Directed by Christian Gudegast
Starring – Gerard Butler, O’Shea Jackson, Pablo Schreiber
THE PLOT – A gritty Los Angeles crime saga which follows the intersecting and often personally connected lives of an elite unit of the LA County Sheriff’s Dept. and the state’s most successful bank robbery crew as the outlaws plan a seemingly impossible heist on the Federal Reserve Bank of downtown Los Angeles.
Rated R for violence, adult language and some sexuality/nudity
– Gerard Butler gives arguably his best performance since ‘300’. It’s probably not saying a lot positively when Butler gives the best performance in a film, but as Nick Flanagan, Butler rides a double identity that has him juggling family life and a dangerous career to stay afloat.
– The sound design here is an up-roaring achievement. Through a few shootout sequences, the amplified echo of automatic riffles transformed Los Angeles into a think-fast warzone, over the all American dollar.
– Some beautiful exterior shots of the city of angels that hints at a Michael Mann kind of influence behind Gudegast’s inspirations. As to where Mann fell in love with the flashy neon’s of the southeast, Christian balances the beauty and ugly under the same west coast sky where millions reside.
– There was never a role where I felt that anyone was miscast. Bridges in particular continues to be a commanding presence on the silver screen, carving out a name for himself that reminds us that he is anyone but his father when it comes to projects he accepts.
– Two hours and fifteen minutes is an endurance test for any film, let alone one whose story could easily reside under two hours with some attention to necessary trimming in expositional over-abundance. Considering the big robbery begins with an hour left in the movie, it’s mind-boggling why that was the area of the film that plodded the most.
– In addition to the previous point, there are scenes that serve little purpose the more I thought about them, as well as character traits that go absolutely nowhere. For instance, Jackson’s character is a well known speed demon behind the wheel, but this never comes into play during the robbery, so why include it in the story? Another scene involves 50 Cent’s daughter being taken to a dance, only to be intimidated by his group of criminals. Where this goes in the long run? Why nowhere but a standard throwaway scene for the audience to remotely chuckle between scenes of suspense. It’s mood-ruiner 101 at its finest.
– Some of the dialogue in this film points to late 90’s anti-homosexual spouting that seems severely outdated with our current scene on Hollywood. It’s embarrassing and stands out like an unnecessary sore thumb during the tense scenes of the two gangs colliding.
– In my opinion, the film progressed the smoothest when the lines of comparison between the two sides seemed apparent. So it angered me deeply when so much of the second act becomes a dick measuring contest between Butler and Schreiber’s characters, limiting the rest of the supporting cast to disappearing acts that only re-appear when the film absolutely needs them to.
– Obvious C.G blood that reminded me of Syfy movie-of-the-week’s when it splattered in front of the screen. The closer its depiction, the worst it looked in terms of believability.
– The finale reaches for a twist that honestly isn’t defined as an actual plot twist. In addition to this, it’s obvious because the film showed its hand during the first act in a throwaway line in which they felt no one was paying attention. Probably because no one but me actually was.