’t a dumpster fire feels like a minor win. Den of Thieves does not operate at a high level, but a level slightly higher than mediocre.

C+

Photo credits go to avclub.com, page58.com, and Youtube.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

Follow the Movie Man @MovieManJackson

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Ingrid Goes West: Movie Man Jackson

I love the ‘Gram I love the ‘Gram. I’m addicted to it I know I am I know I am. That’s Ingrid Thorburn (Aubrey Plaza) in a nutshell. Ingrid is an Instagram addict and has issues. By following the starlets of today on her app, she’s somehow convinced herself she is a part of their lives. Her most recent stunt comes as a result of not getting invited to a famous person’s party whom she believed to be her “friend” and the consequences of her actions put her in the mental asylum for a while.

Fast forward to an undetermined amount of time, and Ingrid decides to go west to California to start anew after receiving an inheritance. Her reason for doing so is to meet and befriend the famous influencer Taylor Sloane (Elizabeth Olsen), whom she becomes enamored with after seeing in a magazine and liking/commenting on her IG posts. Slowly but surely, Ingrid begins to work her way into Taylor’s life and inner circle, receiving the attention and #BFF she always craved and would do anything for.

 

The perils of technology and living in a world where everything is at our fingertips isn’t a new idea seen in film. Hell, it just happened recently with The Circle. But with Ingrid Goes West, it feels like the first time in which a film looking at the digital (specifically Instagram in this case) lifestyle does do with audience identification. Ingrid Goes West offers a pretty one sided and pessimistic view on social media, but it’s a view that, depending on the way a person feels about it, isn’t necessarily wrong. And it is a view that is certainly quite entertaining.

Ingrid Goes West nails the ridiculousness of the Instagram scene. In his full length debut, director Matt Spicer embellishes the little things, like scrolling through a feed and liking every post without thought. Or, using an internal voice to mock the sometimes (read: often) self-important captions that attempt to be meaningful but really are anything but. Or, getting that right angle for the perfect gram photo. The Cali setting is an obvious, but fitting one for this cautionary tale of superficiality and carefully curated personas.

Spicer traverses through a few genres in Ingrid Goes West, going from black comedy to satire to drama to romance and arguably even horror. Having this many genres can be problematic at times, but they all meld together here in a relatively short runtime of 97 minutes. Spicer’s script is sharp, with enough turns to make things unpredictable. As for how the film ends (no deep spoilers), the tone can be interpreted in a few ways, but I can’t shake the feeling that an opportunity was missed to be bold.

Much of the success of Ingrid Goes West goes beyond the solid script. The fresh faced cast delivers in spades, starting with star Aubrey Plaza. This is undoubtedly the actresses’ best work of her career in a role that shows off her range. She is deliciously deranged, yet so relatable, probably because we all know people like Ingrid, or perhaps, may be Ingrid without knowing. As she goes deeper and deeper into the ruse formulating dark plans that seemingly spawn out of thin air, it’s uncomfortably funny and depressing seeing her downward spiral into oblivion.

Elizabeth Olsen and Wyatt Russell also achieve in playing individuals who we may not know personally but feel like we do because of the transparency of social media. There are hidden levels of depth to their characters that both tap into effectively. With that said, most of the characters in Ingrid Goes West are hard to get behind…expect for Dan Pinto—the vape-smoking, Batman-obsessed, screenwriter-landlord who has some feelings for Ingrid, played by O’Shea Jackson, Jr. He’s easily the one character who is exactly who he is, with a touching backstory revealed mid-movie that explains his obsession with The Dark Knight. Hollywood, please cast him in more productions, as it is a crime that he’s hasn’t done anything since Straight Outta Compton until this.

Ingrid Goes West tells a story that isn’t foreign, but a story that feels personal and certainly capable of making a person think about the next time he or she opens that Instagram app. Definitely worth viewing, no ragrets.

B+

Photo credits go to popsugar.com, dailymail.co.uk, and flickeringmyth.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

Follow the Movie Man @MovieManJackson